Jan 9, 2018

EFILM Colors Features, Documentaries, Shorts and Short-Form Series Eps for Sundance

Colorists at EFILM brought their talents to an eclectic mix of projects for the 2018 Sundance Film Festival®. EFILM colors a significant share of the major studio releases every year – recent features including Blade Runner 2049, The Disaster Artist and Ferdinand – as well as working with up-and-coming filmmakers in the independent cinema scene.

Tim Stipan worked on Sundance Premiere The Catcher was a Spy . The period drama based on true events concerns a pro baseball catcher, Moe Berg, whose life takes a strange turn in the 1940s when he is at the tail end of a less-than-stellar career. The multi-lingual Berg becomes an undercover agent on a life-and-death mission which is further complicated by his personal life in unexpected ways. The film was directed by Ben Lewin and shot by Cinematographer Andrij Parekh, with whom Stipan has collaborated for years over many films, most recently The Zookeeper’s Wife . Parekh envisioned a look that subtly suggests the period without overwhelming the sense of immediacy in the multi-layered drama.

Mitch Paulson brought his talents to two titles –Damsel (Sundance Premiere), a Western-style drama starring Robert Patttinson and Mia Wasikowska and the provocative documentary Wild Wild Country (Special Event). Both represent the continuation of Paulson’s longstanding creative relationship with cinematographer Adam Stone (the two worked on many of director Jeff Nichols’ highly-acclaimed films, including Mud and Loving ).

From writer/director siblings David and Nathan Zellner, Damsel is a period piece filled with twists. “We had some warmer sepia but straightforward,” he says. “The brothers had definite ideas about what they wanted. “Adam,” he adds, “is always wonderful to work with. He has good tastes and always delivers a good image for us to work with.”

Stone shot the interview portions of Wild Wild Country (a Sundance Special Event), the provocative documentary from co-directors Chapman and Maclain Way that takes an intriguing look at a charismatic Indian guru and his band of followers’ wildly elaborate and expensive attempt at building their own version of Utopia in rural Oregon in 1981. Through large amounts of footage from the time and recent interviews, the film investigates the plan and the escalating conflicts that develop with local ranchers and state officials.

Much of the film comes from fascinating archival material from the time. “It’s always a delicate thing to color this kind of old material,” Paulson explains. “You work to get the most of it that you can. You don’t try to overcorrect it. Some of what happens is just part of the aging process and the viewer understands that. It’s always an interesting balance when you’re working with filmmakers to decide exactly how to best present this kind of footage.”

The shorts program is frequently the training ground for the next generation of A-list filmmakers. EFILM’s work with Film Independent and Project Involve aim to invest in promising talent, which is the origin of Emergency (Shorts Program), directed by Carey Williams and shot by Jomo Fray. Here a group of young African American and Latino men is faced with a dilemma when they see a girl passed out at a friend’s house: To call the police or not. “I loved my time with Project Involve,” says Fray. “It was definitely life altering.”

Fray appreciated being able to work at EFILM and he and the colorist collaborated early. “It was so important, particularly with this film because the image we were trying to create was very delicate. It’s very tenuous.” Fray “underexposed” four stops and it was up to colorist NAME? to bring it back. “How do we best push the digital image? And it for a theater screen, not just a laptop or monitor. We wanted to really feel the ‘grain’ – feel the sensor of the ALEXA pushing itself to get the image. I hadn’t had the opportunity to work with EFILM before but I would certainly go back.”

The new Indie Episodic category offers another way for creative independent filmmakers to show their ability to create this type of work, sell projects as short form Web content and/or use as a proof-of-concept for a longer-format series. Leimart Park , from director Mel Jones, consists of six 10-minute episodes so far. It takes an unvarnished comedic look at love sex and much else that affect a group of friends who share a house in South L.A.’s Leimart Park. It was finished at EFILM by colorist Matt Wallach. “This was my first venture into anything like this format,” says cinematographer Isiah Donté Lee, “It was such a great experience working at EFILM and with a colorist who has similar sensibilities.”

“They shot with very little budget and on an extremely short time frame,” Wallach adds, “but there was so much talent that went into it. Donte shoots so confidently you wouldn’t guess he was so young.” One challenging episode from a post perspective was shot in a nightclub with various kinds of colored lights that the production was able to put together. “That could have been a problem but Donté did such a wonderful job with the lighting and creating separations so we were able to make it match.”


SPOTLIGHTS ARCHIVE

  • MAY 4, 2018 - EFILM Senior Colorist Natasha Leonnet Continues Longstanding Collaboration with Acclaimed Director Jason Reitman on New Comedy from Focus Features, Tully.
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    APR 14, 2018 - EFILM SUPPORTS YOUNG FILMMAKERS IN COCA-COLA AND REGAL FILMS PROGRAM
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    APR 4, 2018 - Skip Kimball Joins EFILM as Senior Colorist
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    MAR 5, 2018 - Congratulations, Roger Deakins On Your Oscar Win!
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    JAN 23, 2018 - EFILM Congratulates Oscar Nominated Clients and Colleagues
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  • DEC 21, 2017 - EFILM Delivers a World of Color for Blue Sky’s ‘Ferdinand’
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    NOV 20, 2017 - EFILM Hosts Sundance Institute with Rockin’ Party
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    NOV 1, 2017 - Film Independent launches “Detail Oriented” with Mitch Paulson Q/A
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    OCT 25, 2017 - Joachim Zell Joins Cinematographers to Teach Filmmaking Master Class in Dubai
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    OCT 2, 2017 - Scaling the Color Challenges of The Mountain Between Us
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  • SEP 27, 2017 - Congrats to Our Artists on Their HPA Nominations
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    SEP 20, 2017 - EFilm’s Tim Stipan Colors Provocative mother! at Company 3
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    SEP 8, 2017 - Into the Shadows: Color on “It”
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    SEP 8, 2017 - EFilm at TIFF
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    AUG 23, 2017 - Water Colors
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  • JUN 30, 2017 - EFILM'sMitch Paulson Looks at All Eyez
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    JUN 16, 2017 - Filmmakers Finish Project Involve Shorts at EFilm, Company 3
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    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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