Online Edit/Conform, 2D VFX/Cleanup, Titles & Main Title Design
(2009-2010)
After establishing a rapport with executive producer Danny Cannon on his shows "The Forgotten," "Past Life," and "Miami Medical," Derek took on two seasons of Dark Blue for Cannon. The show was a critical success and one of the best looking shows on television at the time thanks to visionary DP Eagle Egilsson, who won an ASC Award in 2009 for his work on the show.
"Dark Blue had a number of visual effect challenges - some of the locations featured beautiful artwork which we had to either remove or replace digitally for legal reasons. The first season was shot with the Panavision Genesis camera, which produced weird-looking lense flares - we spent a lot of time removing those, especially off of faces."
Derek produced the textured, subtly animated main title at Cannon's direction. Originally intended as a temp piece just for the pilot, it was used for the entire series.
"We mocked it up, set up the 'growing letters' look, textured it, got the timing just right and had it rendered and out to tape in about two hours - all without leaving the finishing bay."
Working with post production supervisor Kari Hobson, Derek updated the show's workflow in it's second season.
"We dumped the old linear titling process and tightened things up with the new titling workflow I had introduced for "House." It's faster, cheaper, and makes it easy to accommodate last-minute changes. I think Kari was skeptical at first, but after our first new titling session was over in about 15 minutes, she was convinced!"
(2009-2010)
After establishing a rapport with executive producer Danny Cannon on his shows "The Forgotten," "Past Life," and "Miami Medical," Derek took on two seasons of Dark Blue for Cannon. The show was a critical success and one of the best looking shows on television at the time thanks to visionary DP Eagle Egilsson, who won an ASC Award in 2009 for his work on the show.
"Dark Blue had a number of visual effect challenges - some of the locations featured beautiful artwork which we had to either remove or replace digitally for legal reasons. The first season was shot with the Panavision Genesis camera, which produced weird-looking lense flares - we spent a lot of time removing those, especially off of faces."
Derek produced the textured, subtly animated main title at Cannon's direction. Originally intended as a temp piece just for the pilot, it was used for the entire series.
"We mocked it up, set up the 'growing letters' look, textured it, got the timing just right and had it rendered and out to tape in about two hours - all without leaving the finishing bay."
Working with post production supervisor Kari Hobson, Derek updated the show's workflow in it's second season.
"We dumped the old linear titling process and tightened things up with the new titling workflow I had introduced for "House." It's faster, cheaper, and makes it easy to accommodate last-minute changes. I think Kari was skeptical at first, but after our first new titling session was over in about 15 minutes, she was convinced!"