Local Hero: We evolved from solely a color house to now offering a comprehensive end-to-end suite of post services including workflow consulting, dailies, DI, VFX, mastering, trailers and edit suites. The other key way we’ve adapted is by structuring our team to be more flexible, utilizing a freelance pool, to help weather the inevitable ebbs and flows of doing business in Hollywood.
Local Hero: We are super grateful to be working on a wide range of really interesting projects spanning film, TV and documentary. Some of our favorite TV projects include working with Jean-Mac Vallee on Big Little Lies and Sharp Objects, and also working on shows like Mr. Robot. In the Film space, we recently finished Home Again for Nancy Myers, LBJ for Rob Reiner, and we’re currently working on a project for legendary cinematographer Dean Cundey, ASC. Other current projects include a feature with director/producer Tom Shadyac (Ace Ventura, Nutty Professor), and a documentary by Oscar-winner Lesley Chilcott (An Inconvenient Truth).
Local Hero: Indeed, we are. We’ve done some fascinating VR projects including Invisible — the first-ever narrative project by an A-list director (Doug Liman) with a real Hollywood budget. We’ve also finished some groundbreaking VR work with companies including Intel, Google and Warner Bros.
Local Hero: At the heart of our facility are two Silverdraft Demon Ultra-workstations. These systems power our DI (DaVinci Resolve), VFX (Adobe After Effects) and VR (ASSIMILATE SCRATCH VR) workflows. We rely heavily on plug-ins like Boris FX Sapphire, Neat Video and Beauty Box. Our dailies pipeline is SCRATCH-based, coupled with YoYatta for reporting, and our deliverables are mostly created on our Clipsters.
Local Hero: We’re starting to see a lot more non-linear content, and we’re working on projects for less traditional clients such as Facebook, YouTube and Apple. We’re also starting to see clients experimenting with 8K and HDR workflows. The shifts that we’ve seen in the business are trending towards independent features with smaller precuts (2.5MM and below) distributed in these non-traditional places. We’ve also seen many of our classic film clients migrating to the prestige TV space. And that’s opened some wonderful new opportunities for Local Hero.
Local Hero: They love the premium boutique experience. They find our facility a beautiful, comfortable and relaxing place to work. And since many of our clients live on the West side, they value the fact that we have a partnership with a sound house (Smart Post West) right next door. So, they can do picture and sound all under one roof, without constantly schlepping across town.
Local Hero: We absolutely do. We’ve been able to stay true to our roots and continue to support indie filmmakers with some amazing movies Some of our projects include Dope, shot by Oscar-nominee and Black Panther DP Rachel Morrison, ASC; The Female Brain, Whitey Cummings' directorial debut (produced by Erika Olde); and Alex of Venice, directed by Chris Messina. At any given time, we have several of these projects in-house alongside the bigger ones. We actually employ multiple pipelines to optimally serve differing budget levels.
Local Hero: Every movie now has some sort of VFX. There’s an entirely new industry around what’s called, invisible effects. These include beauty work, sky replacements, relighting scenes, rig removal, and a whole host of other effects that aren’t your classic CG effects. They are really a natural extension of the DI (some are actually done in the DI bay) and represent a significant portion of the post budget. Part of the value that we bring as a boutique is to help educate the filmmakers how integral these effects are to the story, and how many they should expect while creating their post budgets.
Founded, co-owned and operated by colorists, Local Hero has been supporting the feature film community since 2006. With over 150 feature and TV credits, Local Hero has built a loyal following of directors, DP’s, producers and post supervisors, who rely on us to help them map out their entire production chain, from what cameras to shoot, through onset services, to dailies and finally DI, finishing and delivery.