London-based investment and equity services company LipSync Productions, along with its post division LipSync Post, provided investment and postproduction services including scanning and recording, conform, grade, VFX and sound for My Week With Marilyn.
The film, produced by Trademark Films, BBC Films, The Weinstein Company, and UK Film Council, stars Michelle Williams in the title role of Marilyn Monroe and documents the tense interaction between Marilyn and Sir Laurence Olivier (Kenneth Branagh) during the 1957 production of The Prince and the Showgirl and her brief, idyllic escape to the English countryside.
Norman Merry, financial director, LipSync, said, “Having previously worked with Trademark Films on Dean Spanley and A Bunch of Amateurs, we were delighted to welcome them back for this beautiful film with its great script and exceptional cast.”
LipSync’s colourist, Lee Clappison, worked closely with the director of photography, Ben Smithard, to create a nostalgic look that accurately referenced the 1950s period. The original film, The Prince and The Showgirl and other Technicolor films of the time, as well as photographic references, were used to produce a palette for the ‘film within a film’ shots – a complicated process of de-saturating, then over-saturating specific channels that helped to differentiate these scenes from the shots away from the film set.
LipSync’s VFX team was involved at an early stage of the production, helping plan for the shoot and providing on-set supervision services. In post, LipSync VFX supervisor Sheila Wickens worked closely with production and editorial to lead the VFX team in completing over 350 visual effect shots. The range of visual effects work varied extensively, consisting of 3D environments work, CG aircraft, modernity removals, split-screens, extensive cosmetic work and 2.5d Matte Paintings. A particular example is the establishing shot of Windsor Castle that was created using the compositing tool Nuke’s 3D projection tools.
“I am delighted with the range of work we produced for this project,” said Stefan Drury, head of visual effects. “Although the post period condensed and the shot count grew dramatically we were never fazed and always maintained the high level of work and quality control that we have become know for.”