Post Logic Studios has hired well-respected colorist Frank Roman for its Hollywood-based DI team and vastly expanded motion picture services pipeline and infrastruture. Romans career includes a stint at pioneering DI facility Cinesite; he joins Post Logic from Laser Pacific Media Corp.
Roman recently collaborated with legendary cinematographer Vilmos Zsigmond, ASC, on the 4K digital intermediate for the upcoming feature, THE BLACK DAHLIA. Roman also worked with cinematographer Shane Hurlbut on the digital intermediates for SOMETHING NEW and INTO THE BLUE.
We are delighted to have someone of Franks caliber and experience join our team of colorists. His keen eye, along with his personality and longstanding relationships with cinematographers, will be an invaluable asset to our institutional knowledge of DI, as well as our companys culture, said Steve Hendricks, president of Post Logic.
Observed Roman: "I'm happy to be part of a team that truly understands both the science and the art of DI. Post Logic has built an incredible environment to support filmmakers, and I'm excited to watch the company develop what will certainly become the most technically and creatively fulfilling DI infrastructure in the industry."
Among Romans other digital intermediate credits are such features as HARSH TIMES, PLANET OF THE APES, JOSIE AND THE PUSSYCATS, THE WOODS, SHADE, PAPARAZZI, BLOW and CROSS BRONX, winner of a cinematography award at the 2004 Tribeca Film Festival. In addition to cinematographers Zsigmond and Hurlbut, he has worked with Steve Mason, Philippe Rousselot, Matthew Libatique, John Leonetti, Anthony Richmond, Daryn Okada, Ellen Kuras and Theo van de Sande.
In addition to his extensive DI credits, Roman is a talented and respected colorist with long form, restoration and feature mastering credits to his name. He provided the digital restoration for the classic film, TO KILL A MOCKINGBIRD, winner of 10 Academy Awards, including Best Cinematography, as well as the restoration of TO BE ALIVE! winner of the 1964 Oscar for Best Documentary. His feature mastering credits include REQUIEM FOR A DREAM, DYSFUNKTIONAL FAMILY, REVERSAL OF FORTUNE, TRUTH OR DARE, UNDER FIRE and WEST SIDE STORY, among many others.
Over the past six months Post Logic has strategically invested several million dollars to build a high performance digital intermediate pipeline, implementing Spirt 4K and Northlight film scanners, Arrilaser film recorders, Barco 2K film projector and Bright Systems storage area network (SAN) capable of handling the data-intensive workflow of multiple 4K DI projects. During this time, Post Logic has created a top tier facility and added talented colorists to its team. Roman joins DI colorists Lou Levinson, Sheri Eisenberg and Mike Cosola on the Post Logic talent roster.
Post Logic Studios (www.postlogic.com) has distinguished itself as a leader in digital intermediate and feature film restoration, and continues to expand into new and emerging arenas within the post-production realm. The company provides unmatched digital intermediate, digital mastering, editorial assembly, restoration, visual effects and audio post-production services to feature film, television and commercial clients from its flagship Hollywood facility and Manhattan-based satellite, Post Logic Studios N.Y.
Bill Desowitz, former editor of VFXWorld, is currently the Crafts Editor of IndieWire.
