Sayenga mastered the edit into eight thematic sections employing a hybrid of mixed sources; interviews, stock footage, and excerpts from the feature. Under a narrow delivery schedule, colorist Aaron Peak graded the segments with FinalTouch 2k in the realtime color suite at Solventdreams.
"The film [Xmen 3] was planned for release in seven days and Fox needed this promo yesterday," said producer Manny Oteyza. "The director burned the midnight oil to finish the edit, and we didn't have time to wait for a sluggish color correct. FinalTouch and Solventdreams shaved a day off our delivery."
According to Peak, "Final Touch enabled us to quickly port from a Final Cut edit to a working color session in seconds. And then we flew through the shots." Variances in aspect ratios, color standards and multi-standard source origination were subsumed by a tight integration between Final Cut and Final Touch. Peak: "Since the Xmen 3] footage from the studio was already well-corrected and didn't require grading, the XML handshaking in Final Touch intelligently re-linked those shots, a convenient timesaver."
"Documentaries characteristically draw material from multiple sources: DV, digibeta, betaSP, dvcpro50, stills," says Solventdreams post super David Davidson. "And unlike other editors, Kurt really pushes the envelope with Final Cut, using effects, filters, composities to achieve his final picture. That's a potential nightmare for color." Conforming a complex timeline requires not only experienced editorial prep, but something better than an EDL. "The XML transfer gets a lot of it right."
With Sayenga and Oteyza under the Arcwelder company aegis, Solventdreams previously used FinalTouch to master three installments of the National Geographic mini-series Microkillers and the Discovery Channel special, The Chain: From ID to Impact.
Material from the project can be viewed by browsing the below links:
Solventdreams Website: http://www.solventdreams.com
Xmen3 Site: http://www.x-menthelaststand.com
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