The film owes its dark and mysterious atmosphere – both visually and sonically – to a full slate of Technicolor services.
Technicolor created the visual and sonic mood for director Tate Taylor’s much-anticipated new film, The Girl on the Train, a mystery thriller based on the hit novel by Paula Hawkins. Shot in New York City and capturing a chilly, rain-slicked fall season, the film relied on Technicolor to evoke the dark and mysterious atmosphere of the story.
First step: negatives were processed at FotoKem before being rushed by the dailies team to Technicolor Postworks New York. As the dailies were produced, Senior Supervising Digital Colorist Michael Hatzer worked side-by-side with colorist John Vladic. Hatzer then worked closely with cinematographer Charlotte Bruus Christensen to deliver all of the DI, SDR, and home HDR color grades that would keep the mood of the film consistent wherever it was playing. Timely support from the Technicolor Marketing Services team enabled Hatzer to also oversee color grading on the exciting trailers for the film.
On the sound front, Technicolor Re-recording Mixers Scott Millan and Gregg Rudloff were called upon by Mark Graziano, head of post-production at Amblin Entertainment / DreamWorks, to fly from LA to NYC for the project. Rudloff and Millan utilized two separate sound stages for dialogue and sound effects pre-dubbing. Upon finishing the pre-dubbing and final mix, they returned to LA for playback sessions at the Technicolor at Paramount sound facility.
At this stage, in order to meet deadlines, Millan and Rudloff remained in LA rather than return to New York. Stage tech Drew Webster and Technicolor’s engineering crew re-engineered Mixing Stage #1 to handle the console automation, source media, outboard gear, and Pro Tools plug-ins needed to complete the film remotely.
Watch the thrilling trailer for The Girl on the Train below.