Director of photography Joe Callahan recently completed principal photography on a feature-length documentary about wildlife rescue and rehabilitation in India. The documentary, aiming for premium festival berths, profiles the pioneering work of Wildlife SOS, a worldwide organization dedicated to protecting and conserving India’s natural heritage, forest and wildlife wealth. The majority of location work on the documentary (working title, Where the Wild Things Aren’t) took place last June all across India—jungles, deserts and the teeming cities of Jodhpur, Delhi and Agra.
Production & Post-Production
Cinematic Media, a full-service post-production finishing facility focused exclusively on television and cinema content, has launched in Mexico City. Located on the lot at Estudios GGM, the new facility offers dailies, look development, editorial finishing, color grading and other services, and aims to capitalize on booming entertainment media production in Mexico and throughout Central and South America. In its first project, Cinematic Media provided finishing services for the second season of the Netflix series Ingobernable.
Technicolor PostWorks New York and Prasad Corporation have formed a strategic partnership to provide full-service film scanning and digital restoration services in 8mm, Super8, 16mm, 35mm, 65mm, 2K, and 4K for archival preservation purposes for classic independent films readying for re-release.
Box office hit, Venom, from Columbia Pictures, was among the first films to have its sound work completed through Sony Pictures Post Production Services’ expanded facilities on the studio lot in Culver City. Supervising sound editor/re-recording mixer/sound designer Will Files and his crew used a new theater-style sound design suite to create sound effects for the film, which stars Academy Award nominated actor Tom Hardy as both the alien symbiote Venom and its human host, Eddie Brock
Sound Lounge is expanding its film and television division, which provides sound editorial, ADR and mixing services for episodic television, features and documentaries. The studio is upgrading the division’s main mix stage to support editing and mixing in the immersive Dolby Atmos format. It has also added veteran supervising sound editor, designer and re-recording mixer Evan Benjamin to its team. Benjamin is best known for his work in documentaries, including the acclaimed feature documentary, RBG, about Supreme Court Justice Ruth Bader Ginsburg, as well as documentary series for Netflix, Paramount Network, HBO, and PBS.
Ymagis Group has asked the Commercial Court of Nanterre to place one of the French subsidiaries of its Éclair business unit, Éclair Cinema SAS, in receivership given the performance of its activities in post-production and the restoration of cinematographic and audio-visual works. Éclair Cinema represented 5.5 percent of Ymagis Group’s revenue for the first half of 2018 and almost all losses recorded over this same period. In 2017, the subsidiary generated revenue totaling €12.4 million.
CJ 4DPlex announced this week that its multi-projection theatre technology ScreenX experienced 30 percent growth this year over last and has reached a worldwide attendance record of 2.6 million moviegoers to date, grossing $25 million at the box office.
New York Women in Film & Television has named Cynthia López, an Emmy, Peabody and duPont-Columbia Award-winning media strategist, and former commissioner of the New York City Mayor’s Office of Media and Entertainment, as its new executive director. López will succeed Terry Lawler, who concludes a remarkable 21-year tenure, effective January 1. NYWIFT president, Simone Pero made the announcement on behalf of the organization’s 18-member board of directors.
The Motion Picture Sound Editor will honor Antoine Fuqua with its annual Filmmaker Award. The director of such films as The Equalizer (1 & 2), The Magnificent Seven, Southpaw and Training Day, is being recognized for his outstanding contributions to the art of cinema. He will receive the award at the 66th MPSE Golden Reel Awards ceremony February 17th in Los Angeles.
Newton Thomas ‘Tom’ Sigel, ASC chose a full range of original Cooke Speed Panchros, with a slightly new housing and updated mechanics from Arri Rental UK, to shoot the early years documented in the 20th Century Fox/Regency production of Bohemian Rhapsody. Sigel needed to capture the idealistic energy of Freddie Mercury and his future bandmates when he first came to London in 1970. To accomplish this, he made use of a full vintage set of Cooke Speed Panchros, with a very light net at the back of the lens and a special LUT for the Alexa SXT that was specifically designed for the period. This set-up was used for the entire first act of the film, with Sigel relying mostly on the 40mm lens, with the 25, 32 and 50 as secondary lenses.