AlphaDogs Finds Love with Bigfoot
Burbank, CA -- Zombie bigfoots have taken over AlphaDogs in the comedic/horror film Love In The Time Of Monsters. Directed by Matt Jackson., this outrageous tale of love follows two sisters as they travel to a cheesy tourist trap and battle toxic monsters dressed in bigfoot costumes to save the ones they love. While violent and scary at times, the premise of the story is about sacrifice, courage, and forgiveness.
When it came down to finding a post-production facility that could be trusted to deliver the vision the filmmakers had in mind, Post Supervisor Katrina Reiniers-Jackson looked no further than AlphaDogs. “I had a previous experience with AlphaDogs, and from that I trusted that they would do a great job with our movie,” said Reiners-Jackson.” An ample amount of preparation was given to the project before the post-process was started. AlphaDogs colorist Sean Stack who was in charge of color grading on the film comments, “Thanks to Katrina and Matt the project arrived well-organized and ready to start color grading.” Detailed documents with screen grabs were provided along with a description of the look the filmmakers wanted to achieve. This gave Stack the opportunity to get a head start on color grading some of the targeted setups before the color session with Director Jackson. “I really liked the fact that they had taken time to prepare for a color session in this way,” said Stack. “When we were ready to set the looks on the first day of color grading, the session went very smoothly and I was able to move forward quickly in grading the film in its’ entirety.”
Color played a vital role in telling the suspenseful, yet humorous story of zombie bigfoots traipsing through the dark woods of Northern California. The color choices used in a film are important for both the plot and subtext of the story. Skillful selection of color palettes were used in Love In The Time Of Monsters to set the mood with cooler darker tones creating a feeling of suspense and fear, and bright pink and yellow shades bringing out the comedic side of the story. Stack’s “eye for color” and proficiency with the most subtle details brought out the ambiances in the film with even the most difficult scenes. Stack comments, “The humorous and scary plot had several scenes that were shot in a forest in the evening, so footage was dark to begin with. My challenge with these scenes was to lift the dark areas up so the detail could be seen, yet avoid making the footage grainy as a result of pushing the shadows too far. The 4444 ProRes media had enough extra color information so that the subtle shadows were available to be enhanced just enough so we could see what was going on, yet it still looked like late night in the woods.”
Editor on Love In The Time Of Monsters Todd Zelin, prepared for the final online by organizing the ProRes4444 timeline sequence before delivery to color. Stack then broke the film into six parts scaling down the full duration of the film into 20-minute segments. This allowed the files to open quickly, with better performance in the color application. “Our setup at AlphaDogs for this workflow is top-notch and the results are consistently fantastic,” said Stack. Near the end of the color grading process, sixty-five visual effects shots were delivered that Stack then edited into a separate sequence carefully matching all the clips with color looks that were already set for the picture earlier during the color grading process. Stack comments, “Often, clips that go through After Effects to create visual effects return with gamma shifts in the color. Those need to be corrected in the final sequence so they match similar scenes that had no effects.”