“I’m Not Ashamed,” opening in theaters on Friday, Oct 21st is the true story based on the journals of Rachel Scott, the first victim of the 1999 Columbine High School massacre in Columbine, Colorado.
ROUSH Media managed all the creative finishing services of the film. This included: VFX Plates and color management at 6K, archival footage restoration & image processing, DI conform of the original camera negative at 6K, DI Color Grading and texture image processing for grain at 6K, Graphics and VFX, and 4K delivery for theaters and VOD.
Producer and Director Brian Baugh chose ROUSH Media for its long history of delivering high quality DI’s on Features and their working relationship with distributor PURE FLIX. ROUSH Media was able to bring the post-partnership they have with their clients to new levels in streamlining management, communication, and the delivery process with the distributor. This made it such an easy process to enable the producers to focus on more important things than just the post.
Once the locked cut was delivered, ROUSH Media brought the Red Epic 6k r3d’s and made 6K uncompressed DPX files for the color session. ROUSH Media’s SAN system, an Infortrend and Tiger technologies system, can manage and playback 8K DPX all in real time if necessary.
All that data quickly added up to over 50 Terabytes just for the DI and delivery. In the fast-paced post-production environment of today and geographically diverse location of the producers and other post team members,it allowed ROUSH MEDIA’S servers and fiber connection to be the glue that held the whole process together.
At one point, a pick up shoot took place in Colorado on a Saturday and the Red files were uploaded to ROUSH in Burbank to create dailies that were then sent to Tennessee for editorial services. The new cut was sent back to ROUSH to update the DI all by the end of Sunday for a Monday mastering of the 4K DCP. That’s post at the speed of light!
To leverage the strengths of both Digital Vision’s Nucoda Film Master and Blackmagic’s DaVinci Resolve, the color grading was done within both systems. ROUSH’S Barco 4k theater for the theatrical version and their 4K Sony BVM X300 HDR suite were used for the VOD trim pass.
One of the director’s concerns was some very low light challenges that left some scenes underexposed and noisy. Director Brian Baugh was very happy with Senior Colorist Keith Roush’s expertise in bringing back the proper exposure and look while minimizing noise and grain. This is where their tools and color process was most impressive.
