Post-production is where The Chalk shines brightest. Since our start in 2011 we've contributed to 10 independent feature films, countless short films, TV shows, and advertisements. Many Post houses start at the lowest point of entry with After Effects and Cinema 4D powering their VFX offering; our pipeline is build around The Foundry's Nuke compositing and conform software. Nuke was described by the Academy of Motion Pictures as ‘the backbone of compositing and image processing pipelines across the motion picture industry.'
The Chalk's post-production services include editing and color correction, and light sound work. What sets us apart from the crowd is our expert visual effects knowledge.
Modern Audience expect to see (and not notice) quality VFX and SFX in feature films, commercials, music videos, shot films. . . essentially everything.
Our compositing is top notch, the best in town. The Chalk has contributed over 1000 shots to indie feature films; most of which are 'invisible'. Compositing is often thought of removing a green screen and replacing that area with a background. While this is true, the craft some compositing is much more than that. Think of it like Photoshop on video. The bulk of our work is actually removing unwanted objects and people from shots. We also do set extensions, day for night, dry for wet, shot enhancements like adding volumetric effects (light and fog), integrating CGI renders in to live action cinematography, sky replacements, screen inserts/replacement, and camera stabilization to name a few common applications. One other big compositing task deserves a section of its own. . . .
We want your talent to look their best and to look real; we frown on applying a global blur to smooth out imperfections. Our work is much more nuanced than that. One of the most popular and least talked about compositing applications is Digital Makeup. Some of the most common tasks we perform are blemish removals, lighting under the eyes, and highlight reduction. We've also done things like reshaping lips, widening eyes, straitening teeth, removing seams of prosthetic applications, extending prosthetic etc.
Digital Matte Painting
DMP goes hand in hand with composting. The tradition of matte painting dates back to the beginning motion pictures. We've created entire digital environments around characters, mixing 2D and 3D assets as well as done smaller set extensions. In addition to using photographs we use the powerful Vue and SpeedTree software to create any element of nature you can think of. We are capable of animating 2D matte paintings as well as breaking them apart for the 2.5D projection applications that has become a staple of set extension work.
Camera tracking or match-moving is an essential technique used to make digital copies of the production camera. This data is used to photograph CGI elements with the same camera used in the live action photography.
One thing you'll find here is a the ability to create custom effects from simulated 3D software. Our 3D modeling packages include Houdini, Modo, and Vue, and each has the ability to simulate FX. Houdini is our go to app for this work; it's a little complicated and there's lots of terminology, but to sum it up we can do just about anything you can imagine or describe. Explosions, Fire, Water, Glass/Stone/Wood Breaking, Cloth, Paper, Blobs, Dust, Clouds, Smoke. . . Contact use for more information and a free consultation. Get the conversation started by emailing The Chalk vfx Character Animation
This isn't one of the task we excel at like compositing; however, it's worth noting that we are capable of rigging and animating models. Currently our experience in this area is limited; but we're always learning and expanding our skill set.
Thomas, the principle artist at The Chalk, has been compositing for 12 years. He's a certified to train Nuke artists
. Thomas also teaches post-production classes at The Colorado Film School.
Fix It In Post
At the chalk we do 'fix thing in post'. Over
the year's we've done 100s of shots that required the removal of
unwanted things in the images. We're not taking about the mic dipping
in, we removed whole cars, people, cables, crews, reflections,
equipment. . . the kind of things your editor said you can't fix.