Company 3 Salutes “The Hurt Locker” on its Enormous Success
Facility Provided Massive Post Effort on History-Making Feature
SANTA MONICA, Calif. — March 8, 2010 — Company 3 is proud to have provided an extensive package of postproduction services to the visually arresting, dramatically devastating and multiple-award-winning feature “The Hurt Locker.” The filmmakers entrusted the digital intermediate, over 75 visual effects shots and all of the processing and dailies work in a coordinated effort between Company 3 and sister companies in Hollywood and London.
In addition to last night’s Academy Awards for Best Picture, Director, Original Screenplay, Editing, Sound Editing and Sound Mixing, “The Hurt Locker” has also received a multitude of awards from organizations including the Writers Guild of America, the Producers Guild of America, the Directors Guild of America, the American Cinema Editors, and BAFTA.
“We were privileged to collaborate on such a powerful and important independent film and we congratulate the filmmakers for the much-deserved recognition they are receiving this awards season,” says Stefan Sonnenfeld, co-founder and managing director, Company 3.
Colorist Stephen Nakamura brought his technical ability and creative sensitivity to the film’s color grading process, making extensive use of keys to subtly enhance the color in skies, soldiers’ uniforms, and even in the wires of the explosives the main characters must diffuse. “When we love a place or a person or anything,” Nakamura explains, “we tend to look at it through rose colored glasses. That’s what we wanted to do almost subliminally. To move away from the drab, brown look a lot of other movies in the desert tend to have.”
The post workflow began as Company 3’s sister facility, London-based Ascent 142, processed the film negative and graded the dailies. The original negative was then shipped to Company 3 in Los Angeles for scanning. Then, their visual effects team, led by Alex Romano, set to work primarily putting the audience in the middle of the film’s intense explosion sequences through a combination of 2- and 3D-CGI. As the scope of the project grew, Company 3 enlisted Encore Hollywood?s Visual Effects group to help quickly turn around the additional shots.
“Our relationship with sister facilities, such as Encore and Ascent 142, among others,” Sonnenfeld sums up, “enabled us to scale resources quickly according to the increasing demands of the project.”
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Media contact:
Gail Laguna
Director, Global PR, Ascent Media
glaguna@ascentmedia.com
818.260.6229
Sales contact:
Jackie Lee
Vice President Feature Sales
jackielee@company3.com
310.255.6634
About Company 3:
Company 3 revolutionized the postproduction industry a decade ago when it took the art and craft of color grading into a boutique environment. Focused on high-quality creative results, Company 3 is synonymous with many of today’s award-winning commercials, music videos and feature films. Currently, Company 3 is translating its finely tuned expertise in feature film DI (digital intermediate), color grading, and final finishing to commercials.
Company 3’s incredible talent roster includes John Bonta, Sean Coleman, Siggy Ferstl, Billy Gabor, Dave Hussey, Tim Masick, Victor Mulholland, Stephen Nakamura, Mike Pethel, Tom Poole, Rob Sciarratta, Stefan Sonnenfeld and Matt Turner. Recent commercial projects are campaigns for Apple, Audi, BMW, Heineken, Nike, and others. Recent feature film credits include “Alice in Wonderland,” “Robin Hood,” “Prince of Persia: The Sands of Time,” “The Hurt Locker,” “A Single Man,” “Public Enemies,” and “Star Trek.” Company 3 is an Ascent Media company.