Christopher Ray, colorist at Picture Shop, joined director Albert Hugues’s epic adventure last year on Alpha, setting the looks on-set with FilmLight Daylight. His collaborative work with Technicolor senior colorist Maxine Gervais relied heavily on creativity and on the Daylight-Baselight Base Linked Grade exchange. Digital Cinema Report recently spoke with Ray about the experience.
Antenna Creative is a new motion design studio for feature films, TV, commercials, branded content, videogames, and experiential attractions. The new company specializes in title sequence design; broadcast design; branding; logos; experiential design; live action production; and editorial. The company’s founders are Lucas Christman and Jarik van Sluijs, two award-winning creative directors, and Alexandra Hancock, a noted motion graphics and live action producer. Collectively, the team has many years of experience, ranging from renowned work in the field of title sequence design to groundbreaking broadcast design packages, and from pioneering motion picture marketing campaigns to forward-thinking brand experiences.
Manuel Canchola is a freelance colorist based in Mexico City. He works on a mixture of commercials, television and film and uses this variety to continuously improve his skills as a colorist. Canchola, a passionate advocate for new technology and, in particular, high dynamic range, recently spoke with Digital Cinema Report about his career and his work in color grading.
In Columbia Pictures’ Jumanji: Welcome to the Jungle, the game has changed as four teenagers are sucked into the world of Jumanji. Director Jake Kasdan has introduced many clever twists to the action-adventure, and that created plenty of opportunities for the film’s sound crew to get creative with sound. All sound services were completed at Sony Pictures Post Production Services.
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.
The animated series Welcome to the Wayne recently debuted on Nickelodeon, becoming the network’s first original series to move from digital to broadcast. The series launched in 2014 as a series of shorts on Nick App and Nick.com. Created by Billy Lopez, the show centers on two 10-year-old boys living in a Manhattan high-rise, dubbed The Wayne, where they are involved in all manner of wild adventures.
Screenvision Media has unveiled a creative launch pad ad unit that provides an unprecedented platform for ads to make their debut in cinema. The new ad unit will have a dedicated introduction and premium placement within Screenvision Media’s Front + Center preshow. The announcement was made today at the 2017 Cannes Lions International Festival of Creativity.
The Hollywood Professional Association has opened its call for entries in creative categories for the 12th annual HPA Awards. These awards are considered standard-bearing honors for groundbreaking work and artistic excellence, recognizing creative artistry in color grading, editing, sound, and visual effects in feature film, television, and commercials.
Death is not a good guy, he’ll take your soul for all eternity, but even he’s shocked by the kind of stuff that some satellite and phone companies pull on their customers. A new campaign conceived by independent creative marketing agency Something Different for Charter Communications to promote their Spectrum brand casts the black-cloaked merchant of death and other familiar demons, monsters and villains as regular Joes fed up with the really nasty evil practices at their telecommunications providers.
The Colonie recently teamed with Burrell Communications to provide editorial, VFX and design services for I Do, a commercial introducing the 2017 Toyota Corolla. The commercial opens with a young woman behind the wheel of her Toyota. She arrives at a city park and her friends help her yarn bomb the surroundings – from hand-knitted tree trunk covers to a slipcover for a loveseat and a garbage pail cozy in the likeness of whimsical character.