Cedric Nicolas-Troyan points out with glee during his Storyteller Series interview with Technicolor. Nicolas-Troyan, who was nominated for an Oscar for his visual effects work on the box office hit Snow White and the Huntsman, continues the fantasy franchise with The Huntsman: Winter’s War, this time helming the project as director. His passion and enthusiasm for goblins is just one aspect of the richly detailed mythology he explores in the epic action adventure film.
The first-time director turned to veteran cinematographer Phedon Papamichael to help realize his vision. Papamichael, who recently worked with Technicolor on Alexander Payne’s Nebraska and George Clooney’s The Monuments Men, utilized Technicolor’s dailies services to meet the demands of the project while shooting on location in England. After principal photography completed, Papamichael and Nicolas-Troyan headed to Technicolor’s Los Angeles facility to work with Supervising Digital Colorist Michael Hatzer. Together they bring the fairy-tale world to life in its unique blue and gold palette.
To build anticipation for the film, Technicolor Marketing Services worked on theatrical trailers with exciting moments featuring the all-star cast, including Chris Hemsworth, Charlize Theron, Emily Blunt, and Jessica Chastain. Hear directly from the Technicolor teams, who worked on the film below while they discuss the filmmakers and the unique challenges on the project.
“I really enjoyed working for the first time with cinematographer Phedon Papamichael. I've always been a huge fan of his work and what he created in Winter’s War was truly amazing. Cedric and Phedon are true artists who are incredibly imaginative filmmakers and the worlds they created were stunning and elegant.”
“Under Michael Hatzer’s supervision, Marketing Services’ Colorist Adam Nazarenko graded all of the theatrical trailers. Keeping the color workflow consistent while still bringing a marketing pass to the content, Marketing Services was able to create an ease of workflow to both the studio and the filmmakers.”
“This project was exciting because the newly introduced, at the time, Arri Alexa 65 was used on the shoot. This meant adapting and upgrading our systems to handle debayer and playback in real time of the A65 and its big data volumes. Shooting took place around the clock, which meant we have two teams on-set. Jodie Davidson, Supervising Dailies Colourist, worked closely with DP, Phedon Papamichael, whilst supervising the second team to ensure a consistency across the grade.”
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