Encore & Paul Westerbeck gets results with Nucoda Encore and Paul Westerbeck Get Results with Nucoda Film MasterTop Post Facility with A-List Shows and Talent Incorporate Masterful Tools
Paul Westerbeck joined a roster of colorists at Encore, a Hollywood-based post production company, in early 2011. After deciding on the best approach for the high-end television projects, and input from Westerbeck, Encore purchased a Nucoda Film Master for their color grading requirements. Having previously worked with the Nucoda Film Master with other high-profile clients in other settings, he was pleased when it was incorporated into the facility.
Encore is a great facility. It doesn't get any better, Westerbeck noted. They want to make sure every project gets done in the best way. The Nucoda had become my preferred system, and it was wonderful that they put one in place for my shows.
The Nucoda was more than just a creative choice; there were strong operational motivations as well. It is one of the most productive boxes that we have, said Westerbeck. It takes less support, is extremely flexible, and offers unparalleled color tools. And most importantly, my clients love it.
Encore has a thriving television business, with dozens of pilots and an enviable list of top broadcast and cable projects. Encore's current credits include Hawaii Five-O, Person of Interest, Fringe, Glee, Revolution, NCIS, CSI and CSI NY, Justified, and dozens more. One of the most recognized and revered television post facilities in the business, Encore brings talent and technology together for the most demanding customers in Hollywood.
For CSI, shot by Christian Sebaldt, ASC and Crescenzo Notarile, ASC, dailies come directly from set. When the final grade is underway, Westerbeck is consistently impressed with the capabilities of the Nucoda Film Master. The project utilizes the ASC CDL to set values. So, we begin with some basic information from the set. When we are in the grading stage, it is so helpful that the Nucoda has multiple tracks that we can jump between from the raw footage, the CDL footage, and the dailies. I can easily move between my options, grab things from every timeline, and do exactly what the clients want. It's an incredibly flexible and powerful platform from which to operate.
CSI: Crime Scene Investigation producer Kim M. Cybulski commented, Working with Paul has been great. Frankly, after 10 seasons, Im not sure we could do it without him. The creative expertise he brings to color grading is exceptional, but the Nucoda makes the process that much easier; it boosts his game so to speak. The wide variety of tools in Nucoda has been an amazing help. They support the creative vision of CSI. We can do things with this system that we had to run to other boxes for in the past. It has definitely saved my sanity on more than one occasion.
Flexibility, power, and simplicity are not the only reasons Westerbeck likes working on the Nucoda. The DVO image processing toolset is simply the best in the business. With the increase of shows shot on the ARRI Alexa and RED cameras, the DVO Clarity grain reduction tools are indispensable.
Westerbeck believes that what goes on in the background at Digital Vision is crucial. Digital Vision takes input from their clients very seriously. The talented team of developers also has access to experienced colorists for feedback and advice, and that means their support includes experts who really understand what I need. The emphasis on colorists designing for colorists is clear in these products, and that makes them, frankly, superior.
This season, Westerbeck is at work on CSI and Nikita. We looked at every system out there, he said. One was too complicated, another was too slow, and another didn't support plug-ins. The Nucoda combines the speed, tools and power in a way the others can't. It always helps me to help my customers bring their stories to life.
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