After being in Kodak’s motion picture business for 30 years, you might think that a person would tire of doing the same thing. But what I have learned in those 30 years is that every project that I get a chance to work on is new and exciting! In 2009 we took on a local film project: a feature film called “AFTER,” written by a local woman, Sabrina Gennarino, who also filmed her project here in Rochester.
Although Rochester is the home of Eastman Kodak and the George Eastman House – and can claim many of the world’s greatest imaging innovations – features production here is moderate. That’s why we were very excited to be able to support this production, not only with great product and technical advice, but also with postproduction services.
The film was shot on KODAK VISION2 500T Color Negative Film 5260, which offers benefits in both production and postproduction. They used a 2-perf camera for a 2:35 aspect ratio.
The advantage of shooting on 35mm film 2-perf is that you save 50% on film stock, and Sabrina definitely wanted this project on film is because she wanted to end up with a high quality film feature ‘look’ to tell her story. With help from Scott Stevens from Kodak’s New York City sales office, an account was set up for this local shoot.
All of the film was shot in 22 days, and the film was processed throughout the same time period. Kodak processed the film in Eastman Business Park at Building 326 -- home of the Customer Technical Support Group. The video dailies were transferred in Building 205 – our research facility. High Definition video dailies were transferred on our SPIRIT DATACINE to HD-D5 video. We used the daVinci color corrector to give ‘AFTER’ a “Best Light” look. The data was then handed back to the editor as a HD QuickTime DVCPRO-23.98 on multiple hard drives.
The editor for the project “AFTER” has received a picture “lock” from the producers and they are proceeding with getting a Digital Intermediate made for print release. The editor will supply an Edit Decision List to us here at Kodak, and we will scan the film to data at a high resolution (2048 x 773) with all of the tone scale and color record in the data, The DI Colorist can then create the look for Digital Intermediate.
The film will be scanned on the ARRI scanner using Kodak DIGITAL ICE (dirt removal software), and placed into a file structure that can be recorded back out to film at Postworks NYC.
Participating on this production has been a great opportunity for us at Kodak headquarters. We love to see our products in use, and it’s great to work side-by-side with our customers as they bring their creative visions to life. Be sure to look for “AFTER” on the film festival circuit soon!