Making a film for the first time is a challenge enough in itself, but post-production can sometimes be even more daunting. Aspiring filmmaker Michael Thibault said, “Strangely, all the things we were warned about – actors, scheduling, permits, etc – weren’t a problem at all. But when it came to post-production, it was a complete nightmare until we brought the show to AlphaDogs. We tried to get by cheap and skip using a professional post house, only to find out these freelance colorists and audio mixers have no clue as to what they are doing.”
Ymagis Group today launched EclairGame, a new esports based entertainment system fully-dedicated to gaming in cinemas, and a first agreement with Les Cinémas Gaumont Pathé, the largest cinema circuit in France, the Netherlands and Switzerland.
Greek exhibitor Village Cinemas has opened the first Sphera auditorium, CinemaNext’s new premium format cinema concept, at its theatre at The Mall of Athens.
Kitag Cinemas, the largest exhibitor in German-speaking Switzerland, is installing CJ 4DPlex’s 4DX cinema seating in its theatre in Abaton Zurich. Kitag Cinemas has 85 screens and 17,000 seats at the following locations: Basel, Bern, Biel, Lucerne, Emmenbrück/LU, St. Gallen, Abtwil/SG, Winterthur and Zurich. The Zurich theatre has 12 auditoriums with a total of 1,759 seats. The 4DX screen is scheduled to open before the end of the year.
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.
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. 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 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.
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.