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May 22, 2019, 2:31 pm
Light Iron, a Panavision company specializing in post production services, is again playing an important collaborative role with notable episodic series this season.
Light Iron, a
Panavision company specializing in post production services, is again playing an
important collaborative role with notable episodic series this season. Customized
workflow offerings from Light Iron for BETTER THINGS, THE GOOD FIGHT, THE OA, RAMY,
SHRILL, THE MARVELOUS MRS. MAISEL, and WHAT WE DO IN THE SHADOWS, included dailies,
digital intermediate, archive, and data services, among other creative and
technical contributions. From San Francisco and Los Angeles to New York and
Toronto, Light Iron serviced the productions from a range of locations with color
and front-end teams involved from pre-production for a smooth and efficient
“We are honored to support these outstanding projects,” says
Peter Cioni, Light Iron’s
General Manager. “Our unique understanding of the demands of episodic
schedules coupled with our technical skills in file-based workflows fuels our
ability to fulfill the creative vision on time and on budget. Light Iron at its
core is focused on innovation and, as part of the Panavision family, we offer our
expertise from pre-production through finishing, creating efficiencies throughout
the imaging chain.”
A closer look at the projects demonstrates the possibilities
for end-to-end solutions from Light Iron and Panavision:
THINGS, season 3 (FX) – Already renewed for a fourth season, BETTER THINGS
follows the trials and tribulations of Sam Fox (Pamela Adlon), a single mother
and working actor with no filter, raising her three daughters in Los Angeles. The
season was shot by Paul Koestner who collaborated with Light Iron’s dailies
colorist Gregory Pastore and DI colorist Corinne Bogdanowicz. Panavision
Hollywood provided the camera and lens package.
FIGHT, season 3 (CBS All Access) – Entertainment Weekly hails the third
installment of THE GOOD FIGHT as “the best show on TV.” Shot by Fred Murphy,
ASC, this season was supported by Light Iron with dailies by Andrew Hodgdon and
final color from Steven Bodner. The production is also serviced by Panavision New
season 2 (Netflix) – The first season of THE OA quickly developed a cult
fan base. For the highly anticipated second installment, Light Iron worked
closely with series DPs Steven Meizler and Magnus Nordenhof Jønck to ensure the
work done by dailies colorists Andrew Hodgdon and George Thomas was reflected
in the final color grade with Ian Vertovec. Services included location support in
San Francisco and Los Angeles.
season 1 (Hulu) – Winner of the 2019 SXSW Audience Award, RAMY stars
actor-director-comedian Ramy Youssef as the son of Egyptian immigrants in New
Jersey. Light Iron worked closely with cinematographers Adrian Peng Correia and
Ashley Connor to establish the look in dailies, which transferred seamlessly
into the DI where the final color grade was performed by Steve Bodner. Cameras
and optics were supplied by Panavision New York.
· SHRILL, season 1 (Hulu) – From executive
producers Lorne Michaels and Elizabeth Banks and showrunner Ali Rushfield,
SHRILL stars Aidy Bryant (from SATURDAY NIGHT LIVE) as Annie, an overweight young
woman who wants to change her life — but not her body. Based on the 2016 memoir
by Lindy West, Vox calls the series “a quietly tender portrayal of learning how
to love yourself.” Light Iron colorist Nick Lareau provided the final color
grade in collaboration with cinematographer Joe Meade.
MARVELOUS MRS. MAISEL, season 2 (Amazon) – Light
Iron worked alongside cinematographers M. David Mullen, ASC and Eric Moynier, returning
for the second season of this award-winning series created
by Amy Sherman-Palladino. Light Iron’s Aaron Burns handled dailies color and Steve
Bodner collaborated with the two DPs during finishing. For camera and lens
options, Panavision New York was the go-to resource.
DO IN THE SHADOWS, season 1 (FX) – Based on the feature film of the same
name, WHAT WE DO IN THE SHADOWS is a documentary-style look into the lives of
four vampires who have “existed” together for hundreds of years on Staten
Island. The film’s cinematographer D.J. Stipsen returned for the series, which
has earned a 96% rating from Tomatometer critics on Rotten Tomatoes. Christian
Sprenger lensed the pilot. Light Iron dailies colorists Gregory Pastore and
Jacob Doforno supported early look development in Toronto via the local
Panavision facility, which carried over into finishing in the DI by Ian
more information, visit www.lightiron.com
October 14, 2019, 11:19 pm
Presented by HPA Women in Post and SMPTE
October 14, 2019, 11:16 pm
Rising Talent from AFI, BYU and Florida State University Recognized for their Artful Cinematography
Celia Haining, editor of The Crown, joins Gordon Burkell to discuss editing for story.
The filmmakeru.com team explores the history of color in film in our series Birth of an Art. From coloring in single frames ...
Gordon sits down with Ivan Victor to discuss his work editing 68 Whiskey.
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