For the new independent drama Mayday, Goldcrest Post senior colorist Marcy Robinson worked with director Karen Cinorre, in her feature debut, and cinematographer Sam Levy to hone a unique visual language for a one-of-a-kind story that blends fantasy and reality in colorful and unexpected ways.
Production & Post-Production
Pace Pictures provided complete post-production services for Tremors: Shrieker Island, the latest installment in the cult horror franchise about giant, worm-like creatures that prey on humans.
Buoyed by a boom in motion picture and series production, and commitments from multiple international film productions and streaming series Rising Sun Pictures has expanded by taking charge of the building next to its main studio located in Pulteney Street in Adelaide. The new 5,167 square-foot space, which was acquired to house additional staff, includes a cinema-style screening room, sound proofed meeting and review facilities, and a workspace for up to 80 artists.
Cardiff-based film and video post-production house Gorilla has chosen an MTI Film Cortex Enterprise mastering and validation system for a new 4K high dynamic range mastering suite at its recently expanded GloWorks facility. Supplied by MTI Film distribution partner Big Pic Media, the Cortex forms part of Gorilla's investment in new 4K HDR technology.
In the last twelve months Cinelab London has worked on a wide range of major motion pictures and TV series, including No Time to Die, Wonder Woman 1984 and Small Axe; commercials for brands like Sainsbury's, Nike, and Burberry; and music videos for global stars like Beyonce, Coldplay, and Dua Lipa. Pixitmedia, a software-defined storage and data management company, enabled the facility to streamline its storage and media management for expansion in delivering rapid turnaround.
The Society of Camera Operators has announced the nominees for the 2021 Camera Operator of the Year Awards and Creative Vision Celebration for the Film and Television categories. Nominees for the Camera Operator of the Year Film & Television categories will be awarded live during the virtual show, which will take place April 11 from 5:00 p.m. to 6:30 p.m. PDT.
Award-winning post-production facility Electric Theatre Collective has invested in a 31-inch 4K Sony Trimaster BVM-HX310 professional master monitor for the grading suite at its London studios. The monitor was provided by accredited Sony dealer Big Pic Media.
The winner of the 44th Portland International Film Festival’s Future/future competition is Identifying Features, directed by Fernanda Valadez. The film, an intriguing and confident first feature following a mother’s journey to find out what happened to her son along the Mexican border, was awarded the honor as well as a $1,000 prize.
New York Women in Film & Television culminates its month-long recognition of Women’s History with a weekend of screenings celebrating female creators in film, television, and media. NYWIFT will screen IFC Films’ critically acclaimed Farewell Amor March 26-27 as part of its annual Support Women Artists Now Day celebration in partnership with SAG-AFTRA, FF2 Media, Women in the Arts & Media Coalition, HerFlix, In Creative Company, The Gotham, African American Women in Cinema, and Women Make Movies, followed by a talkback with filmmaker Ekwa Msangi on Saturday, March 27 at 12 p.m. EDT. Then the 41st Annual NYWIFT Muse Awards celebrating women of vision and achievement will have its educational broadcast on CUNY TV on Sunday, March 28 at 8 p.m. EdT.
Goldcrest Post recently performed a feat of post-production magic for one of the most unusual film releases of the year. Grizzly II: The Revenge, a thriller about a giant bear that attacks fans at a rock concert, was shot in 1983 by the late Hungarian director André Szöts. Starring Steve Inwood, and including appearances by George Clooney, Laura Dern, Louise Fletcher and Charlie Sheen, the film was intended to be a sequel to Grizzly, a modestly budgeted independent film that became the top grossing independent film of all time upon its release in 1976, but it was left unfinished. That changed late last year when executive producer Suzanne C. Nagy retrieved the nearly 40-year-old original elements from storage and sought Goldcrest’s help in getting the film ready for its long-delayed release.