Screen Magazine - Index

Screen Magazine - Screen Magazine: Vol. 29, Issue 7 - Index

Box Office Winners “10,000 BC” And
“College Road Trip” Keep Color
Consistent With 3cP
Gamma & Density (Los Angeles),
developer of the 3cP on-set
color correction system for
cinematographers, announced that
box office winners for the weekend
of March 8-9, “10,000 BC” and
“College Road Trip,” both used
the 3cP (Cinematographer’s Color
Correction Process) system to keep
color consistent across production
and post-production.
3cP is a hardware-and-software color
correction and calibration system
designed for cinematographers to
use on set and at the end of the
shooting day. It enables them to
precisely preview and communicate
color decisions to colorists and others
in the post-production process,
whether they’re producing dailies,
doing pre-post, matching special
effects or performing the final color
grade for the Digital Intermediate (DI).
The system supports the American
Society of Cinematographers Color
Decision List (ASC CDL) standard
for the cross-platform exchange of
primary RGB and saturation color
correction data.
Ueli Steiger, ASC, cinematographer
on Roland Emmerich’s prehistoric
epic “10,000 BC,” used 3cP primarily
to communicate with the telecine
colorists who were working on the
film’s HD dailies. He noted, “There are
so many variables with HD dailies – the
projector, transfer, telecine process –
and they all can go wrong! With 3cP
I could establish a color direction for
the dailies and pass it to the telecine
operator. It was repeatable. If I had
a photo of a shot in the system it was
absolutely possible to reproduce it on
the other side of the world in telecine
because they had all of the same
parameters which 3cP has.”
Theo van de Sande, ASC, was the
cinematographer on Walt Disney
Pictures’ father/daughter comedy
“College Road Trip.” He noted, “3cP
can be used as a complete visual
guide – from dailies, telecine and
visual effects, through the entire
editing period and DI sessions. The
software is very simple and results
represent the original intentions of
the cinematographer.”
//3cp.gammadensitycom
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Ring Of Fire Brings Life To The “Whiteboard” By Erik Walter
Determined to literally bring its extremely successful UPS “Whiteboard”
campaign to life, The Martin Agency (Richmond, Va.) had to look no further
than the West Coast animation powerhouse Ring of Fire (Santa Monica, Calif.),
where the agency got more than its imagination could have expected.
Directed by Henry Lu out of Moxie Pictures, the use of animation in the most recent
installment of the campaign demonstrates in a charming and simple way the
journey of the packages. With 14 spots total in this year’s campaign, each spot is
a variation on the same theme. Andy Azula, the creative director from The Martin
Agency, plays “The Whiteboard Guy,” who draws on a whiteboard to demonstrate
all the ways UPS can help a business create their shipping network.
Gearing up for their 12th birthday, Ring of Fire was a perfect fit for The Martin
Agency, which was looking to spice up an already piping hot concept. “We love
to be constantly challenged and push each other to raise the bar on a daily
basis,” says Ring of Fire executive producer Jon Myers, who also points out that
“it was an ideal situation to have the opportunity impact the outcome” of the
new concept.
Jerry Spivack, Creative Director at Ring of Fire, collaborated early on with The
Martin Agency creatives and director Lu on the design of the spots. A majority of
the spots were to be executed in animation after the initial shoot, but Azula’s oncamera
performance had to be specific to initiate the animation on the board,
so he physically had to go through the actions on the whiteboard as they shot.
In between takes, Spivack would get the previous take from video assist on set
and do a rough composite with early stages of the animation concept for each
respective script. This process allowed all the parties involved to start creating the
spots live on-set and adjust to any inspiration that happened during the shoot. The
spots were all color-corrected at Ring of Fire, which required extensive rotoscoping
of Azula and all of the
practical drawings he
drew on the whiteboard.
This technique was
necessary in order to
achieve the overall look
of natural integration of
Azula and the animated
graphics against a
whiteboard. Several
animators at Ring of
Fire re-created Azula’s
graphics so they would
move and interact within the scene, taking his initial flourishes and elaborating
on them with movement and personality.
“Ring of Fire was a great partner in the latest round of UPS Whiteboard work.
Evolving the campaign with animation for 14 spots was a ton of work and
coordination. The spots turned out great,” comments Steve Humble, Head of
Production at Martin and the executive producer on this year’s campaign.
“Ring of Fire loves collaborating and helping agencies and directors to achieve
their vision using all the talented artists and digital tools in our arsenal,” says
Ring of Fire representative Amy Grgich. “We were able to do what we do best
– produce the job with a high level of professionalism from the very beginning to
the end while pushing the bar on the creative, experimenting and staying open
to let something really visually interesting and special happen.”
//www.ringoffire.com