Hotel Transylvania, Sony Pictures Animation's monster hit comedy that already broke records at the U.S. box office, went through final color grading and stereo finishing in full 3D on Baselight. Completed at Colorworks, Sony Pictures Entertainment's digital intermediate facility, DI Colorist John Persichetti used Baselight to apply the finishing touches to the film prior to its worldwide release.
It was the second stereo 3D animated feature that Persichetti has graded on Baselight. He also graded Sony Pictures Animation's hit 2009 film Cloudy with a Chance of Meatballs, the first film finished at Colorworks. Animation, lighting, effects and stereography for Hotel Transylvania were completed by Sony Pictures Imageworks, who then delivered high-resolution image files to Colorworks via direct fibre link for colour grading and stereo finishing.
The task for Persichetti (who worked in collaboration with director Genndy Tartakovsky, visual effects supervisor Daniel Kramer and 3D stereoscopic supervisor Von Williams) was to ensure scene-to-scene consistency and to finesse details that only became apparent when the film was projected onto a big screen in Colorworks' DI theatre.
"The majority of our work involved fine adjustments," he said, "making a character appear lighter or darker relative to the background, or adjusting the color of a face."
About Hotel Transylvania
Welcome to the Hotel Transylvania, Dracula's lavish 'five-stake' resort, where monsters and their families can live it up, free to be the monsters they are without humans to bother them. On one special weekend, Dracula has invited some of the world's most famous monsters — Frankenstein and his wife, the Mummy, the Invisible Man, a family of werewolves, and more — to celebrate his daughter Mavis' 118th birthday. For Drac, catering to these infamous friends is no problem — but his world could come crashing down when a human stumbles on the hotel for the first time and befriends Mavis. Directed by Genndy Tartakovsky. Produced by Michelle Murdocca. Screenplay by Peter Baynham and Robert Smigel. Story by Todd Durham and Daniel Hageman and Kevin Hageman.