Mark Mooney’s Crescent Moon Pictures, located outside of Hilton Head Island, South Carolina focuses primarily on shooting resort and high-end residential community development. “We’ve found an emotional approach to our programs and projects, which reflect what we call the authentic story of a place and why it is the place to live or visit,” he says.
Production & Post-Production
Cospective has released Frankie 2.2, an update of the company’s browser-based video review tool. Along with a number of performance enhancements, Frankie 2.2 has introduced a Sync Options panel. Hosts can now switch between two different modes, choosing whether or not to allow guests to control sync.
HGST, a Western Digital company, and Maxx Digital have announced that Red Studios Hollywood has deployed the Maxx Digital Evo 6G 16-bay rack mount media server. The server is powered by 4TB HGST Ultrastar 7K4000 enterprise-class hard disk drives and configured with ATTO Raid controller to support capacity, bandwidth and performance needs for streaming and “screening” next-generation 4K, 5K and 6K high-resolution files.
Re-creating the past can be challenging for filmmakers, especially when tasked to duplicate the look of a particular time in history for a period movie. Add a tight budget, cramped locations, and underwater photography, and you have the situation James Chressanthis, ASC, faced as cinematographer for the movie The Watsons Go to Birmingham. Based on the novel by Christopher Paul Curtis, the film depicts a fictional family’s 1963 road trip intersecting with an actual terrorist bombing during the civil-rights era.
LipSync Post provided grading, online editing, sound, VFX and titles for BBC One’s three-part drama Death Comes To Pemberley, based on P.D. James’ acclaimed sequel to the Jane Austen classic Pride and Prejudice. The dramas, produced by Origin Pictures for BBC One, are scheduled for broadcast on December 26-28.
A new series of ads for Target were recently shot on minimalistic all-white sets at Hollywood Center Studios and yet rank among the most environmentally friendly spots ever produced on the nearly 100-year-old lot. Virtually all of the sets, props, wardrobe, and discards (such as food waste from catering and craft services) were earmarked for reuse, recycling or composting. It’s estimated that nearly four tons of potential waste products were diverted from local landfills on these two projects due to the production’s adoption of eco-friendly production practices.
The Hobbit: The Desolation of Smaug was brought to life at Park Road Post Production, New Zealand, where the production team mastered both high frame rate stereoscopic 3D at 48 frames per second and immersive Dolby Atmos sound, and integrated it all into the digital cinema package process.
The main tool they used for the task was the DVS Clipster, which allows for the world’s first implemented high frame rate DCI workflow with Dolby Atmos.
Veteran post-production industry executive Stephen Buchsbaum has been appointed president and chief operating officer of Burbank headquartered 2G Digital.
Producers are the unsung heroes of the visual effects industry. Working on the periphery, their contributions aren’t always acknowledged, but their role as project manager, budget overseer, client advocate and cheerleader to the visual effects team is essential to the success of the project. If artists are the gears that drive the visual effects engine, producers are the grease that allows the gears to turn smoothly.
MTI Film recently completed an all-new digital restoration of North to Alaska, Twentieth Century Fox’s 1960 comedy starring John Wayne. Employing proprietary technology and image processing techniques, MTI Film scanned the original 35mm cut negative at 4K before putting the film through an intensive restoration process to address faded color, Newton rings, dirt, scratches and many other defects. MTI Film ultimately delivered fully restored 4K files to produce a new 35mm negative for long-term preservation, along with a 4K DCP Master and high definition masters in a variety of aspect ratios.