The film focuses on con man Scott Lang (Paul Rudd), who is recruited by physicist-entomologist Dr. Hank Pym (Michael Douglas) to protect the Ant-Man technology, which allows its user to shrink in size but grow in strength, from various threats, all while planning a heist that will save the world. Early reviews of the film in advance of its opening were ecstatic – receiving an A grade from CinemaScore and Rotten Tomatoes.
Photographed by Academy Award-winning cinematographer Russell Carpenter, ASC, on locations ranging from Atlanta to San Francisco, Technicolor provided an array of post-production services for the film, including digital color-finishing, editorial, visual effects and marketing services. The help of Technicolor’s Hollywood-based finishing team, led by supervising finishing artist Steve Scott, in collaboration with finishing artist Charles Bunnag, senior colorist assist Juan Flores, and color assists Kevin Razo and Ronnie Leidelmeijer, was enlisted for the digital color-finishing needs of the film. The in-house producing was overseen by the team’s senior producer Mike Dillon and DI assistant producers Brandie Konopasek and Laura Holeman. Carpenter shared with American Cinematographer Magazine his great regard for Steve Scott: “I love working with Steve because our approach is all about telling a story, and it runs as much artistic as technical.”
The DI editorial duties were handled by senior editor Bob Schneider and editor Carrie Oliver, working with production editor Dan Lebental, ACE. VFX senior artist Eroc Moralls and VFX artists Casey Allen and Chris Howard provided work on a total of 118 shots, while the visual effects producing was handled by executive producer Tricia Pifer and producer Marie Rheinschild-Jordan.
Technicolor Marketing Services handled the finishing for the trailers on Ant-Man. Bill Cole, VP of Marketing Services, was excited to introduce a new rising star into the talent pool for this project, assigning finishing artist Adam Nazarenko to handle the digital intermediate on the trailers finished for the film. With Adam’s ability to take instruction from supervising finishing artist Steve Scott, the trailers were able to maintain the film’s consistent color palate and mimic the feature workflow, leading to an efficient and seamless transition from feature to marketing.