Correcting Shots - The Art and Technique of Digital Color Correction - page 268

Fig. 7.7 Secondary room data for the outside of the vignette.
Chasing Ghosts
The footage of Sony Picture's Chasing Ghosts is provided courtesy of Wingman Produc-
tions, Inc., and the director of the feature, Kyle Jackson.
The story behind the movie is an interesting one. When Jackson and his producing
partner, Alan Pao were looking for a company to do the DI (digital intermediate), they
couldn't find anyone who would work within their deadline and budget of $125,000. So
they hooked up with the DR Group in Hollywood (who coincidentally helped with equip-
ment for this topic) and they learned about a ledgling company that was doing color
correction for DI on a Mac G5.
Chasing Ghosts became the first feature film to use FinalTouch2K, and when it was
done and word got out about the DI for the movie, many other indie producers wanted
them to do the DI for their films as well. That's when the producing/directing team
decided to open a post house and start doing DIs based on their workflow for Chasing
Ghosts. That company is called Tunnel Post, and they've parlayed their knowledge into a
steady stream of work that includes features like Machine Gun Preacher, Seven Days in
Utopia, and even work on X-Men Origins: Wolverine and The Day the Earth Stood Still.
They've also branched out into TV work, including Body of Proof, The Big C, and CSI: NY.
According to Jackson, “The workflow hasn't changed a lot. On Chasing Ghosts, we
scanned in—at an outside facility; though, since then we bought our own scanner—at
2K and then use Final Cut Film List. We wrote a simple Excel macro to translate those