Current Issue

Spirited Away grossed more than a million dollars in revenue from just three scheduled screenings.
»POSTED on November 15, 2017
This past July, Ray Nutt succeeded John Rubey at Fathom Events becoming the company’s second CEO in its four-year history. While many things at Fathom remain the same, there have already been some changes under Nutt. Among them, the fact that the company has started releasing its revenue figures on a regular basis. Not surprisingly, what those... //READ MORE

Features

The Blade Runner 2049 post-production sound crew. Creating Blade Runner 2049's Sound
»POSTED on November 20, 2017
The sound of Blade Runner 2049 is striking. Even non-soundfolk are likely to recognize the crucial role it plays throughout the expansive follow-up to Ridley Scott’s 1982 sci-fi cult classic. Artfully sweeping from immersive to hyper-focused to nearly silent, the film’s stellar sound propels the viewer through a dystopian world feeling at once futuristic yet jarringly human. Leading the sound team was supervising sound editor Mark Mangini: winner of the 2016 Best Sound Editing Academy Award for Mad Max: Fury Road, and renowned audio post veteran with over 100 film credits across several decades.
Dolby, Paramount Pictures, and AMC Theatres today announced that Titanic, winner of 11 Academy Awards including Best Picture and Best Director, will return to select theaters nationwide December 1 for an exclusive one-week engagement in Dolby Cinema at AMC. Titanic Returns in Dolby Cinema
»POSTED on November 16, 2017
Dolby, Paramount Pictures, and AMC Theatres today announced that Titanic, winner of 11 Academy Awards including Best Picture and Best Director, will return to select theaters nationwide December 1 for an exclusive one-week engagement in Dolby Cinema at AMC.
Shanra J. Kehl shot her feature film The Morning After with Cooke S4/i lenses. Photo by BTS Still photographer Stefania Rosini. Capturing The Morning After
»POSTED on November 14, 2017
Shanra J. Kehl’s The Morning After features eight intercut vignettes shot in eight locations in 11 days, telling the story of the moment when you wake up next to someone... the next morning. Kehl served as director/writer/producer and cinematographer on the film. She shot with shot with Cooke S4/I lenses.
Netflix and the Australian Broadcast Corporation have partnered to produce a new comedy series, The Letdown. Gearing Up for The Letdown
»POSTED on November 13, 2017
Netflix and the Australian Broadcast Corporation have partnered to produce a new comedy series, The Letdown. Produced and written by Sarah Scheller and Alison Bell, the pilot and six half hour episodes follows Audrey, played by Bell, as she navigates the chaos of motherhood while still trying to balance a career-focused husband, a self-absorbed mother, and a care-free best friend. The series also stars Duncan Fellows, Sacha Horler, Noni Hazelhurst and Celeste Barber. Cinematographer Judd Overton shot the series with Panasonic VariCam LT cameras.
Instrument of War is a period piece based on the true story of Clair Cline, a US Army Air Forces pilot shot down over occupied Holland during World War II. Shooting Instrument of War
»POSTED on November 8, 2017
Instrument of War is a period piece based on the true story of Clair Cline, a US Army Air Forces pilot shot down over occupied Holland during World War II and held at the German Stalag Luft 1 POW camp, and The Prison Camp Violin he made from materials found in the camp and by trading Red Cross cigarettes for a bow. “We shot in Lithuania for the authenticity of the architecture, and built the POW camp around existing buildings to enhance the film’s production value,” said cinematographer Wes Johnson. With the authentic look of their sets, and a strong U.S. dollar, Instrument of War looks like it was shot for several times its actual production cost.
For Montreal post house Framestore, Blade Runner 2049’s thrilling Trash Mesa attack sequence had all the elements of a classic set piece, it only needed its band of scavengers. Creating the Trash Mesa
»POSTED on November 8, 2017
A crash landing, a bruised hero, a crowd about to swarm. For Montreal post house Framestore, Blade Runner 2049’s thrilling Trash Mesa attack sequence had all the elements of a classic set piece, it only needed its band of scavengers. With two days to prep, Framestore turned to Vicon motion capture products and a live link that helped two production teams make crucial decisions, five time zones away.

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