Until now, the vast majority of feature films produced in Europe have been content with the 2K standard. We will soon offer you a complete file on digital postproduction, around Bye Bye BlondieThe work done here is a great step forward in the search for perfection, without going into technical details. Concretely, this requirement implies that each 4K image is 10 million pixels and weighs 40 Mb, against 3 million “only” for images scanned in 2K. As a result, we can now translate all the nuances of classic film. With the immense advantage that it is then possible to rework each image by computer, with surgical precision.
It makes sense that Abel and Gordon, who some people think of as old-fashioned craftsmen, took this gamble.
“In our films, there are always a lot of wide shots,” explains Fiona Gordon. “In these shots, it is very difficult to distinguish all the characters. We don’t have, like Tati, access to 70mm. So we look for every possible way to make sure our characters who are far away are well cut and sharp. 4K was one of the ways to remedy that problem.”
It also allows us to play with the colors even more precisely during the color grading phase,” says Dominique Abel. If we had opted for a chemical calibration (ed. Like Bouli Lanners with Les Géants), we could never have achieved this result. We made a big mix of various techniques for this film. Little by little, we discover the world of digital postproduction and it’s quite fascinating. Fortunately, we were perfectly guided. Maybe one day we will go full digital. In fact, we already tried it this time, but we gave up because the shot didn’t take enough of the highlights, the big differences in contrast. As we both love the sea passionately, it is not easy to work in full digital in these conditions. So we cut the cake in two: filming on film and digital post-production. Next time, maybe…”
Supported by the Twist Cluster, Dame Blanche Genval is present with other Walloon audiovisual companies in Cannes. As La Fée has been very positively received by the public and professionals, it goes without saying that the Brabant company should take advantage of this to establish its young reputation and convince many artists to call upon them.
It’s a great source of pride,” confirms Paul Englebert, the friendly digital cowboy who just broke a few ribs in a painful motorcycle accident (get well soon, Paul!). “Managing a 4K post production involves very restrictive logistics due to the weight of the images, and many have broken their teeth. Our test shot went magnificently well, and this Fortnight opening crowns a flawless workflow.”
And as the Fairy has bent over the cradle of the visual sector of Dame Blanche Genval, the future of this daring company is now placed under the best auspices.