Cinematographer Akis Konstantakopoulos, GSC, mixed natural lighting and handheld camera work to bring a natural and informal dimension to The Chosen, a multi-season TV show charting the life of Jesus Christ. “If you normally find Bible projects boring or unrelatable, like I do, this will feel different. And I like to think that the look of it has contributed to it being such an international hit,” said Konstantakopoulos.
Signs of life for the movie industry have just been spotted on Mars. A group of veteran Hollywood filmmakers have announced plans for Gods of Mars, a feature-length sci-fi epic, to be produced through a blend of revolutionary virtual production technology and special effects techniques from the original Star Wars era. Providing a possible blueprint for filmmaking’s future, the hybrid technique allows productions to move quickly, and at a fraction of the cost of today’s $200-plus million studio blockbusters.
Editorial and post-production finishing for the eight-episode, first season of the hit Starz series P-Valley was centered in New York as several Post New York Alliance member companies helped bring the fictional small town of Chucalissa, Mississippi vibrantly to life. New York City facilities Goldcrest Post, Harbor and Technicolor PostWorks each played a role in the project, as did Foley specialist Alchemy Post Sound and VFX studio The Molecule.
With the growth of Netflix, Disney+, Amazon Prime and Apple TV, to name just a few, the international audience for film and television has never been bigger or more diverse. And the need for accurate and coherent subtitles – both for artistic and economic reasons – has never been more important. For two decades Dr. Vasilis Manousakis, the Literature, Literary and Audiovisual Translation instructor at Hellenic American College in Athens, Greece, has been subtitling and translating a broad range of genres, series and films produced by HBO, Disney, Universal Pictures, Warner Bros. and Netflix, among them Lost, The Good Place, Star Wars and Game of Thrones.
Arts Alliance Media, the global leader in digital cinema software and support services, has launched Operation Beach Clean, an initiative designed to reduce environmental waste by removing litter from Britain’s beaches.
When Gene Martin, owner of Audio Department and Sound Guy Solutions, was presented with a technical nightmare for a commercial client in the early days of COVID, his sound mixer gears started turning. With scenes being shot in separate areas around the U.S., Martin had to juggle as many as 10 different drop kit audio packages at a time. As he was on-location with the main crew in California, he also had to account for remote workflows as well as social distancing protocols.
Vue Entertainment’s Cinema3D circuit in Poland has installed Vista Cinema management software in all 11 sites. The announcement was made jointly by Roland Jones, executive director technical services, Vue International and Till Cussmann, Vista’s senior vice president, sales for EMEA and general manager, Europe.
Following the lift of the first lockdown in London caused by the COVID-19 outbreak in early July, cinematographer Matteo Bangrazi and filmmaker Alfred George Bailey immediately jumped on set with the rest of their team to film the dance documentary I Still Breathe. The film is about a group of socially aware young adults who give extraordinary and deeply emotional testimonies of being black, mixed race, and white in London, England.
The Kinepolis Group reported on its third quarter financial status last Friday and, despite the ongoing challenges of the global pandemic, CEO Eddy Duquenne remains confident that his company and the cinema business as a whole will survive. “This global crisis is hitting us hard both directly and indirectly,” he said. “On the one hand because of the restrictive measures inside our cinemas and, on the other, because almost all blockbusters have been postponed. I remain positive about the future, as we are seeing that many movie lovers keep coming in spite of everything and feel safe inside the cinema. The fact that the studios are constantly postponing the vast majority of their films until a moment when they can secure their income, proves the importance and value of a cinema release. We are currently in pause mode, but the intermission of this film is lasting longer than foreseen. Fortunately, Kinepolis is in good financial shape.”
Technologist Jack Watts began his career in post-production in the Republic of Ireland. In 2013 he joined Technicolor in London where he was head of technology and development. He moved to Deluxe in London is 2015 as part of the joint venture between the two digital cinema business units at both companies. There he primarily focused on mastering solutions for digital cinema, and then eventually, the interoperable master format. There he acted as an internal consultant to the technical operations, client services and business development teams. Externally, there was also the need to consult the business’s premium studio clients.