We do visual effects
Trickfabriken can help to ensure that your production meets the standards that’s expected by your clients.
Please drop a line with any question and let’s see what we can do for you.
Have a taste, it's delicious!
A collection of the latest work. Please contact me for a Breakdown
We solve problems
Putting together all the pieces. Trickfabriken have extensive experience in all parts of the compositing process including chroma keying, rotoscoping, rig removal and matching of different elements and sources. With the latest version of NukeX we have full control over all parts of the process.
Bring your finished offline video project on external hard drives or FTP and we will work together to extract the best out of your film. Our state of the art colour grading system built around DaVinci Resolve can handle HD and 2K in realtime. We believe that small details make a big difference.
Trickfabriken can be part of your project and assure that every detail is covered, assisting in production all the way through to final delivery to maintain the highest quality and a satisfied client. We can master to virtually any format including DCP for digital cinemas. We can also help you with delivery of the DCP’s to cinemas and festivals.
“Have no fear of perfection, you’ll never reach it – Salvador Dali”
Punchline, punchline, punchline!
Compositing / Colour grading / Online - Client: Giants And Toys / Forsman & Bodenfors - Director: Linus Johansson
Näääk & Nimo - Lyckliga gatan ft. Kaliffa
VFX / Compositing - Produced by: John and Karl-Uno Lindgren
Intel's Goodbye Roulette Game
DIT / Colour grading - Director: Ted Kjellson - Client: Salmonfox/North Kingdom
I väntan på Larry
Compositing / Colour grading / Online / DCP - Director: Mattias Sjöstedt - Client: Salmonfox
Compositing / Colour grading / Online / DCP - Director: Sophia Josephson - Client: Bautafilm
Aim for the BIG screens
A Digital Cinema Package (abbr. DCP) is a digital filmprint, with a special data format for picture and sound. The specifications for it have been set by the Digital Cinema Initiatives, a cooperation of seven big Hollywood studios in the “Digital Cinema System Specifications”. The DCI standard is now widely accepted as the successor of 35 mm film.
A DCP does really benefit from being made out of colour corrected footage. On the big screen you will want that extra punch and quality. We can take care of this for you and make sure that the footage will look as desired in the cinema.
We can handle virtually any digital source format but for best result the finished and graded material should be delivered in Full range (0-1023) in Rec709 color space.
The preferred source formats are Prores 4444, DNxHD 444 or Image Sequences such as TIFF, JPEG2000, Cineon or DPX.
The table below shows the supported image resolutions. If your source have any other size you will have to make a decision to crop/scale or add pillar/letterbox to fit in to the DCP container.
It is common for a project to be mastered in an aspect ratio which does not match any of the options above. If this is the case for you, we can conform your footage. We can do this shot by shot or global across the whole film. Send us a still if you’d like a samples of the desired end resolutions.
Complex conversion or transcoding of formats can result in additional costs.
Audio files should be delivered as uncompressed, 24 Bit, 48 kHz or 96 kHz. mono WAV or AIFF files in a 5.1 configuration (Left, Center, Right, LFE, Left Surround, Right Surround).
While L&R stereo configuration or quicktime with embedded audio channels is acceptable, some cinemas and festivals require three channel stereo, ie Left, Center and Right channels. If you need to up-mix your stereo track to 2.1 we have partners that can handle this for you. It is also very important that the audio is exactly the same length as the video. Please bare this in mind when choosing your sound format.
We do NOT offer KDM (Key Delivery Message) encryption at this point.
DCPs can be made with subtitles delivered as XML files. The Subtitles are then embedded on the film at viewing time. However we do recommend that you burn in the subtitled in the DCP to secure both quality and compatibility. The best practice is to deliver a separate reel with the subtitles so that we keep the option to do versions both with and without text.
There are two different types of DCPs, InterOp and SMPTE. SMPTE is a newer standard which supports more frame rates then InterOP.
InterOp: 24 and 48 fps @ 2K
SMPTE: 24, 25, 30, 48, 50, and 60 fps @ 2K
The reason InterOp is still an option is because there are unfortunately around 5-10% of the cinemas that have not yet adopted the new standard. It is really important to check with the cinema or festival if they support SMPTE if that is your choice. Common practice for doing a 24fp DCP from 25 fps source is to play the video in the correct speed and re-time the soundtrack by approximately 4%. I recommend to ask the sound crew to make a special mix for the new framerate but if that’s not possible we can do it in-house or outsource it to one of our partners.
If a frame rate conversion is required, we may quote you for this service.
All media files are then encoded to the right colourspace and formats and transferred to a Linux formatted external USB drive or a USB pen drive for ads and trailers. Before the DCP is delivered back to you or the cinema we will do several software and hardware quality checks to make sure that your film looks like expected.
If you need more information or a quote on your movie please fill out the form below and we will get back to you.
“A liger…it’s pretty much my favorite animal. It’s like a lion and a tiger mixed – bred for its skills in magic. – Napoleon Dynamite (2004)”