Recent Lustre customers include Empire Design in London, Optix DigitalPictures and nhb in Hamburg, Daltons Digital in Madrid, Cinemeta Digital in Amsterdam, Studio l’Equipe in Brussels, Punch in Oslo, Generator Post in Helsinki, Gruzia Film Studios in Tbilisi and CineLab in Moscow.
Autodesk EMEA Media and Entertainment Director Patrick Jocelyn described the Lustre family, including the Lustre HD system introduced in 2006, as a digital colour-grading platform for film and television.
Dominique Marcel, Video Department Supervisor at Studio l’Equipe, said Lustre addressed the facility’s requirements through ease of use, speed when creating pan-and-scan versions, and a wide range of masks. Studio l’Equipe had already used the suite on one feature film, three television documentaries and a Belgian soap opera. Marcel also noted that the system’s wider installed base made experienced colourists easier to find.
Film-services company CineLab was preparing to add postproduction work to its services. It had installed two Lustre grading systems and an Autodesk Smoke editing-and-finishing system. CineLab Managing Director Denis Glinsky said real-time grading and connection to central SGI storage allowed films to be accessed from any workstation.
Optix DigitalPictures, which provides film scanning, production, compositing and 2D and 3D animation, invested in Lustre HD. Colourist Paul Breuer said the facility could provide a complete HD postproduction workflow with optimised real-time grading.
Audio and video production company nhb bought Lustre as part of a wider equipment investment that also included three Autodesk Flame systems and Smoke. Managing Director Michael Vitzthum said the combined systems allowed the company to offer an integrated service at resolutions up to 2K.
Four of the five films nominated for Best Cinematography by the Academy of Motion Picture Arts and Sciences had used Lustre, including Pan’s Labyrinth. Other productions using the system included Babel, Children of Men, Skins, Planet Earth and Paper Bullet.
