All of TGR’s film to HD transfers are color corrected on a shot-by-shot basis by the telecinist, so each shot is correct in and of itself. “Lost and Found represents the first time that we applied a “look” to a TGR movie. I am humbled and thanks Jeff for the compliment.”Ĭredits: Color Grading, Audio Sweetening, Online Editing, Additional Cinematography – 16mm When we premiered the film outdoors at the Knotty Pine in Victor, Idaho, soundman extradinare Jeff Lord told me that it was one of the best audio for video mixes he had ever heard. The resulting Galapagos segment in the film has a very unique look to say the least, and I think it really adds to the otherworldly feel that many people associate with the Galapagos islands.
#TETON GRAVITY RESEARCH ANOMALY MOVIE#
No small feat for a 16×9 HD movie with an extremely tight turnaround – there was no time to get it retransferred. “One of the biggest challenges on Out There was integrating footage from the Galapagos islands that was regular 16mm with a bad one-light telecine to PAL miniDV. Watch Seasons 1 and 2 on Get additional clips on Ĭredits: Color Grading, Audio Sweetening, Online Editing Since there were a lot of long lens shots in windy conditions, we made extensive use of the SmoothCam feature, which was added to Final Cut from the Shake application.” It was also the first time I used Apple Color for color grading. This was the first project that was edited and onlined on the Apple Final Cut Pro/Xsan system I built for Marni Productions in the Spring of 2008. Season 2 built on all the cool stuff we established with Season 1, and took the riders to even better spots than last year.
#TETON GRAVITY RESEARCH ANOMALY TV#
Doing the second season of a TV show with all the same producers, crew and cast made this one of the easiest productions I’ve worked on. The Great Ride Open, Season 2 – Fuel TV, Red Bull, One-Eyed BirdĬredits: Color Grading, Audio Sweetening, Online Editing, DVD authoring Under the Influence also continues the blue-skewed color grade that we started in Lost and Found.”īuy the film View clips on TGRtv Main film page 16mm is more contrasty and pops in a way that 35mm and RED cannot. Ironically, I think RED compares better to 35mm because of 35mm’s smaller grain structure (it has 4 times the surface area of Super 16). The RED camera system has an incredible amount of potential, but I also learned that film can still do amazing things and that this iteration of RED still doesn’t feel like a replacement, but more of a compliment, at least in the realm of 16mm. So it was a unique challenge to grade the RED footage to look like the surrounding film shots, but also retain aspects of its “look” that differentiate it from the 16mm film. The RED footage from the Grand Targhee spring jib shoot didn’t look anything like the Super 16 shot that day. A shortened list: Tyler mount Super 16mm, Regular 16mm, Viosport Helmet Cameras, P2HD, Super 8mm and RED One. “This film had the widest variety of media sources that TGR had ever utilized to that point. Under The Influence – Teton Gravity ResearchĬredits: Color Grading, Audio Sweetening, Online Editing, Additional Cinematography – Super8 and 16mm Producer Peter Pilafian, who is best known as the Director of Photography for documentaries such as Riding Giants and Dogtown and Z-Boys, liked the audio enough to invite me back to record interviews and sweeten the mix for an 8 minute version that played at the Tram unveiling in December.”Īvailable for sale in shops around Jackson Hole Watch the Trailer Using various filters and techniques I perfected over the last year, I did the quickest high quality audio sweetening I had ever done. I was brought in to do a super quick audio pass on the feature which was under a tight deadline. “Cable to the Sky is about the 2 year process of replacing the 40 year old Tram at Jackson Hole Mountain Resort. I apologize for the 15 second ad at the beginning.įeature Film – Irons Brothers ProductionsĬable to the Sky – Horizon Pictures, Jackson Hole Mountain Resort This is “Ready to Ride.” The other 2 videos are “Not A Racetrack” and “Right Attitude”Ĭameras: Cineflex V-14, Phantom HD Gold, Panasonic POV, GoPro, Panasonic Varicam 3700, Aaton Penelope 35mm, ARRI 235 35mmĬameras: Cineflex V-14, Phantom HD Gold, Panasonic Varicam 3700, Canon 7Dĭetails: This is one of a few different edits we did for the Young Jaws series. Credits: Color Grading – Apple Color, DIT, Cineflex TechĬameras: Cineflex V-14, RED One MX, SI2K, Diabloĭetails: It’s always a blast to work with the Marines on these videos.