First-time Film Producer John Hennigan (AKA John Morrison & Johnny Nitro from the WWE) had a fun and entertaining film but needed help navigating the daunting process of finishing & delivering “Boone” the film and its trailer for his distributor.
Cost effectively navigating the post workflows for finishing and delivery process is one thing ROUSH is very good at. Their years of experience knowing where to place time and resources saves money and prevents any issues that could arise later. Doing it right the first time is the only way to achieve a successful delivery that will pass the most stringent QC.
ROUSH Media helped with editing, graphics, conform, color grade, and creating all masters and deliverables including: QC, Closed Captions, CCSL, DCP, QuickTimes, Blu-rays, DVD’s, etc…. And even helped connect him to our music partner sensory-overload.com for his trailer music needs.
“Let us help you achieve your goals. We are more than a post house we are a post partner. Our clients become our friends and your success is ours – Keith Roush, Sr. Colorist ROUSH-Media
Congratulations to our friends at BRANNON Pictures for the release of “CHAMPION The Movie”
In Theaters May 19!
“Keith Roush and his team were a delight to work with on Champion. I can not say enough kind words about Keith’s ability with color grading and his professional and servant-hearted attitude. Roush delivered a very cinematic and rich color pallet for Champion, all while working within the constraints of our budget. I look forward to working with them on future projects!”
– JUDD BRANNON Producer Director CHAMPION
JUDD BRANNON Keith Roush Producer Director CHAMPION Sr. Colorist ROUSH-Media
“Judd brought his film to ROUSH Media with a strong vision and a clear expectation, for us to put our color and finishing experience into this heartfelt story. So many people had given so much to get this story this far, we were very happy to be a part of the team doing what we do best to help bring this feature film to the next level.
We loved helping bring an artist’s filmmaking dream come true, crafting the look, wrestling the technology details into deliverable formats, and managing all this process within budget and with a big smile. It’s why we are here.
Working with Judd was a joy and a pleasure. We hope you all will be encouraged by this film.”
“Working at Roush Media and Monkeyland Audio was a dream come true. We not only got a top notch professional look and mix for our film, but made friends as well. Keith & Schy at Roush and Trip & Michael at Monkeyland definitely went the extra mile for us. And I cannot say enough about all the technicians in the “back room.” All great. We couldn’t have been in better hands. If you are at all serious about how your film looks and sounds, make Roush and Monkeyland your destination for visual effects, color grading, audio mixing and deliverables.”
“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.
ROUSH Media is a color science and data management post-production services company which is sponsoring the 2016 168 Film Festival. This has made it possible for the 168 Film Festival to project all 50+ films from Digital Cinema Packages (DCP)! In addition, the Feature film “I’m Not Ashamed” (the inspiring true story of Rachel Joy Scott at Columbine High School) was finished at ROUSH Media by Senior Colorist Keith Roush and will have an advanced screening on 8-20-2016 at the 168 Festival.
“PureFlix has allowed the Festival to screen this inspiring film ahead of its October 21 release date for a wide audience. We are honored to support the Festival and feature as it aligns with our mission to work on films that make an impact on audiences,” says Keith Roush, CEO.
ROUSH MEDIA is an entertainment technology services company providing digital film services for feature films specializing in DI Color Grading, Mastering and Deliverables. As an award-winning DI post facility, it provides impressive color grading done right.
Roush Media has always been a respected DI color grading facility among its peers. Some of the top faith and family filmmakers trust ROUSH Media to craft stunning results the first time. (God’s Not Dead, War Room, Moms’ Night Out, Beyond the Mask, Old Fashioned, Faith Of Our Fathers, I’m Not Ashamed…) Proud sponsor of the 168 Film Project ROUSH Media will be continuing the tradition of awarding three $1,000 gift certificates to the Best Editor, Cinematographer and Film. The certificates will cover Post-Production services including Dailies, Conform, DI Color Grading, Digital Cinema Mastering, and Screening Room Rentals, and more.
The 168 Film Project is a faith friendly, values-friendly practicum for artists focused on the media. 168 provides a proving ground for filmmakers, writers, actors and all interested in creating stories for popular culture.
More than an international short film competition, “168” asks deep questions. Whether subtle, or bold in message, “168” stories change lives and help to redefine the genre in terms of quality and inspirational message.
Please understand that taking story from scripture does not mean you must make the next Jesus movie. It’s all about having a certain message and delivering it to your audience. To do well in 168, artists must make compelling entertainment. Pop culture needn’t be at odds with faith-based, faith-friendly or values entertainment. We value all three.
At ROUSH Media we are proud to support the vision of Christian Filmmakers.
ROUSH Media’s creative and technical teams provided the complete finishing and mastering for this fun animated feature in record speed. This included Conform, DI Color grading, and Digital Cinema Mastering for the theatrical and home video versions.
This project was a global collaboration and was on a very tight deadline. New versions of the edit and new shots were delivered electronically from overseas via Aspera transfers while the color and conform session was taking place. Turnaround time for new conforms and DCP masters occurred within hours, not days.
Doing the DI color grade on a theatrical animated feature at the highest levels and delivering across different color spaces while maintaining the creative intent is a unique challenge. Unlike live action films, animation has everything from the rich saturated colors to whites of the snow. These image characteristics must be properly dealt with. ROUSH Media has the expertise and infrastructure needed to handle such a task.
Tim Archer, the Post Supervisor, said “Keith and his team went above and beyond on the color and final delivery for Norm. He has empowered his team to make the creative and technical process very smooth. They all cared about our project and went out of the way to deliver.”
They delivered for us and they’ll deliver for you!
Roush’s dedicated team of Post Professionals handled Norm of the North’s challenging workflow, schedule and budget with a smile. They delivered for us and they’ll deliver for you. I’ll be posting more projects there in the near future.
Way to go Keith and team!
TIM ARCHER Post-Production Supervisor
Norm of the North
“I’m glad we were able to help our friends from Splash Entertainment and Lionsgate with an impressive color grade, done right,” said Keith Roush.
2015 HPA Awards Nominee, Outstanding Color Grading – Feature Film
The color of Lady of Csejte is a beautiful period thriller with a modern uneasy edginess that just lurks behind the surface. Inspired from Rembrandt’s paintings, Keith Roush – Colorist uses a soft pallet of Renaissance-like colors to match the feel of the story of Lady of Csejte.
Using every brush in the Nucoda’s tool box, Keith Roush used colors like notes in a visual score. The director’s creative team allowed Keith unprecedented freedom to create the look you see on screen.
The Color Workflow:
Using the 12bit log-c source, we graded on a Barco DP4K projector in P3. To maintain highest image fidelity, a 16bit DCDM was made from the 12bit LOG source.
In the image above, the look created reflects the dark and cold world the story takes place in. Only the red blood, light skin and fire are allowed through. Shaping your focus and creating the mood is the use of shadow.
An example of interior candle and natural light scenes captured the intended look of a Rembrandt painting.
In the DI, the colorist set the look and warmed up the highlights and mid-tones, fire and other selective areas, adding glow to candles, enhanced shadows and pools of light while preserving dynamic range. Using subtle shaping of warm vs cool color temperature and adding light, your eye is drawn to the shots focus.
ROUSH Media recently had the pleasure to complete the 4K Digital Intermediate & Mastering on the new feature film that is taking the world by storm War Room. It has now reached 67+ million at the box office. Pushing Straight Outta Compton out of its top spot on its 2nd weekend bringing it to #1 at the box office.
It all started when Director, Alex Kendrick and his team sent to Keith Roush A screener of the film & then discussed the look. War Room was one of Keith Roush’s favorite films to color grade.” It is such beautifully emotional impacting story, the images need to match the the story. Alex wanted a warm lush beautiful look with rich skin tones.” Shot on the RED Epic ROUSH’s team conformed the film in it native 4 or 5K on our Nucoda System and processed the RAW images with Roush’s proprietary Debayer and Color pipeline.
Alex Kendrick had a certain vision that he wanted to get across to his viewers. The vision that he had was a very warm summer luscious feel. He wanted the look of the film to match the emotional arks of the story that he was trying to present his viewers.
Keith felt personally connected to the story and wanted to make sure the audience would experience the story visually as well. From warm lush greens, to rich and creamy dark skin, to turning the brown trees into green ones or taking cloudy gray to sky baby blue. This is what we call digital intermediate color grading.
War Room was such a pleasure for Keith to color grade because it allowed him to use his artistic talent to impact viewers on such a great film. He felt like he was painting in colors that were not there and making a raw image turn into something wonderful and amazing.
If you still haven’t seen the film now is the time to go. You definitely will not regret it.
For more information and to get a more detailed description on the work flow of War Room please go to:
Roush Media recently completed the 4K Digital intermediate color grade on the feature film Faith of our Fathers. Shot on Red and color graded with our Nucoda Film Master, Faith of Our Fathers tells the story of two men setting off on a journey to learn more about their fathers. The film stars Kevin Downes, David A.R. White, Stephen Baldwin, Candace Cameron Bure & Si Robertson.
As a finishing and mastering post production facility located in Burbank, CA, Roush Media specializes in 4K digital intermediate color grading, and DCI mastering but also provides many other post services. Roush Media’s Senior Colorist, Keith Roush, has over 10 years of experience color grading feature films, shorts, commercials and more. Roush Media chose to conform and grade the original R3D files in the Nucoda from a Final Cut Pro 7 edit. For the film’s visual effects shots Roush provided the VFX artist with a custom LUT and LOG pre-graded DPX VFX plates. Roush Media decides with the filmmaker what the best workflow will be for every project they finish, whether it is conforming the original R3D material like Faith of our Fathers or coloring from a Client conformed DPX log master.
Sr. Colorist Keith Roush in our 4K DCI Theaer.
Setting the look for Faith of our Fathers was a collaborative process for both Senior Colorist Keith Roush and Producer Kevin Downes. The film is set in two different time periods-during the Vietnam War and the present day. “Having two different time periods created a fun and interesting time in the DI Theater for Kevin and me,” says Roush. “We wanted the film to feel organic in nature and decipher the difference between time periods. That’s why we created a cold, gritty, reversal film look with the Vietnam War scenes and kept the present day naturally colorful and warm. One of the most dynamic looks we had to tackle was the film look for the Vietnam War flashback scenes. We took footage shot with the modern day digital Red camera and created an organic look that gave the footage the color and texture of an older film stock without making the footage look over-processed. Of course you can go with a bleach bypass look for a war scene but for this film that was not the intention,” says Roush. Keith developed a look with less sharpness, less natural color & less image detail to take the edge off the digital characteristic of today’s camera technology. “The idea behind this process was to make the footage look identical to what you would get with an older film stock,” Keith said. Using the Nucoda DI system’s blend modes Keith added film grain to give the footage the right texture. He wanted the look to aid the audience to feel the grittiness and emotional impact of the Vietnam War scenes.
Aside from creating the desired look, Keith had to overcome a different obstacle by mixing day-for-night with true night in some of the war scenes. He described the color session like this: “It was time to take on the next war scene. I was grading the first shot of the scene until Kevin stopped me. Then he told me that the scene we were on is intended to be night. When you’re coloring day for night it can get tricky especially when some scenes in the program are already shot for night. I placed my hand on the panels and went to town setting the look for the night scenes. I then went back to the day for night scenes and started to match the shots by adjusting color, creating shapes and using the Nucoda’s blend modes.” Once these nighttime war scenes were completed Producer Kevin Downes sat down in the theater to watch the final colored picture: “The film really felt like a much bigger budget theatrical film than it is. The DI color work really increased the production value.”
Color grading is a big part in finishing a film. You may not realize it until you experience what a good colorist does, but once you come into a color session and start working with the images by enhancing the color and creating looks you realize that it’s a whole other process of bringing your story to life on the big screen. The way you can use colors to tell a story is quite amazing and adds a lot of production value. Roush Media prides itself on their DI Color work while giving a post boutique experience for the filmmaker. Keith says, “The finished product is always a creative and collaborative process between us and the Director, DP, and Producer.” Roush Media likes to use their talent and technology to vividly bring stories to life with color. Providing an impressive color grade while do the post work right the first time is what we do best.
Roush Media is a boutique post-production company providing finishing services for Film, TV, and Commercials-catering to the needs of the smaller production company. Among the services offered are finishing & editing, DI color grading , D-cinema Mastering, file conversions & transfers, deliverables, mastering & more.
