'Hugo' uses Cooke; Cosmic picks Quantel; EPS speeds flow
Lensmaker Cooke Optics hitched its wagon to Martin Scorsese’s upcoming 3D pic, “Hugo,” the first film to deploy all three families of Cooke Lenses: 5/i, S4/I and Panchro/i. It’s also the first major motion picture shot with 5/i lenses (closely followed by Woody Allen’s “Midnight in Paris”) and the first major film to use /i Technology (metadata) and Transvideo CineMonitor HD 3D View /i monitors. Gregor Tavenner, first camera assistant to d.p. Robert Richardson, said, “We heard about the 5/i lenses, so we decided to take a look at them at Clairmont Camera. They were absolutely gorgeous… We ended up taking three sets together with S4/i and Panchros, and what we saw was incredible consistency.” “Hugo” is the first project shot in 3D by Scorsese and Richardson, and the first major 3D movie shot with Arri Alexa cameras. The film is due for release in late November.
Cosmic Post purchased a Quantel Pablo color correction and finishing system for its new mobile post facility – the first mobile digital 2D and 3D support and finishing facility in Canada. The system is designed to provide producers with on-set post capabilities, which are housed within a 40 foot trailer. “Post is changing. It’s all about making decisions on set today,” said Cosmic Post founder Paul St Amand. “As a producer, it’s a no brainer to bring post on-set. It’s a huge advantage to be able to walk right off the set and start working with the day’s footage straightaway, so directors can see the results of their shoot in context.” Helmers using the system can sit down with the Pablo artist and work with the images projected onto Cosmic’s 7-foot screen via a Christie 2210 projector using RealD.
“There are never any hiccups with Pablo,” added St Amand. “It just plays… which is critical when you’ve got your client sitting in front of the system making decisions on the fly. As the business develops we’re looking to invest in more mobile post facilities… in the U.S. and Canadian West and East coasts simultaneously. We’re also looking to expand into Europe in the near future.”
With digital on-set dailies becoming an industry norm, Electric Picture Solutions and Global Entertainment Partners (EPS/GEP) now offer a 100Mb high-speed portal for their Studio City campus, allowing clients to quickly move media or data, including dailies, from any location, whether just down the street or across the world, to Los Angeles for editorial or processing. In one ongoing example, the film “Freaky Friday” is shooting in Atlanta with dailies being processed on-set, while the editorial team is set up at the EPS/GEP headquarters in Studio City. The dailies are transmitted from Atlanta and cutting can start as soon as the material is available. “Raw files are the foundation of a digital workflow,” said David Pincus, EPS CEO and founder. “Delivering them in minutes or hours, rather than days, opens up a whole new level of service.”