Technicolor seamlessly moved production dailies across three different locations before completing final color grading, VFX, and marketing services for Logan.
When Hugh Jackman agreed to star in Logan, his ninth incarnation of the Wolverine character, he had a vision for the storyline that was inspired by his three favorite movies: Shane (1953), Unforgiven (1992), and The Wrestler (2008). Coincidentally, Technicolor had worked on all three productions and is now coming full circle to collaborate with director James Mangold and cinematographer John Mathieson, BSC, on the latest Wolverine installment.
Principal photography kicked off in New Orleans where the first of two Technicolor Dailies Manager (TDM) systems was installed, according to Mike Most, VP of On-location Services (OLS). As production wrapped in New Orleans, there was a tight turnaround to resume shooting in the next locations, Albuquerque and Santa Fe, NM. To keep things moving faster, The Technicolor OLS team already had a second TDM system set-up prior to the production unit’s arrival. From New Mexico, the production then traveled to Los Angeles to complete principal photography.
Technicolor’s work did not end there: the film’s final color grading was done by Skip Kimball at Technicolor’s Tribeca West facility, with the team of conform editor Carrie Oliver, producer Marisa Clayton, and director of feature sales Sheryl Goodhead. Supervised by Doug Spilatro, Tricia Pifer, and effect’s producer Marie Rheinschild-Jordan, Technicolor’s in-house visual effects team produced multiple VFX shots for the film.
Technicolor delivered multiple formats for Logan, including SDR, IMAX, and Dolby theatrical releases, and SDR/HDR home video. Technicolor’s Marketing Services group was also instrumental, producing final color and editorial conform for the film’s highly-anticipated theatrical and broadcast trailers.
With its apocalyptic look and feel, watch the official trailer for Logan.