Olive’s post production life starts weeks before principle photography. We ran tests with Fotokem on Kodak 7219 16mm stock, shooting a thin foggy negative and processing 100% beach bypass to desaturate the image while boosting the contrast and grain. The dailies were digitally scanned to high-resolution DNxHR files and synched with production sound at Efilm by colorist Ben Estrada, who helped us refine our look leading up to production. Editing on Avid Media Composer 8.3, I quickly copied the MXF files to my Avid MediaFiles folder, opened the bins and started to organize my material.

 

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