In the 1990s The Shooting Gallery produced some of the hottest indie films, including Sling Blade (an Academy Award for Billy Bob Thornton), You Can Count On Me starring Mark Ruffalo (Academy Award nomination) and a series of projects with now-famous actors, producers and directors. Not long ago, director/producers Whitney Ransick and Bob Gosse, along with DP/producer Gil Gilbert and his co-DP Derek Wiesehahn, chronicled the rise and fall of this industry icon in Misfire: The Rise and Fall of The Shooting Gallery.
Mixed frame rate media has become a common headache in the post-production profession. With the abundance of affordable cameras now available on the market, and more filmmakers producing their own content using a variety of methods, post-production facilities must not only stay relevant, but also stay flexible to the clients needs when delivering projects. All of this was top of mind when Burbank based AlphaDogs Post Production recently completed post on the feature documentary FrackNation.
In anticipation of the mass adoption of 4K/Ultra High Definition technology worldwide, New York’s Digital Arts has opened what it is calling the first true-4K post production facility on the East Coast.
Directed by and written by Farzana Tipurita and produced by Chris Carr, owner of Beyond Mirrors, the short film The Other Woman depicts a life-changing encounter at a beauty salon between a wife who’s hiding her unhappiness behind Gucci shades, and a mistress who’s concealing her frustrations behind a professional facade. The film was a co-production between Mandala Films and Beyond Mirrors Ltd.
With the digital cinema standard of 24-bit, up-to-16-channels of PCM non-compressed audio, now becoming reality, new challenges have arrived for existing equipment. Upgrading with just higher powered versions of existing solutions is just not enough to benefit from the new audio standard; speech, music and effect should be reproduced with non-compressed non-colored detail, with lowest distortion and fullest digital dynamics. Alcons has introduced the CR3 screen system to address the problem.
Despite the long odds against them, the low budgets, the uncertainty about commercial success, independent filmmakers consistently deliver movies that are compelling and entertaining. The stories are unique and personal, and the acting from new and established actors alike is often better that what you normally see at the cineplex. Yet too few people have the chance to enjoy these films. Here are what I thought were the twelve best independent movies of 2012.
When Light Iron CEO Michael Cioni made the move to Manhattan from Los Angeles this past January, he wasn’t worrying about finding a good rental opportunity. After all, without really having to search, he was already set up quite nicely at 580 Broadway after a few months renovation. In a real estate deal said to go off with minimum hassle, Cioni’s Light Iron had taken the eighth floor space held by OffHollywood’s post-production operations, which included a sleek digital intermediates grading theater.
[Editor’s Note: We’re pleased to introduce Bob Gibbons as Digital Cinema Report’s new film critic. He’s a longtime industry friend and, as a passionate movie lover, has been reviewing films online and in newspapers for many years. This is a list of releases from January through June of 2013 that he previously reviewed. His reviews of current releases will appear here regularly. We hope you enjoy them and welcome your comments.]
When I discovered that my long-time friend Bob Gibbons has been writing movie reviews for many years, I asked if he would write about films for Digital Cinema Report and he agreed. He has long worked in the motion picture industry, mainly at Kodak and later at Panavision, and one constant in his career has been a passion for movies of all kinds. And he sees a lot of movies. That passion shines through in all his reviews of movies good and bad and we’re pleased and proud to be sharing them with you starting with this Report.
With the success of The Hobbit and the first film to launch in high frame rate (HFR), what exactly is HFR? Why do moviegoers need yet another option at the Cineplex? These questions were all addressed recently during an HFR 3D promotional shoot, hosted by GDC Technology and Red Digital Cinema. Salvy Maleki, as lead producer and executive vice president at GDC Technology, was in need of original HFR footage to use in a promo to showcase GDC’s HFR Integrated Media Block (IMB), only to find that there was no content available to license. She took the initiative to organize a live-action, special effects shoot, shot in HFR 3D, to show off different frame rates, comparing 24 to 48 and 60 frames per second.