User Story on Firefly Cinema Digital Dailies Coloring Tool

If you are looking for a reason to use color grading tools on your dailies, this user story will give you plenty. Firefly's FireDay suite of products proved a unique solution to their post and finishing workflow.

Firefly Cinema Enables On-Set to Edit Suite Color Workflow for Radu Mihaileanu's A History of Love

From CreativeCow (Paris, France--November 14, 2016) Firefly Cinema, a developer of affordable color grading and dailies processing applications, today announced that its entire suite of solutions was used on Radu Mihaileanu's latest feature film, A History of Love, to manage the digital cinema color workflow, from on-set dailies through to the finishing suite, ensuring a consistent color process throughout the production and post production of the movie. The History of Love (L'Histoire de l'Amour), which opened in French theaters on November 9th 2016, is an internationally co-produced romantic drama film directed by Radu Mihaileanu (The Concert), starring Derek Jacobi (The King's Speech), Gemma Arterton (The Prince of Persia), Elliott Gould (Ocean's Eleven), and Sophie Nelisse (The Book Thief). Based on the 2005 novel of the same name by Nicole Krauss, the story follows a Polish Jewish immigrant who has long been nursing the pain of losing the great love his life, Alma, after her family emigrated to the United States during World War II. Throughout the production of the movie, a system running Firefly's FireDay digital dailies coloring tool was set-up close to the camera to provide a live grading preview on a reference monitor in the video village. Director of Photography (DP), Laurent Dailland, explains: "The fact that FireFly Cinema offers a complete suite of products is very unique. It ensured that decisions we made on set about the look were carried all the way through the post and finishing processes. Just a few years ago, there wasn’t really a great solution for an end-to-end color workflow. But now, it’s really unacceptable to start a film project without having one in place. It’s the only way for both the DP and the director to be sure that the creative decisions they make on set are faithfully carried through to the final film.”...[continue reading]