Color grading and editorial finishing for A Father’s Son, director Patrick Chen’s short film about the murder of a teenage boy in Manhattan’s Chinatown, was completed at Nice Shoes in preparation for its world premiere at the 17th Annual Disorient Asian American Film Festival in Oregon. Colorist Phil Choe worked with Chen, cinematographer Jason Chew and editor Xiaoya (Patricia) Ma in polishing the look of the film.
The Colorist Society’s Virtual Colorist Mixer will be held Saturday, April 30 beginning with an informal chat hour at 9:00 a.m. PDT, followed by sessions from 10:00 am to 4:00 pm. Expert presenters will cover color grading techniques, industry careers, monitor displays, show looks, technology, and news from the NAB show floor.
Following a hugely successful debut in 2021, preparations are already underway for the FilmLight Color Awards 2022. This year’s awards, which will again be presented at EnergaCamerImage in November, include a new category celebrating the work of colorists on lower budget, independent and international features. Colorists, production companies and facilities are invited to put forward their nominations when entries open on May 1, with a final deadline for submissions on July 31.
The award-winning Istanbul production company, Autonomy, partnered with MGX Studio, Turkey’s first virtual production facility, and Formula 1, to deliver an immersive commercial project for the country’s financial hub and official sponsors of last year’s Formula 1 Turkish Grand Prix, Istanbul Financial Center.
Goldcrest Post provided post-production services for three films screening at this year’s Sundance Film Festival. They include Academy Award–nominee Ramin Bahrani’s documentary 2nd Chance, Tia Lessin and Emma Pildes’ documentary The Janes and director Ricky D’Ambrose’s narrative film The Cathedral. The 2022 Sundance Film Festival takes place as a fully virtual event January 20-30.
In some of their earliest discussions about the new film The Water Man, both director, producer, and actor David Oyelowo, and cinematographer Matt Lloyd, ASC, CSC, knew that the look of the film would need to be more majestic than a spherical lens could provide. Then, Lloyd met up with Michael Koerner of Koerner Camera of Portland, Oregon, who would provide the lenses and cameras for the project.
Fittingly for a film rooted in Broadway, post-production on the feature film Tick, Tick … Boom! was largely completed in New York City by members of the Post New York Alliance. Visual effects house Phosphene used its wizardry to reconstruct several of Larson’s hangouts from the 1990s and help the production overcome the challenges of filmmaking during the covid pandemic. Picture finishing, meanwhile, was executed wholly at Company 3, where award-winning colorist Stephen Nakamura worked with Miranda and cinematographer Alice Brooks, ASC to finetune the dreamlike imagery used to tell Larson’s story.
Pace Pictures provided editorial and post-production services for For the Love of Money, the new crime drama from executive producer Melvin Childs, director Leslie Small and Freestyle Releasing, about a single mother who takes desperate action to save her teenage daughter from gangsters threatening her life. Pace’s Heath Ryan edited the film, which draws audiences into a murky world of crime, violence, and unlimited cash, and explores the morality of doing whatever it takes to protect the ones you love.
The Colorist Society has named Mark Todd Osborne to its board of directors. Osborne is a Los Angeles-based senior colorist with more than 200 film and television credits. As a board member, he will be involved governing, managing, and planning for the organization. He will also act as an ambassador for CSI to other industry organizations and the wider professional community. Osborne joins Kevin Shaw, president; Sarah Priestnall, vice president; and Hugh Heinsohn, secretary/treasurer, on the CSI board.
The Colorist Society has launched Colorist Society Hollywood, an exclusive, invitation-only group of color finishing artists. The group’s mission is to advocate for their craft, support diversity initiatives, and create educational opportunities for its members and associated industry partners. They will also seek to deepen CSI’s ties to other industry organizations and the wider entertainment industry.
