Dave Chappelle’s Block Party Maximizes Super 16mm Origination With 2K DI
PostWorks, New York, the east coast’s most comprehensive full-service film and High Definition post facility, today detailed its supporting role in delivering director Michel Gondry concert film, ‘Dave Chappelle Block Party.’ Focus Features debuted the film theatrically on Mar. 3.
Produced by Bob Yari Productions, the concert portions of the film were lensed on location in Brooklyn by acclaimed cinematographer Ellen Kuras, a three-time Sundance Film Festival Cinematography Award winner. The director and DP captured the film performances on Super 16mm film stock. Among many critical services provided by PostWorks, colorist Scot Olive worked directly with the filmmakers to color-grade the 2K Digital Intermediate (DI), which became the source for all the film picture deliverables.
‘PostWorks is a Gold Star’s vendor for us,’ said Ben Urquhart, director of post production for Focus Features and Rogue Pictures. ‘Their client relations and technology are top notch. Ellen, Scot, and the PostWorks crew worked very hard to create the specialized look of the film, and it important to me that those efforts are visible to BLOCK PARTY audiences around the world. Often times the color science at the DI facility doesn’st interface well with the photochemical laboratory, but after minimal adjustments, the 35mm prints were very nice. I’sve received compliments on the prints at every screening we’sve had.’
Post-production on the film began at PostWorks in Oct. 2005. PostWorks provided an Avid Media Composer 9000 for the last stage of offline editorial to editors Jeff Buchanan and Sarah Flack. The 2K DI process involved scanning the camera original Super 16mm negative using PostWorks’s new Grass Valley Spirit 2K. George Bunce conformed the 2K data files in Quantel iQ, and Scot Olive then used the Pandora Pogle PiXi system in conjuction with iQ 2K playback capability to color grade in real-time on the 16’sx9’s screen in PostWorks’s DI Theater. The finished film was recorded to 35mm Kodak Negative Stock via Arri Laser. Custom look-up-tables (LUTs) were built to allow for release printing on Fuji 3513DI stock.
PostWorks’s DI capabilities include the editing of picture and sound, color-grading, and handling of visual effects completely within the digital realm. Recent DI clients include Phil Morrison ‘Junebug,’ Griffin Dunne ‘Fierce People,’ Spike Lee contribution to UNICEF ‘All the Invisible Children,’ the 2004 Academy Award-nominated films ‘Asylum,’ ‘Capturing the Friedmans,’ ‘My Architect’ and Oscar winner ‘The Fog of War,’ as well as IFC Films’ 2003 Sundance Grand Jury Prize nominee ‘A Decade Under the Influence’ and dozens of theatrical spots, trailers and international broadcast campaigns. PostWorks’s team also made major contributions to 2006 Oscar winner ‘The Moon and the Son,’ 2005 Oscar winner ‘Born Into Brothels,’ 2005 Oscar nominee ‘Tupac: Resurrection,’ 2005 Sundance Film Festival American Documentary Grand Jury Prize-winner ‘Why We Fight,’ 2005 Sundance American Documentary Audience Award-winner ‘Murderball’ and 2003 Oscar winner ‘Bowling for Columbine,’ among many other high-profile film, television and short-form projects.
About PostWorks, New York
Since 1995, PostWorks, New York has emerged as the region most comprehensive full-service film and High Definition post facility. The company elite team of artists, engineers and producers have optimized its entire operation for non-linear, HD and Digital Intermediate technologies, and PostWorks further sets itself apart by offering scalable production offices, rentals and the highest level of commitment to quality and customer service. Through its Lab and SoHo and Midtown facilities, PostWorks offers one complete source for all post- production needs, including film processing, telecine/datacine, and complete audio services. The company clients include Oscar winning filmmakers, network and cable television programs and award winning commercials and music videos.