Shooters Post & Transfer Completes FX and DI Work
Shadowboxer plans out one last final hit, she
enlists the help of her lover/stepson (Cuba Gooding Jr.). Making his
directorial debut, Lee Daniels (producer on Monster's
Ball) turned to Philadelphia-based Shooters Post &
Transfer to handle the visual effects, compositing, title sequence and
digital intermediate process.
visceral, and Shooters added blood and smoke to complement the on-set
effects. Using Flame and After Effects they animated blood trickling
down a victim’s head, as well as creating realistic brain matter. The
final touch was adding dripping blood to the scene, for which Shooters
shot fake blood drops against green screen and composited them.
Shooters also added puffs of smoke to gun shots and enhanced the
feeling of cold weather by giving the actors ‘cold breath.’
Additionally, Shooters created a title sequence but culling footage
from the movie and creating a layered montage.
process, beginning with 'flat scans' of the 35mm film negative on the
Thomson Spirit telecine (1920×1080 resolution, 4:4:4 color space),
which was then output as full-bandwidth log files onto Sony HDCAM SR
videotape. In order to ensure accurate color representation in the
final film, Shooters used Kodak’s Telecine Calibration System 102V in
conjunction with the Spirit.
preserve the dynamic range of the negative and maintain it all the way
through the editorial, effects and color correction without any losing
any color or resolution information,” notes Mark Farkas, director of
post production.
tied together by Discreet Stone Fibre disk drives. Using Discreet
Backdraft, Shooters was able to play the footage out to the da Vinci 2K
Plus for tape-to-tape color correction.
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