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Collateral, shot by Paul Cameron and Dion Beebe, ASC, ACS, was shot on digital video and digital-data cameras, as well as 35mm. The multiple formats were converted into 1920x1080 4:4:4 10-bit DPX files in Rec 709 color space. “We did test after test after test to make sure that what we were seeing at Company 3 was exactly what we wanted on film,” says senior colorist Stefan Sonnenfeld of Company 3, where the DI was performed. “It was tricky, especially with the types of transfers we were doing, but I’m used to doing multiple formats, coming from commercials and music videos. Part of my job as a colorist is to utilize what’s there and make it into what people want it to be.” Sonnenfeld also graded the digital cinema master at TDI.
Collateral workflow diagram courtesy of Company 3.
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