Released last month in the US and on 24th August in the UK, 1408 is a chilling tale of a spectacularly inhospitable hotel room, based on a Stephen King short story. The Lorenzo di Bonaventura production is directed by Mikael H??fstr??m and stars John Cusack. The cinematography is by Beno?‚àö√út Delhomme, who returned to Framestore CFC for the film’s Digital Intermediate.
After his daughter died, Mike Enslin (John Cusack) became obsessed with the paranormal, particularly the ‘other side’. But after years of being a writer and investigator on the subject he has found nothing and is a hardened cynic about the supernatural. Then he hears of a possible subject for his new book – Room 1408 in the Dolphin Hotel, New York City. Mike is determined to prove that the rumours surrounding the room are fakes by staying in the room himself. He cannot be dissuaded – though even the hotel manager, Mr. Olin (Samuel L Jackson), tries to warn him off. Mike is having none of it; that is, until Room 1408 shows him its true colours…
1408 is the third film that cinematographer Beno?‚àö√út Delhomme has lensed and brought to Framestore CFC, with the company previously supplying the DI on The Proposition and Breaking and Entering. Delhomme – frequently joined by director Mikael H??fstr??m and editor Peter Boyle – spent much of a three week period perfecting the film’s looks at Framestore CFC. He worked, as before, with Framestore CFC Senior Colourist, Adam Glasman.
“It was an interesting project,” says Glasman, “Because of the narrative constraints. All but a few minutes of the film’s action takes place within this one room – though the room itself undergoes quirt a few changes. Benoit’s lighting took care of much of the atmospherics, but together we were able to develop this in the grade.”
“There are three basic different looks for Room 1408,” Glasman continues, “Firstly, the ‘normal’ one, which is how the room starts out and what it reverts to periodically throughout the film. This is quite warm, apparently lit by the numerous lamps and lights around the room. Secondly, after the heating malfunctions the room grows hotter and hotter, and for this we warmed up the grade somewhat. Later still, it first rains then freezes, so we enhanced the lighting change with a cool blue, desaturated look. We were also able to enhance particular shots – for example, there’s a scene where the room has been burned and wrecked, and there are golden beams of sunlight shining through the ceiling. I was able to desaturate the room and also bring out the shafts of light, complementing the lighting.”
A re-shot ending meant additional grading work and a lot of reconforming for the Framestore CFC team – but that’s all part of the room service!
An MGM release of a Dimension Films presentation of a Lorenzo di Bonaventura production.
Director Mikael H??fstr??m
Cinematographer Beno?‚àö√út Delhomme
Producer Lorenzo di Bonaventura
For Framestore CFC
DI Colourist Adam Glasman
Producer Maria Stroka
Additional Colourist Brian Krijgsman
Conform Editor Stuart Nippard
Scanning and Recording Manager Andy Burrow
Scanning and Recording Dan Perry, Jason Burnett, Joseph Hoare, Veronica Marcano, Jimmy Saul
Editorial Donna Smith
Data Operators David Johnston, Rafiqur Khan , Simon Wessely
Retouch and Restoration Louie Alexander, Adam Hawkes, Aaron Lear, Nick Stanley, O’Dean Thompson
Film Mastering Engineers Kevin Lowery, Yan Jennings
Digital Lab Engineers Jerome Dewhurst, Ian Redmond, Eric D’Souza
Executive Producer Jan Hogevold
Head of Digital Lab Ben Baker
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