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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2008
in a Kine which will look far worse than the original. Now, we can lock off the print and see exactly how a commercial will look on the cinema screen and know that it will match the quality of the movie that follows it.” nhas arrivedat The Lab Sydney usually associated with a feature. So we scanned the 35mm film on the Northlight 2 to keep the quality and integrity of the original as high as possible. The results from this 8K scanner down res-ing to 2K were stunning . Th e files retained more info rmat ion and detai l than any other scanning process I’ve ever worked with.” The files were then conformed and graded in the Baselight 4 the- atrette with all the effects also pro- duced in 2K by Lab Senior VFX Supervisor, Tony Cole, to perfectly match the rest of the commercial. For the first viewing of the results commen ted on what happen ed next: “The 30 second spot was great, the 45 even better and it was then that I saw the real c inematic value of this spot. It’s a great exam- ple of classic post effects like muz- zle blasts, bullets ricochet ing and impacting in wood and of course, the clock being shot off the wall.” With the decision made to create a cinema version of the commercial Marcus Timpson again took up the reins. He added, “We didn’t want to do a traditional Kine as there is always such a huge loss of quality. This was a great opportunity to treat the TVC with the workflow JU L Y /AUGUST 2 008 from thi s gr oundbr eak ing new workflow, Denneen brought editor, Toby Denneen, and Filmgraphics Senior Ex ecu tive Ed itor , Su e Schweikert with him to the Lab. The i nit ial reaction was one of ama zement: “The filmi c clarity, contrast and delicate image t reat- ment were outstanding with all the subtleties still in there. It looked as good as a ny film transfer I have seen,” says Denneen. Self-c onfess ed film puris t Sue Schweikert added: “When I first saw this I was impressed. Certainly the first time for Filmgraphics and I. What we saw reminde d me of when we used to edit on film then look at the projected image and ‘feel’ it. It held all the qualities of the original film - truly amazing. NUROFEN ‘NED KELLY’ Client: Reckitt-Benckiser - Nurofen Marketing Director: Mark Cooper Senior Brand Manager: Conor O’Brien Agency: Euro RSCG,Sydney Executive Creative Director: Rowan Dean Group Account Director: Andrew Knox Senior Account Director: David Bailey Agency Producer: John Lamble Production Company: Filmgraphics Director: David Denneen Producer: Anna Fawcett DoP: Matt Stewart Editor: Toby Denneen Senior Executive Editor: Sue Schweikert Post Production: The Lab Sydney Client Services Director: Michael Eder Executive Producer: Steven Marolho Producer: Anna Greensmith Senior Colourist: Marcus Timpson Senior VFX Supervisor: Tony Cole The success of this digital process now means you can get a true film look that was pr eviously unobtain- able. Everyone h as t ried t o make video look l ike f ilm but the re sults just haven’t been go od enough. This wil l d el ight D oPs who will finally get their creative power.” Editor, Toby Denneen, agreed: “I can see the difference between this and SD, the way it holds the whites, blacks and contrast l evels i s amaz- ing . Compar ing SD and the Baselig ht 2K is lik e chalk and cheese. Sid e-by-side it m akes SD look like the old VHS.” David Denneen concluded: “Comme rcia l dire ctors c an now successfully scan, work and post in a feature environment at film reso- lution. The Northlight 2 s canner can emulate a telecine and gives the best q uality d ata fi les p oss ible. There i s no longer th e need for a 3rd party to get involved in a Kine which wi ll look fa r worse than the original. Now, we can lock off the print and see e xactly how a c om- mercia l w ill look o n th e c inema screen and know that it will match the quality of the movie that follows it. As a result of this wonderful pro- ject I will be working on my next commercial for Annie’s Lane wine with this exact same workflow and team at The Lab. For me, the future of commercial post produc - tion has arrived”. CAM PAIGN B R I E F 57
May June 2008