Film Directed By Goodby Veteran Chris Ford & Premieres At Cinequest Film Festival On February 29th
San Francisco, CA â€“ (February 21, 2008) â€“
recently completed VFX, post and telecine work on â€œThe Village Barbershop,â€? a dramatic feature written and directed by Chris Ford and starring John Ratzenberger (â€œCheersâ€?). The film has its world premiere at the Cinequest Film Festival in San Jose on February 29th, and has also been accepted into the Sonoma Valley Film Festival.
In â€œThe Village Barbershop,â€? a fading smalltime barber is forced to hire the last person on earth he’d want working in his shop – a woman (played by Shelly Cole, â€œGilmore Girlsâ€?).
To view clips from the film, please go to:
â€œThe film had a great DP in Cliff Traiman, but after shooting on the fly for 18 days in all kinds of light and locations, there was still plenty of picture work to be done,â€? explains Chris Ford, who is also a Creative Director at Goodby, Silverstein & Partners. â€œFor me, the only place to go was Spy Post. Beyond the nice work theyâ€™d done for me in the commercial world, they had a fantastic reputation for knowing all things digital. In addition to matching single scenes shot across multiple days, colorist Chris Martin brought with him the brilliant idea to use subtle shifts in color to enhance the ever changing moods of the film, and VFX artist Kyle Gray saved the day (and my ass) with some amazing clean up and composite work, then stuck around to create a lovely end credit sequence as well. Ultimately, I walked away thinking I canâ€™t believe my little $250K film looks this good.â€?
The film is another example of Spy Postâ€™s digital intermediate workflow with the post house handling the conform, VFX, closing title sequence and color correction. â€œThe Village Barbershopâ€? was shot in HD with Panasonic VariCam at 720p DVCPRO HD 24fps and offlined in SD with Final Cut Pro. Once conformed, it remained tapeless as it moved from Final Cut to After Effects and Flame, and then to final color through the da Vinci. Final masters were delivered on HDCAM.
â€œOur Digital Intermediate pipeline maximizes the image quality of the filmmakers’ source material and positions them to output a Universal Master, which preserves multiple delivery options,â€? says Spy Post Partner Eric Hanson. â€œWe advise them on the most efficient, cost-effective and high-quality intermediate format to work in during the project. Itâ€™s similar to doing a digital intermediate for a big-budget feature, weâ€™ve just modified the process so itâ€™s accessible to spots, documentaries and independent films.â€?
Senior Colorist Chris Martin worked off the Universal Master at 1920×1080, 23.98 fps, on a da Vinci real-time color corrector.
â€œThe Universal Master existed as a data source for Chris using RaveHD,â€? Hanson continues. â€œThis real-time Digital Intermediate allows the colorist flexibility to manipulate the data with da Vinciâ€™s speed, similar to the speed of a tape-to-tape session.â€?
â€œThe film is set in Reno and has a feeling of Americana,â€? says Martin. â€œWe went with antique warm tones that didnâ€™t feel too glossy or too flat. DP Cliff Traiman really captured the visual essence of the film in the way he shot and lit the scenes, giving me nice highlights and shadows to work with. I worked closely with Chris [Ford] to determine how to accentuate and develop the look of the story. Whatever the film format or deliverable, Spy Post is able to utilize our high-end gear, from Flame to the da Vinci, and tailor our in-house workflow using Final Cut Pro and RaveHD as a conduit. Weâ€™ve created a process that is empowering to feature filmmakers, and allows for more flexibility and creativity.â€?
â€œFilmmakers are pleasantly surprised by the cost and time efficiencies of real-time color correction with the da Vinci,â€? concludes Hanson. â€œWe have quite a bit of latitude to push the color and create specific looks, and youâ€™re working with a professional colorist. Weâ€™re thrilled we were able to collaborate with Chris [Ford] on â€˜The Village Barbershopâ€™ and apply our real-time Digital Intermediate workflow to the project.â€?
Director/Writer: Chris Ford
DP: Cliff Traiman
VFX, Postproduction & Telecine Company: Spy Post
Colorist: Chris Martin
After Effects Artist: Kyle Gray
Editorial Company: Barbary Post
Audio Post Company: Skywalker Sound
Spy Post is located at 577 2nd Street, Suite 103, San Francisco, CA 94107
T: 415.621.7791. F: 415.621.7792