Yesterday, the new British musical comedy directed by Danny Boyle, which was released last month following its debut at the Tribeca Film Festival, used as many as twelve cameras for some scenes. This presented some serious workflow challenges. To address them, cinematographer Christopher Ross BSC, who had previously worked with Boyle on the TV series Trust was joined by Mission digital imaging technician Thomas Patrick who had worked with him for the first time on Trust in 2017.
French multiplex company CGR Cinemas has announced that the first ICE Theatre in the United States will be debuting this fall at Regal L.A. Live: A Barco Innovation Center in downtown Los Angeles. The ICE (Immersive Cinema Experience) Theatre concept launched two-and-a-half years ago, combining state-of-the-art design and excellence in sound and image technologies with the revolutionary ICE sensorial experience.
CineLife Entertainment, the event cinema division of Spotlight Cinema Networks, has partnered with CBS Home Entertainment as the exclusive theatrical distributor throughout North America for two Peanuts features: A Boy Named Charlie Brown (1969) and Snoopy, Come Home (1972). This is the first time the digitally remastered films have been available for theatrical bookings since their original release dates.
The 4DX version of the Walt Disney Studios’ live action musical Aladdin has earned $17 million in the global box office. Japan and Korea were among the highest performing countries.
Alchemy Post Sound put on its tap shoes (and a whole lot more) to create the Foley sound for Fosse/Verdon, FX’s critically acclaimed limited series about choreographer Bob Fosse (Sam Rockwell) and his collaborator and wife, the singer/dancer Gwen Verdon (Michelle Williams). Working under the direction of supervising sound editors Daniel Timmons and Tony Volante, Foley artist Leslie Bloome and his team performed and recorded hundreds of custom sound effects to support the show’s sultry dance sequences and add realistic ambience to its historic settings.
Rising Sun Pictures delivered more than 100 visual effects shots for Columbia Pictures’ and Marvel Studios’ superhero epic Spider-Man: Far From Home, one of this year’s most anticipated blockbusters. The studio’s work included a memorable holographic sequence that reveals one of the film’s biggest mysteries: the origins of The Elementals, four monstrous creatures from a parallel universe with the ability to control fire, earth, water and wind.
For moviegoers, one of the most enduring changes brought about by digital cinema technology has been the pre-show, the twenty minutes or so of programming that precedes the trailers and main feature. Screenvision Media’s pre show runs on a cinema network that now includes more than 15,000 screens, in more than 2,400 locations across all 50 States. The network encompasses more than 90 percent of the top markets in the country and claims more than 500 million consumer admissions annually. I spoke recently with Screenvision’s chief revenue officer Katy Loria regarding how pre-shows have evolved over the past decade and what the future holds.
In Dopesick Nation, recovering addicts Frankie and Allie take on the heroin epidemic by working to save as many addicts as they can. The series, which premiered on Viceland last year, takes place in southern Florida and also tries to expose the corruption and exploitation that takes place in the rehab industry.
Post-production sound for this summer’s blockbuster hit from Columbia Pictures, in association with Marvel Studios, Spider-Man: Far From Home, was completed by Sony Pictures Post Production Services. Supervising sound editor and sound designer Steven Ticknor, re-recording mixer and supervising sound editor and sound designer Tony Lamberti and re-recording mixer Kevin O’Connell led a team of veteran sound artists in delivering dynamic soundscapes to match the film’s full throttle action, mind-blowing superhero gadgetry and larger-than-life characters, the latter including a quartet of extra-dimensional creatures with colossal powers known as the Elemental Creatures.
Sam Chynoweth joined Technicolor in July 2018 and brings a mixture of animation and live action experience to Technicolor’s London color team. Chynoweth previously worked as a colorist in Australia on a number of different projects, including The Lego Movie, The Infiltrator, Peter Rabbit and The Lego Batman Movie. He spoke with Digital Cinema Report recently about his work.