Final Post finishes Love is Now
Final Post's new 2k DCI theatre, a rarity in Australian post-production facilities, allowed the team to watch and work directly on the 21' film screen with Christie 2K projection.
Agile post-production studio Final Post partnered with producers Eponine Films to capture the hearts of cinema audiences across Australia via the Nikon D810 with feature film Love Is Now. A unique corporate funding model, chiefly represented by Nikon, allowed Final Post to meet the challenge of delivering finished images of a film shot entirely on a Nikon and Nikkor lenses to a standard that belied its original format.
Final Post’s Managing Director, Shane Burrell, worked closely with Eponine’s Executive Producer Behren Schulz and Director Jim Lounsbury to develop workflows that not only capitalised on the camera’s strengths, but also mitigated any potential challenges for a project of this ambition.
With the shoot predominately showcasing the landscape of regional New South Wales, on-set Light Iron OUTPOST data systems performed the essential digital services of securing digital files, colour grading, sound syncing and preparing editorial files. The production enjoyed expedited turn around on rushes as well as enhanced creative control, thanks to the Live Play 3 iPad dailies system.
Fittingly, Eponine Films were able to continue their affair with the region after wrapping, taking up residence at Final Post’s brand new, state-of-art Newcastle facility for the duration of editorial and finishing. Three AVID suites worked around the clock to deliver the finished film within five weeks for a pre-Christmas release.
Final Post’s new 2k DCI theatre, a rarity in Australian post-production facilities, allowed the team to watch and work directly on the 21′ film screen with Christie 2K projection. Burrell said that the experience was “rather surreal, and meant we could proficiently work with the images and have confidence that it would translate to the theatres in the best possible way”.
Colourist Tristan La Fontaine worked on the Digital Vision Nucoda system to perform the colour treatments within the film, leaning heavily on its vast colour tools and leading image restoration algorithms to give the images a commercial feel.
