Riot Makes a Believer Out of New "X-Files" Film
Studio Handles DI for Fox Release Directed by Chris Carter
August 05, 2008 --
Post work was completed in Riot's state-of-the-art DI theater, launched last year, and, in addition to grading, the work included conforming, digital restoration, optical effects and scanning of more than 400 visual effects shots as well as the entire final conform.
"All of the work was completed in four weeks," said Riot DI Producer Devin Sterling. "Scanning and conforming the visual effects alone required a tremendous collective effort, while other artists were simultaneously busy with detailed restoration and opticals work. It was an exciting challenge to complete everything on deadline and at the level of quality expected by our client."
Fox brought the project to Riot in large part due to Smith and his long relationship with Carter, creator of The X?Files. Smith was obviously very familiar with the distinctive, moody look of the television series, which the film sought to emulate. "It was a great advantage to the film's creative team to work with someone with whom they were comfortable and had worked for many years," recalled David McKimmie, Fox's Post Production Supervisor. "It meant that a good part of the job was already done."
The majority of the film was shot on 3-perf and 4-perf 35mm film, but a few scenes were captured digitally with Panasonic P2 and Panavision Genesis cameras. The latter was used for a night scene that required a particular stylized look. Riot has experience in working with many types of digital media and its workflow is designed to accommodate mixed media. "It has become very easy for us to integrate that material," said Sterling, "and it cut very well with the film."
Among the most intricate sequences from a post standpoint was the film's mesmerizing end credit roll. "The end titles and credit roll fade into a visual effects shot which, in turn, cut back into the remaining end credit roll," explained McKimmie. "There were a lot of elements to this complex sequence and Riot was instrumental at each step- from timing the initial plates, resizing them, cross fading, final color and finessing to look like one continuous sweeping shot. They hit it on the head."