RIF///RAF is providing post and finishing services for an ambitious VR project produced by Northern Xposure and Ba Empire.
Pedro, Ulysses and Jon color graded and helped finish VR and 2D content for a series of documentary videos produced by Hover Pictures.
Pedro collaborated with East Coast Digital and had the pleasure to color grade the commercial for the new M. Butterfly revival, directed by Julie Taymor.
Ulysses, Maba and Pedro are color correcting and finishing branded content produced by our good friends at Good Engine Media throughout the month of February. Look out for them on the Sundance Channel and corresponding social media.
Director Ben Cox’s first feature film is premiering early February at the Santa Barbara International Film Festival. Color correction by Pedro J. Padilla and finishing services by the team at RIF///RAF.
Produced by our good friends at Good Engine Media, we managed and delivered a 4K commercial for the first time. Some things were identical to a 1080p workflow and other things, like specific bitrate and compression algorithms, were more experimental. Pedro color corrected and supervised the finishing process, while Ulysses assisted in all technical aspects.
Premiering on ESPN Tuesday September 29th at 9PM EST, Pedro provided the color correction for this 1-hour documentary about the late Alabama and Kansas City Chief star linebacker.
Pedro J. Padilla and the great online edit assistants at RIF / RAF just wrapped color correction, online edit and finishing services for the powerful new documentary Among the Believers, which premiered at the Tribeca Film Festival April 17th.
Pedro and Davis just wrapped broadcast delivery on a new documentary produced by Marvel Studios, ESPN Fims and our good friends at Live Star Entertainment. RIF/RAF handled all the color correction and online services.
Davis and Pedro have been hard at work testing workflows with the new Mac Pro to build out an improved transcoding and on-set color correction rig. The goal is to help film and commercial production companies deal with a variety of camera formats and logistics. Although the trend in the current industry is one of smaller and smaller budgets, minimizing crews and services, the need for standardized editing formats is still important, particularly for long-form projects. Providing a workflow that makes it less costly to go back to the original camera files for color correction and finishing – and doing so efficiently – will save headaches and money at the end of post.