To give the film First Man a strong sense of authenticity, director Damien Chazelle approached NASA to see if there was any archive footage from the Apollo era. The answer was they did but the footage was all in an obsolete format.
Production & Post-Production
83 Days, a shattering narrative short about racial injustice, which was shot with Panasonic cinema cameras, has been named an Official Selection of the 2018 Tampa Bay Underground Film Festival. The film has already received several best of festival nominations, including Best Short Film, Best Drama Film, Best Short Film Director and Best Short Screenplay.
Technicolor PostWorks New York provided finishing services for The Dawn Wall, the riveting, new documentary from Red Bull House Media about free-climbers Tommy Caldwell and Kevin Jorgeson’s historic attempt to conquer El Capitan in Yosemite National Park. Colorist Keith Jenson worked with co-directors Josh Lowell and Peter Mortimer and cinematographer Brett Lowell in finalizing the look of the documentary, which takes audiences along for the climb as Caldwell and Jorgeson test themselves against a sheer, 3,000-foot rock face known as the Dawn Wall.
Eurofins Digital Media Services, formerly My Eye Media, has opened an office in New York City’s Chelsea district. The company says it is the first facility in the greater New York area, dedicated solely to master quality control with a focus on 4K/UHD high dynamic range video and immersive audio formats.
The Motion Picture Sound Editors have named supervising sound editor Stephen H. Flick as recipient of the association’s 2018 MPSE Career Achievement Award.
The makers of the Screen Gems feature film The Possession of Hannah Grace are claiming an interesting cinema technology first: the project was shot in Boston using Sony A7S II mirrorless digital cameras combined with large format Hawk 65 anamorphic lenses from Vantage, an unlikely combination featuring lenses designed for large digital sensors combined with a full-frame camera with a DSLR form factor and a price tag under $3,000. Nevertheless, the filmmakers say it made for a high-quality, cost-effective production workflow.
London-based post-production company Envy, which has six separate facilities and more than 180 edit suites, has standardized operations on Telestream Vantage for mastering and deliverables.
Studio Enterprise has announced a partnership with Lightcraft Technology to provide students access to industry leading virtual production equipment. As a vertically integrated content company using education and training as a platform to impact the media and entertainment industry, Studio Enterprise’s partnership with Lightcraft Technology will entail equipment provision, collaborative training programs and master classes on how to shoot TV and movie productions using their real-time VFX platform Halide FX.
Cinematographer Rick Malkames has a deep connection with the history of cinema. His father and grandfather were also cinematographers and film historians. Over the years the family has amassed a collection of cameras and projectors that stretch back to the very beginning of the motion picture industy. The historic collection traces innovations in projection technology from the beginning to the present. In a short video, recently released by Samsung, Malkames walks us through his family’s history and collection and concludes with his thoughts about Samsung’s Onyx LED Cinema Screen
The new feature film Mid90s, which marks the directorial debut of Jonah Hill, tells the coming-of-age story of Stevie, a 13-year-old Los Angeles boy who seeks escape from troubles at home in the company of the friends he meets in a local skate shop. Post-production finishing for the film was completed at Technicolor PostWorks New York where colorist Alex Bickel worked directly with Hill and cinematographer Christopher Blauvelt to recreate the sun-washed look of 1990s Southern California and the taut emotional landscape of Stevie’s world