Jun 30, 2017

EFILM'sMitch Paulson Looks at All Eyez

Of all the important and successful films EFILM's Paulson has colored, the Tupac Shakur story All Eyez on Me , was among the most personally gratifying. Paulson, a suburban kid from Minnesota, isn’t someone you’d look at and think that he was that into hip-hop, but he's been a hardcore fan of the music, particularly Shakur's since the early '90s. "I grew up listening to Tupac, ever since his first album, 2pacalypse Now ” he says. “He was always my favorite, nobody else really compared to him.” 

Directed by celebrated music video director Benny Boom (who has worked with such top acts as Nicki Minaj, 50 Cent, P. Diddy and Snoop Dogg) and shot in an exciting fluid style by Peter Menzies, ACS, the film stars Demetrius Shipp, Jr. as the late rapper and explores his life from childhood to his untimely death.

Paulson worked with Menzies and Boom on looks that delicately suggest the story's different eras. "There are subtle changes that we did in each era of his life. It starts off grimy and dirtier when he’s in NY as a kid, all the way to bright, vibrant colors once he’s signed to Death Row records in LA,” Paulson says. The film incorporates archival footage to help present a powerful portrait of its subject. "We didn't want to go too far with that material. The look of the old tapes, probably a lot of it was VHS or 16mm, is part of the feel of the film. We just let them be closer to what they wanted to be and not force them into something else. The grittiness of some of the footage helped portray parts of his life, which weren’t all clean and perfect looking”

The project came to fruition in great part through the work of friends and the estate of Shakur, particularly former Death Row producer L.T. Hutton, which further elevated the overall experience for the colorist. "Being in the room with people who worked with Tupac and knew the guy personally," says Paulson, "was crazy. I'd almost say it was surreal at times. Definitely something I will never forget.” 


Jun 16, 2017

Filmmakers Finish Project Involve Shorts at EFilm, Company 3

As the clock ticked away to the LA Film Festival (LAFF) premiere of the short film, "The Mud," writer/director/animator Brandon Lake and cinematographer Farhad Ahmed Dehlvi worked closely with colorist Matt Wallach inside a finishing theater at EFilm where such blockbusters as The Fate of the Furious and La La Land were colored. We spoke with the filmmakers as Wallach put the final touches on the short.

"The Mud," a highly personal clay animation project about a clay man who tries to escape his identity only to then realize its true beauty, came about in part due to Project Involve – now it in its 24th year -- a mentorship and diversity program from Film Independent (the organization behind LAFF) dedicated to fostering the careers of talented filmmakers. Deluxe companies EFilm and Company 3 have been supporters on the post production side of Project Involve since 2014.

Lake is an experienced pro as a stop-motion animator but this film was a particular challenge. "Even in the world of stop motion," he says, "everybody knows clay animation is if not the hardest, then the most annoying, kind of stop motion to do because it's messy and you're always getting fingerprints on the clay. But I knew I wanted to mold things and rip and tear them for this film and the best way to do that was clay."

"The clay was one of the exciting aspects for me," Dehlvi chimes in, explaining that more high-tech forms of animation can be frustratingly abstract. "With clay, you're in the moment in a tactile environment with objects that actually absorb and bounce light. It gives you a way to engage with the medium and maximize the emotional story you're trying to tell."

The clay and camera movements were animated traditionally, a frame at a time at a very small space the filmmakers rented in Culver City. A DSLR camera mounted with cine-style lenses was used to capture each meticulously-crafted frame in stills format. "I've done a lot of tabletop work for commercials," Dehlvi notes, "and the biggest challenge here was to not let that affect how I worked because primarily this was not about making things 'pretty;' it was about serving the emotion of the narrative."

The duo was excited to work at EFilm's digital cinema grading theater. "It was fantastic seeing the movie projected here," Lake enthuses. "Seeing it on the big screen, and then observing as the color work takes shape, is tremendously gratifying." Adds the cinematographer, "When you shoot, you're not just seeing what's in a monitor. You're also imagining what it will look like at the end of the process. It's really in this environment that I think we could see that the images are as robust and emotionally compelling as we had hoped."

"The Mud,"  Brandon notes, is something that would have taken many years to realize if it weren't for Project Involve. "It's not just about Film Independent and all the wonderful companies like EFilm that help," he declares. "It's also that Project Involve gives us a reason to create."

"The Mud" joined other projects -- all of which were finished at either EFilm or Company 3 -- at the premiere screening on Thursday June, 15th. These include: "This Little Light of Mine," from director Esteban Arango; "Suitable," directed by Thembi Banks; "Untitled," directed by Brittany "B.Moné" Fennell; "Great Again," from director Christpher de las Alas; "Emergency," directed by Carey Williams and "The Station," from director Daniel Foerste.


SPOTLIGHTS ARCHIVE

  • APR 10, 2017 - NATASHA LEONNET HIGHLIGHTS HIDDEN FIGURES
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    MAR 17, 2017 - DELUXE'S EFILM HOSTS ASC MASTER CLASS EVENT
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    MAR 9, 2017 - EFILM Handles Color, Dailies for Multiple Oscar Winner, La La Land
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    FEB 23, 2017 - EFILM Colors Rogue One: A Star Wars Story
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    JAN 31, 2017 - EFILM Colors Sundance Films, Celebrates Indie Filmmaking
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  • JAN 26, 2017 - EFILM’s Natasha Leonnet Colors Best Picture-Nominated La La Land and Hidden Figures
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    JAN 13, 2017 - EFILM's Mitch Paulson Reteams with Jeff Nichols for Loving
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    JAN 12, 2017 - Dave Grove Promoted to SVP, Global Feature Sales
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    NOV 7, 2016 - Joachim "JZ" Zell Inducted into ASC
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    NOV 7, 2016 - Al Cleland Takes the Helm at EFILM
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  • SEP 8, 2016 - EFILM Proudly Supports All of Our Filmmakers at the Toronto International Film Festival
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    AUG 12, 2016 - EFILM Employs New VFX Workflow on Star Trek Beyond
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    APR 18, 2016 - EFilm's Weyron Henriques garners StudioDaily's top 50
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    FEB 3, 2016 - EFilm's The Big Short Garners Multiple Award Nominations and Wins
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    JAN 16, 2014 - Cinematographer Dean Semler, ASC, ACS Utilizes Company's Extensive Post Offerings for Grudge Match
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  • JUN 26, 2013 - EFILM Leads the way in Imaging Science
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    NOV 19, 2012 - Russell Carpenter Photo Exhibition
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    SEP 30, 2012 - Andrew Francis Discusses His Work on "Looper"
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    MAR 31, 2012 - Mitch Paulson on the Creative Challenges of "John Carter"
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    JAN 31, 2012 - EFILM Develops ARRIRAW Workflow for "Extremely Loud and Incredibly Close"
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  • DEC 31, 2011 - Natasha Leonnet on "Young Adult"
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