You’ve wrapped on your latest project, with raw footage proudly in hand. Now what? Learn all about the next steps with the award-winning world-renowned post-production team at Company3 in our latest NYWIFT Masterclass offering.
Discover the history of the post-production process, the latest advancements in color correction technology, best practices for how to communicate with your post team, and what to keep in mind as you budget for the finishing touches on your film.
Price: $25 for Members* / $45 for Non-Members
Price includes admission for all sessions.
*Executive, Platinum, and Leadership Circle members attend for free. Contact membership@nywift.org to join or upgrade your membership.
SESSION 1: Overall Picture – what you don’t know about the post-process – “PICTURE FINISHING”
Date: Monday, June 3, 2024 (POSTPONED to new date on June 10 at 6pm ET with Session 2)
Time: 6:30 – 8pm ET
History: Delve into the evolution of film finishing from the traditional photochemical process to the digital intermediate era, exploring its impact on filmmakers. Trace the journey from analog to digital, highlighting key milestones in the industry’s transformation.
What does Picture Finishing entail? Uncover the intricacies of the Picture Finishing process, from the Conform Process and Opticals to post-VFX integration. Explore the vital role of color in storytelling and emphasize the importance of deliverables often overlooked in the post-production pipeline.
SESSION 2: The Magic of Color Correction – What can be achieved?
Date: Monday, June 10, 2024
Time: (*NOTE New Start Time) 6:00 – 8:30pm ET
The science behind color: Explore the fundamentals of color science, unraveling the complexities of how colors are perceived and the science behind our visual experience.
What our eye sees: Investigate the mechanisms of human vision and how they influence color perception, providing a deeper understanding of how viewers interact with visual media.
Resolution and aspect ratio: Examine the significance of resolution and aspect ratio in picture finishing, highlighting their impact on the final presentation of content.
How does THE LOOK and COLOR play a part in storytelling? Dive into the role of color and “the look” in the narrative, examining how LUTs (Look-Up Tables) shape visual aesthetics and the evolution of looks throughout the finishing process.
The latest bells and whistles: Explore the cutting-edge capabilities of modern color correction tools, showcasing the creative possibilities they offer in achieving stunning visual results.
The best way to work with your colorist: Gain insights into effective collaboration with colorists, including the importance of providing references and establishing a common language in the color bay.
SESSION 3: Budget for Picture Finishing
Date: Monday, June 17, 2024
Time: 6:30 – 8pm ET
What are the factors that affect my budget? Break down the various factors influencing the budget for picture finishing, including the scope of deliverables and the level of post-production complexity.
Deliverables and how much they cost: Navigate the landscape of deliverables, discussing their importance and associated costs while providing strategies for optimizing budget allocation.
How do I save money and put the most up on the screen? Discover practical tips and cost-saving measures to maximize resources and ensure that every dollar invested translates into high-quality visual content on the screen.
Panelists
Chief Revenue Officer Jackie Lee oversees all sales for the company, working closely with her sales force, clients and internal artists and production teams to ensure the best possible experience for the filmmakers who bring their work to Company 3 while continuing to build the company’s financial strength. She has spent decades in this unique arena, first in her native Australia and later helping to transform Company 3 from a popular regional telecine and color grading house for music videos and commercials to the global powerhouse in long- and short-film postproduction that it is today. In the process she has built up a truly astounding network of loyal clients — top filmmakers, producers and studio heads — throughout the world and has always striven to seek out promising young, independent filmmakers through relationships with festivals, film schools and other relevant institutions.
Lee frequently gets involved with a project long before the company starts ingesting files, and often before principal photography commences, in order to help each client get the most out of their post budget and schedule, whether for a major studio tentpole feature or an indie aiming to gather attention on the festival route. Her ability to see the whole, complex postproduction workflow from both her clients’ and Company 3’s POV makes her a rare and excellent resource for anybody with any questions about this complex world of artistic, technical and financial decision making.
Emily Faw, one of Company 3’s Imaging Engineers, oversees the color science and image processing of post-production workflows. A key aspect of achieving top-level post-production work is having a thorough understanding of the way color information is captured, stored, and manipulated. This is crucial to getting the most out of the plethora of sensors (including raw and processed formats), color spaces, and codecs. She uses these attributes to design custom Look-Up Tables (LUTs) to help artists realize their visual ideas in the color grade and to streamline a process that can involve multiple cameras and a long list of different deliverable formats. Prior to joining Company 3 in 2019, Faw held a similar position at Technicolor Creative Services on their feature film and episodic TV work.
Originally from Philadelphia, she has always been fascinated by the visual arts. She attended Rochester Institute of Technology with the intention of becoming an engineer, but it was there that she discovered their renowned Motion Picture Science program which combined her leading interests in both art and science. She studied color and imaging science under professors who spent years working at Eastman Kodak – a major innovator in the science of how light and color are photographed and manipulated.
She also completed internships working in the hectic world of live productions for New York’s Metropolitan Opera and she served a fellowship with Harbor Picture Company through the PNYA (Post New York Alliance) before starting her career with Technicolor.
Margaret Lewis joined Company 3 in 2017 following six years as Head of Production at Goldcrest Post. In her role as VP of the New York color operation she is responsible for all grading work the company does in the region for feature film, episodic TV and shortform projects. She is strategically placed between clients with ever-changing requirements, Company 3’s artists, producers and technical staff and the allocation of resources required to deliver whatever is requested every time. Lewis brings her experience as an internal producer and executive to all work that Company 3 New York embarks on including such blockbusters as Barbie from director Greta Gerwig, award-winning indies such as Todd Haynes’ Carol and powerful, controversial films like Daron Aronofsky’s Mother! — each of which presented unique logistical challenges.
Originally from the San Francisco Bay area, Lewis, inspired by New York based street photographers (such as Magnum’s Bruce Davidson) relocated to New York intending to study still photography and traditional printmaking — an all-important artistic collaboration that in many ways parallels that of production and post. After receiving her degree from New York University in Film & TV, with a minor in Business, Lewis initially pursued film editing but soon realized that the perfect place for her combined skillsets was in the business side of motion picture finishing, where she’s thrived ever since.
About the NYWIFT Masterclass Series
The NYWIFT Masterclass Series offers in-depth virtual multi-class workshops that explore various aspects of the film, television, and media industry. Led by award-winning experts, the classes will teach students about the craft, content, and business strategies involved in each creative pursuit, building a solid foundation for artistic fulfillment and commercial success.
Previous NYWIFT Masterclasses included sessions on TV Writing, Podcasting, Film Budgeting, On Camera Audition Technique, and Sports Producing, with more to be announced soon.
This program will take place virtually as a webinar via Zoom. Please register in advance, and all registrants will receive a link to attend the webinar the day of the event.
We encourage you to download and create a Zoom account in advance.
programs@nywift.org
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NYWIFT programs, screenings and events are supported, in part, by grants from New York City Department of Cultural Affairs in partnership with the City Council, and New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature.
