Cinelicious Demonstrates Beauty Talent with Unilever CLEAR featuring Heidi Klum

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Clear

Ghost Town Media tapped Cinelicious’ talent for final color and finishing for “Enough,” the commercial launching Unilever’s new CLEAR SCALP & HAIR BEAUTY THERAPY™. Directed by RSA’s Rankin for Lowe Worldwide, the spot stars superstar model, television host and designer Heidi Klum as its beauty icon and brand ambassador. The collaboration between Ghost Town Media and Cinelicious’ VFX/Beauty flame and color talent created a powerhouse post team for the national product launch.

“Our model is based on integration and flexibility, allowing us to partner with creative teams from agencies to production companies and post houses,” explains Cinelicious Founder Paul Korver. “This spirit of collaboration defines our work whether on location or at our Hollywood studio.”

Client: Unilever
Agency: Lowe Worldwide
Production Company: RSA USA
Director: Rankin

Post Production Services: Ghost Town Media
Post Producer: Matthew Primm
VFX Supervisor/Lead Compositor: Jeff Lichtfuss
Editor: Mandy Brown
Visual Effects, Animation and Design: Brandon Parvini, David Torno, Noah Rappaport, Gabriel Perez, Dennis Shin, Spencer Armajo

Final Color & Finishing: Cinelicious
Color Grading: Steve Rodriguez
Finishing Producer: Reggie Diaz
Flame VFX / Beauty: Ben Looram
FlameVFX / Beauty: Kevin McDonald
FlameVFX / Beauty: Ryan Gibson

4K Feature Films

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We love movies – new and old, big and small. Our up and coming artists have been been major contributors to independent film. We are continually leaning in to the bleeding edge to bring our clients the best picture technically and aesthetically possible and have just completed build out on our 4K DI Theater, one of the first of it’s kind allowing realtime color grading while viewing True 4K resolution from 4K DLP projection.

Why 4K you ask? First is the movies… 4K it is the new standard being rapidly adopted by theater chains, including the 3 largest Regal, AMC and Cinemark. Second is the living room… TV manufactures are all producing 4K “Ultra HD” televisions for the home, and finally, because it is widely known that 35mm film has 4K resolution on the negative, something moviegoers have never seen. At Cinelicious, while we handle high-resolution digital cameras with ease, we are very excited about using our new HDR 4K Film Scanner to showcase gorgeous 35mm film at its true resolution, a beauty you likely have yet to behold.

This year, as you are in pre-production for your next feature and considering the F65, RED, Alexa or 35mm, we encourage you not to make the decision by looking at a spreadsheet. Instead, we invite you and your DP to stop and feast your eyes on the future of digital cinema.

We are currently offering Digital Intermediates at up to 4K resolution from 16mm, 35mm, all Digital Cameras and 3D. No matter what the format, our creative and technical teams will throw their passion and talent behind your picture.

 

Film to Digital 101

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Film to Digital 101

The recently finished Müller-Brockmann inspired “Der Film” Scanning room at Cinelicious. Positive Airflow (dust free). 24/7 Isolated Temperature Control. Pressurized air to scanners.  NetApp Data Storage. Quantum LTO-6 Robotic Tape Library.

Film Scanning

The process of “Film Scanning” in post production terminology differs from “Telecine” in that each roll of film is scanned into a sequence of high-resolution, pin-registered, discreet image files, typically in the uncompressed DPX format, whereas Telecine converts film reels into a lesser quality standard video stream (SD 525i, HD 720p, HD 1080p/i). After the scanning process is complete, each frame of film has a corresponding DPX image file which easily interacts with higher-end VFX, DI and Restoration imaging applications. For the highest quality images available for a Feature, Commercial, or Remastering Project we are proud to offer the Scanity by DFT which resolves up to 4K image resolution with the highest dynamic range of any scanner in the world. For detailed information on what makes the Scanity unique and why we chose it over all film scanning technologies in the world click here.

Color Grading

Film is always scanned “flat” or “log” and requires a skilled colorist to bring the DP and Director’s creative vision to life. We offer either supervised scene-to-scene creative color grading or unsupervised ‘best light’ balancing color grading in a non-linear calibrated Rec709 Broadcast or P3 Digital Cinema color space.

 

  We Can Scan

  To HD, 2K or 4K
  Film Formats:   Direct-to-Drive File Formats:
  8mm, Super 8mm, Max8mm, Single 8mm   Pro Res 422 / 4444, Avid DV, Meridien & DNxHD
  9.5mm   LTO Formats:
  16mm, Super 16mm, Ultra 16mm   LTO-5, LTO-6
  35mm (all perfs), VistaVision   Data Formats:
  10-bit or 16-bit DPX (LOG/LIN), 16-bit TIFF

 

 

ICG Magazine – Cinelicious: Retro-Digital

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Paul Korver, principal/executive producer at Cinelicious, admits that he “really loves film.” And by that he means celluloid. Cinelicious recently backed that love up by purchasing a Scanity film scanner, which is now the heart of the company’s non-linear 4K DI workflow. The Scanity can handle every type of film project from dailies to DI and visual effects footage to archival projects. It’s eliminated the need to have three separate scanners, making Korver’s decision to stick with celluloid as a creative medium a smart business move.

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One Love, One Heart: Cinelicious Provides Post Services to Critically Acclaimed Documentary MARLEY

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Cinelicious is proud to have contributed color grading and scanning to the wealth of archival footage featured in the new documentary MARLEY. Directed by Oscar winner Kevin Macdonald (One Day in September, The Last King of Scotland), the film is currently in theatrical release through Universal and Magnolia Pictures as well as available on demand.

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Cinelicious Shows Film Passion With 7 For All Mankind Campaign

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Cinelicious’ film passion and expertise was tapped for the just released 7 For All Mankind’s Spring Campaign. Born from an art film imagined and created by James Franco in collaboration with the brand’s creative agency, LIPMAN, the unorthodox campaign is an innovative multimedia experience that embodies the brand’s California roots and ‘forever cool’ aesthetic. Consulting with LIPMAN and DP Max Goldman for the project, Cinelicious provided cameras (Super 8 & Ultra 16mm), film, processing and 2K film scanning and color grading.

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Film Takes Top Dramatic Awards at SUNDANCE. Think Indies can’t afford to shoot film… Can they afford not to?

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Here’s a surprising fact that independent producers may want to consider before they write of film as “too expensive”: There were 120 films in competition at Sundance this year. Based on our research and conversations with Kodak and Fuji only 5% were shot on film… and yet that small minority took 100% of the most coveted Jury and Grand Jury and prizes in the US and World Dramatic competitions, as well as winning the Excellence in Cinematography Award in the US Dramatic category.

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The LOFT @ Cinelicious

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Tired of cutting in dingy, back-lot edit bays that are depressing to editors, directors, creatives and clients? At Cinelicious we believe inspired environments foster good creative, happy people, and better content. Perched high above Melrose and a block from Paramount our new Creative Editorial and VFX LOFT…

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