The Bollywood feature Dishoom has wrapped in Abu Dhabi after six weeks of filming facilitated by twofour54. With a final count of 38 filming days, Dishoom is Abu Dhabi’s longest feature filming project to date and is due for release in July this year. The cast and crew arrived in Abu Dhabi in January to begin a non-stop schedule of filming at 30 different locations including Ferrari World, Nurai Island, Emirates Palace, Yas Waterworld, Sheikh Zayed Stadium and Liwa Dessert, with the final scenes shot yesterday on Reem Island. In February, Sajid Nadiadwala, owner of Nadiadwala Grandson Entertainment and executive producer of Dishoom, visited the set and praised the diversity of locations that Abu Dhabi offered.
PS Production Services provided lighting, power, dolly and grip equipment for Deadpool, the comic book thriller from 20th Century Fox that opened internationally this month. PS supported the production during two and a half months of shooting on location in Vancouver. The shoot included a spectacular crash sequence staged on the Georgia Viaduct, near the city’s downtown. Deadpool smashed records, garnering $260 million at the box office worldwide for its opening weekend.
Dallas-based Table 31 Productions has completed production of its psychological thriller, Element. Director Jon Keeyes is an Academy Award semi-finalist for his short film, Angela’s Body; his recent feature Nightmare Box won four best film awards on the festival circuit.
Cinematographer Michael FitzMaurice recently concluded principal photography on the feature thriller Monolith. The Sky Italia Productions' project was shot in punishing desert conditions (Kanab, Utah and Mojave Airport, California), and is currently in post. In Monolith, the nail-biter story follows a young mother as she labors through the night to free her infant son from a monolith SUV before the desert sun comes up.
KEO Films incorporated Forscene into the remote production workflow for Bangkok Airport, its latest nonfiction project for the BBC. The filmmakers say Forscene not only served as a remote-viewing and second edit system, but also provided an efficient method of logging and translation. The resulting workflow let producers and editors in London and Glasgow, Scotland, review and edit content without delay, and at the same time collaborate with the camera crews in Thailand on the ongoing shoot.
For his graduation film, cinematography student Sverre Sørdal, who is training at the National Film and Television School in Beaconsfield, U.K., did not take the easy road. Instead, he shot a film about rally racing on a track in the middle of the forest with a very tight shooting schedule and very unpredictable lighting