House of Cards has been a game changer for Netflix. The political drama based on a UK mini-series (and novel) of the same name was Netflixs first foray into original programming -- and Executive Producer David Fincher is definitely an original. Also original: Netflixs decision to release all 13 of a seasons episodes at once, ideal for the binge-viewing habits of Netflix subscribers. Season One, released in early 2013, was a major critical success. Nine Emmy nominations followed, including craft nominations for cinematography and editing, with Fincher winning the first Emmy for web-only episode of television, as the director of the episode Chapter 1. Season Two was released in early 2014, and brought some changes. Igor Martinovic was brought on as the director of photography, and for the first time, 4K and Ultra HD were among the deliverables from post-production and VFX company Encore, a Deluxe Entertainment Services company. Another change was new Lead Colorist Laura Jans-Fazio, who worked on a Baselight TWO system at Encores Hollywood location. The series was shot in 5K on RED EPIC and Dragon cameras, and in some cases, in REDs high dynamic range (HDR) mode. Native camera RAW files came to Encore for the edit and grade. Workflow management was paramount; there was the massive amount of data from thirteen episodes worth of 5K footage. We spoke to Laura about all of this and more, including her start as a colorist, and where she sees things going from here.
Posted on: Mon, 15 Sep 2014 22:10:20 +0000
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