Mike Bellamy

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  www.spring.net/yapp-bin/public/read/drool/150 - [Cached Version]
  Published on: 1/11/2003    Last Visited: 4/18/2004  

  Goldblatt was able to manipulate colors, contrast and other image characteristics in parts of individual frames in an interactive environment with colorist Mike Bellamy.He color-timed the processed file to create video masters for high and standard definition television display.The same digital data file was converted to 35mm Eastman EXR color intermediate film with a laser-based Kodak Lightning recorder at Cinesite.
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  Mike Bellamy Cinesite colorist
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  "There wasn't a safe place on the set," he says."The cameras are always prying.
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  Speaking about his experience with Bellamy in the digital suite, Goldblatt observes, "You can change the balance of colors in very subtle ways, and you can even alter the dynamics of a scene by manipulating colors and contrast without being obvious.You can use the process creatively and also to fix problems."
  
  Bellamy explains, "It's almost a process of elimination.

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  www.philipsfilmimaging.com - [Cached Version]
  Published on: 2/13/2001    Last Visited: 8/3/2001  

  Mike Bellamy joined the digital film mastering division at Cinesite Hollywood as senior colorist.Mon Apr 30 , 2001 , 09 : 23 AM PDT
  
  24p Emmy Subcommittee Seeks InputOn April 6 , the engineering achievement awards committee of the National Academy of Television Arts and Sciences met to vote on the technologies to be investigated this year for possible Emmy awards and to appoint investigative subcommittees.Tue Apr 17 , 2001 , 12 : 49 PM PDT

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  AbelCineTech - [Cached Version]
  Published on: 2/8/2002    Last Visited: 10/29/2002  

  During the digital mastering process, Goldblatt collaborated with Cinesite colorist Mike Bellamy in an interactive environment.
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  Bellamy put a window around the flower and ratcheted up the red tone until Goldblatt was satisfied.
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  "It was an interactive extension of his artistry," says Bellamy."He watched what I was doing on a monitor and told me exactly what he wanted.I believe this capability is going to change the collaborative process.The control this gives cinematographers will fuel their creativity.We timed the digital file for shot-to-shot and scene-to scene continuity.The files were recorded onto 35mm color intermediate film."
  
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  Goldblatt asked Bellamy to show him what it would look like if a cloud passed in front of the sun and cast a shadow on the actor's face.
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  Bellamy showed him a few options and Goldblatt fine tuned the look.
  
  Conspiracy aired on HBO in HD and standard formats, and it has been presented in 35mm format at Holocaust museums.Goldblatt and Bellamy did it again this year on Path to War, another period HBO film (see ICG Magazine, May 2002).
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  "Mike and I had a comfortable relationship," Goldblatt says.
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  Bellamy says it was a matter of tuning his eye for the contrast values Goldblatt wanted, where he wanted the light to break on faces and what he liked and didn't like.
  
  "It's difficult timing a film when you are 3,000 miles apart," he says."It's not like timing a feature film, where you can talk in printer points.I took a pass at the whole movie and went to New York and showed it to him.We sorted some issues out, and I made those changes.It helped that this was our second project.I had a sense of his taste."

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  Bellamy Joins Cinesite As Colorist - [Cached Version]
  Published on: 1/24/2001    Last Visited: 6/16/2001  

  LOS ANGELES , April 30 -- Mike Bellamy has joined the Digital Film Mastering division here at Cinesite , Hollywood as senior colorist.He will collaborate with filmmakers who are creating looks and color-timing digital masters for motion picture and video distribution.
  
  Mike Bellamy has the talent and know-how needed to help our clients realize their vision in our Digital Film Mastering suites , says Ruth Scovill , COO of Cinesite Hollywood.
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  Bellamy began his career at MGM Metrocolor Lab in 1979.He worked in the film processing area and subsequently advanced to color timing.After leaving Metrocolor in 1986 , Bellamy moved to AME Inc. , where he became a telecine operator.He joined Vidfilm , in Glendale in 1990 , and specialized in mastering feature films for video and digital cinema release.
  
  This is a great opportunity to work on the leading edge , Bellamy says.I believe Cinesite is helping to define an important part of the future of the motion picture industry.Digital Film Mastering is a tremendous creative tool.It provides a bridge between the film and digital worlds where anything is possible and traditional compromises aren't necessary..
  
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  An electronic photo of Mike Bellamy is available upon request.Please email ccspr@aol.com.
  
  2001
  
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  Cinesite - [Cached Version]
  Published on: 4/30/2001    Last Visited: 2/8/2005  

  Bellamy Joins Cinesite as Colourist
  
  30th April, 2001
  
  Mike Bellamy has joined the Digital Film Mastering division here at Cinesite, Hollywood as senior colourist.He will collaborate with filmmakers who are creating looks and colour-timing digital masters for motion picture and video distribution.
  
  "Mike Bellamy has the talent and know-how needed to help our clients realise their vision in our Digital Film Mastering suites," says Ruth Scovill, COO of Cinesite Hollywood.
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  Bellamy began his career at MGM Metrocolor Lab in 1979.He worked in the film processing area and subsequently advanced to colour timing.After leaving Metrocolor in 1986, Bellamy moved to AME Inc., where he became a telecine operator.He joined Vidfilm, in Glendale in 1990, and specialised in mastering feature films for video and digital cinema release.
  
  "This is a great opportunity to work on the leading edge," Bellamy says.

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  Conspiracy Marks Milestone Effort In Digital Film... - [Cached Version]
  Published on: 5/18/2001    Last Visited: 5/19/2001  

  I wanted Conspiracy to feel as though the actual meeting had been documented , says Goldblatt.The entire film was converted to a digital file at 2K resolution with a Philips Spirit DataCine at Cinesite , where Goldblatt and colorist Mike Bellamy collaborated in an interactive environment.
  
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  As an example , Bellamy cites a scene where Branagh is standing next to a window.
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  Bellamy was able to isolate the rose and make.it redder without affecting skin tones or the gray and black colors in the actor's SS uniform
  
  Stephen watched what I was doing on a monitor and told me exactly what he wanted , Bellamy explains.
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  Goldblatt and Bellamy also collaborated on color timing the digital file for shot-to-shot and scene-to-scene continuity.

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  Digital Domain - [Cached Version]
  Published on: 1/9/2002    Last Visited: 6/2/2006  

  During the digital mastering process, Goldblatt collaborated with Cinesite colorist Mike Bellamy in an interactive environment.
  ...
  Bellamy put a window around the flower and ratcheted up the red tone until Goldblatt was satisfied.
  ...
  "It was an interactive extension of his artistry," says Bellamy.
  ...
  Goldblatt asked Bellamy to show him what it would look like if a cloud passed in front of the sun and cast a shadow on the actor's face.
  ...
  Bellamy showed him a few options and Goldblatt fine tuned the look.
  
  Conspiracy aired on HBO in HD and standard formats, and it has been presented in 35mm format at Holocaust museums.Goldblatt and Bellamy did it again this year on Path to War, another period HBO film (see ICG Magazine, May 2002).
  ...
  "Mike and I had a comfortable relationship," Goldblatt says.
  ...
  Bellamy says it was a matter of tuning his eye for the contrast values Goldblatt wanted, where he wanted the light to break on faces and what he liked and didn't like.
  
  "It's difficult timing a film when you are 3,000 miles apart," he says.

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  Digital Film Mastering - [Cached Version]
  Published on: 8/24/2003    Last Visited: 8/24/2003  

  Goldblatt color-graded and fine-tuned images in an interactive environment with colorist Mike Bellamy.
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  "In one scene, Kenneth Branagh is standing next to the window and there's a red rose in the shot," said Bellamy.

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  Film and Video Magazine News - [Cached Version]
  Published on: 5/7/2001    Last Visited: 5/8/2001  

  Mike Bellamy Joins Cinesite As ColoristLOS ANGELES -- ( Apr.30 , 2001 ) -- Mike Bellamy has joined the Digital Film Mastering division here at Cinesite , Hollywood as senior colorist.He will collaborate with filmmakers who are creating looks and color-timing digital masters for motion picture and video distribution.
  
  Creative Bubble Formed ; New York Firm Runs on Avid and Discreet SolutionsNEW YORK -- ( Apr.30 , 2001 ) -- Creative Bubble , LLC , announced its launch today to provide leading broadcasters , cable , advertising and corporate clients with video , design and interactive solutions.Located in the center of Silicon Alley , Creative Bubble combines creativity and technical expertise for graphics , editorial and turnkey production for video , multimedia and the Web.
  
  IFC Films Acquires Jesse Peretz's The Chateau

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  Pandora International - Box Office - [Cached Version]
  Published on: 1/14/2002    Last Visited: 10/9/2002  

  MEGADEF Digital Grading - Specter - Cinesite - Hollywood - Colorist : Mike Bellamy

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