Post-production on Disconnect has been completed at Technicolor-Postworks in New York, where the work ran the gamut from dailies processing through digital intermediates colorist Tim Stipan (Moonrise Kingdom, Black Swan) applied the final grade, working alongside Rubin and cinematographer Ken Seng. Disconnect, the new drama from LD Entertainment and director Henry Alex Rubin, weaves three loosely related narrative lines, each of which relates to the Internet and the way it is affecting human relationships.
Production & Post-Production
Post house Light Iron has expanded its use of Christie digital cinema projectors. “We’ve used other manufacturer’s 4K projectors when 4K projectors first hit the streets, but the fact to the matter is it’s more important to be the best at something than the first. And the best 4K solution is exactly what Christie brings to the market. With its reliable and proven name, it was an easy decision to make Christie the standard for our screening rooms in both Los Angeles and New York City, with Christie Solaria 2K and 4K projectors in operation at both locations,” said Michael Cioni, CEO, Light Iron.
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.
Autodesk’s Smoke 2013 Extension 1 professional video editing software is now available. It is the first outcome of the collaboration between Autodesk and Blackmagic Design. As part of the product roadmap and influenced by extensive feedback from editors, the release features numerous enhancements to help improve functionality, add flexibility and increase speed.
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.
The new Movcam Cage system provides maximum accessory support for Sony’s recently released PMW-F5 and PMW-F55 modular, 4K-capable cameras, allowing camera operators what the company says is a near limitless ability to configure accessories specifically to his or her shooting needs—without a confining high price tag.
The Trestle At Pope Lick Creek, a film based on the play by Naomi Wallace, is a coming-of-age story with a wicked twist that reaches into the depths of a nation and asks, "What lies beneath?" For post-production American Film Institute AFI directing graduate and director of the film Vuk Mitrovic went to AlphaDogs upon recommendation of a friend’s client who had used the facility for their project.
Director/producer Alicia Brauns had a very personal story to tell about her father’s journey from holocaust survivor to well-known surgeon. The documentary-in-progress is entitled Mosaic of Life. To depict that experience and Dr. Jack Brauns’ positive outlook on life, she turned to her favorite cinematographer, Rodney Charters, ASC, CSC. The two knew they would be covering an extensive amount of ground, from inside the infamous camps to the trip through Germany and beyond—in a short shooting time. They had to build their camera package carefully so they chose Canon C300s supported by a fluid head and legs from Sachtler.
Oblique FX continues to produce visual effects for the television series Being Human, now in its third season. The Montreal facility was recently nominated for a 2013 Canadian Screen Award from the Academy of Canadian Cinema & Television for best visual effects in television for its work on the second season of the program. Being Human tells the story of a trio of supernatural beings who live together in Boston.