Arcade Fires Film Afterlife
For Arcade Fires new release the Montreal band commissioned "Afterlife," a film directed by Emily Kai Bock and produced by The Creators Project (a partnership between Intel and VICE). The film is a captivating seven-minute plus journey through nightmares, lost lovers, and familial bonds and has been touted by Huffington Post as more captivating than many of this years feature films. The dreamy, moody and captivating film was shot on 65mm and 35mm by DP Evan Prosofsky and Cinelicious proudly contributed to this unique cinematic force by providing film scanning, color services and 4k mastering.
ARCADE FIRE - AFTERLIFE from Emily Kai Bock on Vimeo.
According to DP Evan Prosofsky, "Emily and I wanted to make something that emphasized the narrative aspects of the music video by making the film look as cinematic as possible. For me, that meant shooting mainly on 35mm film motion picture film, and utilizing 65mm for certain moments. My hope was that giving the viewer the highest resolution imagery possible would ground the film in reality and avoid the cliche of grainy, sepia-toned dream imagery."
"A huge part of us achieving that high quality," he continues, "was working with Paul and his amazing team at Cinelicious. They have some of the highest quality film scanners in the world, and being able to scan our film in real time and color grade as we went was incredibly helpful for meeting our deadline, and a really fun way to work. I've always been inspired by people who haven't given up on film, and I sensed a genuine love of the medium and a dedication to high quality at Cinelicious."
Paul Korver, Cinelicious founder and film fanatic adds, "Evan and Emily came to us and wanted to shoot a video on 35mm and 65mm. We love working with creatives that are just going for 'good enough' but are dedicated reaching for the stars with their images and there's no digital camera in the world that can touch a high resolution scan of 65mm viewed on a 4K display. It's really rare to see 65mm used in anything but huge budget features, so it was refreshing to try to make large format film work for a creative, short-form project."
"The 35mm was scanned HDR on our Scanity and we supervised the 65mm selects scanning process with Andrew Oran at Fotokem, with final color by award winning colorist Robert Curreri in our 4K theater."
CAST
Father: Pablo Soriano
Oldest Son: Justice Lucero
Youngest Son: Cristian Guillen
Mother: Carolina De Athey
Laundry Worker: Jill Lachman
CREW
Writer/ Director - Emily Kai Bock
Production Company - ICONOCLAST
Executive Producers - Kathleen Heffernan
Director of Photography - Evan Prosofsky
Producer - Anne Johnson
Production Supervisor - Danielle Oexmann
Editor - Leo Scott, Emily Kai Bock
1st AD - Brandeaux Tourville
2nd AD - Trina Peterson
Steadicam - Ari Robbins
1st AC - Davie Carothers, Richard Garcia (Pick Up Day)
2nd AC - Andrew Porras
Production Coordinators - Kylie Ferguson, Brett Rohrbaugh
Production Assistants - Brady Heiser, Bret Rea, Nathan Zasada, Tyler Miesch, Travis Cultreri, Andre Silverburg, Marcus Huerta
Production Designer - Hannah Hurney
Gaffer - Daniel McNutt
Best Boy Electric - Brice Bradley
Key Grips - Lev Abrahamian, Stuart Lock
BB Grip/Driver - Efrem Melik-Karamov
Makeup - Haley O’Neil (Day 1), Grace Pae (Day 2)
Stylist - Olivia Segerstrom, Jamie Catino
Sound Mixer - Luis Molguard
Location Scout - Jason Wisch
Studio Teacher - Jeff Raines
Principle Casting - Beth Holmes Casting Inc, Shane Casting
Background Casting - Mandi Gosling
Special Thanks - Justin Benoliel at Ramble West
A 4K master is yet-to-be released but Cinelicious has one available for 4K/UltraHD Television distribution.
