After it’s LFF premiere Blackwood was featured in the Hollywood Reporter: “Beautifully shot on digital 35mm in golden-bronze hues, Blackwood has the high-spec visual polish of a much bigger production.” Well here is the news, the film was actually shot on Red Epic and it was graded by Dado Valentic deploying Mytherapy’s famous film stock emulation. Thanks Hollywood Reporter, we are so happy that we managed to fool you it made our day!
What happens when you blur the boundaries between Stills and Motion? EXCLUSIVE PREVIEW EVENT We’ve brought together the industry’s brightest stars to open the world never seen before. 10 October 2013 4pm – late Brunswick Studios London By invitation only To register your interest e-mail email@example.com
It is so nice to do a music video job again (quote: Dado). We have managed to squeeze this one inbetween Dado’s commitment to feature films this year, and we are sooooo pleased with it. Bring it on more cinematic music videos. This great piece was directed by mighty Brent Bonacorso and produced by Collaboration Factory on LA. Enjoy the magical Benjamin Button journey… to watch a video click here
We have been working with John Downer Productions in Bristol to deliver the 3D version of their critically acclaimed BBC/Discovery series Earthflight 3D. The 3D version is a complete new cut of the acclaimed BBC series, which has gone through the entire DI process again. Our Chief Colourist, Dado Valentic, has been hard at work grading the stereoscopic footage and doing all the necessary adjustments. Other services provided include the mastering of the theatrical version and all deliverables for the 3D TV broadcast.
It is impossible to create a Colourist Hall of Fame without talking about Stephen Nakamura from Company 3, one of the pioneers of DI colour grading. Since early 2000s Nakamura has worked with many iconic directors and DPs such as Martin Scorsese and Michael Ballhaus (The Departed), Quentin Tarantino and Robert Richardson (Kill Bill: Vol. 1, Kill Bill: Vol 2), and Steven Spielberg and Janusz Kaminski (The Terminal) as well as Ridley Scott (Robin Hood, Prometheus).
Rencently Nakamura wrote at length about the experience of grading ‘Prometheus’ on Creativecow’s website. Amongst some of the challenges described by him was creating different grades for each deliverable (six in total).
Kosinski, the director behind the beautifully constructed world of ‘Tron: Legacy’, has repeated his feat with ‘Oblivion’. Visually stunning, ‘Oblivion’ is the first feature film to be released that was shot with the new Sony F65 camera. The film’s vision is a collaboration between the director with DP Claudio Miranda, producer Dylan Clark and Tom Cruise. Bringing this all together was digital intermediate colourist Mike Sowan from Technicolor, who was responsible for setting up the Looks of the film. In an interview for the company’s blog, Sowan explained the unique process behind ‘Oblivion’.
Welcome to Mytherapy Colour Grading Hall of Fame.
Every Friday we will aim to bring you closer to the world of colour grading by looking into the grading process of movies we love. We will showcase work of some of the worlds most regarded colour grading artists. We hope to give you a sneak peek of the behind the scenes of colour grading and, so, bring you closer to the art and science we love and live and get inspired by.
We have now a small screening room available for hire at our studio in Fitzrovia. In May, our grading suite was refurbished and original cinema seats were added to it.
We are happy to announce that Jamie Dickinson is the newest member of our grading team. Jamie has under his belt inumerous television credits including several episodes of ‘Coming Up’, ‘Panorama’ and ‘From the Basement’.
We are happy to announce that MYTHERAPY is now a member of the Advertising Producers Association. The APA is the trade body for production companies, postproduction and VFX and editing companies making commercials. Their objective is to create the best possible business environment for their members to operate in.