Rebekah Hernandez is a Post New York Association board member and a post-production supervisor whose recent credits include the Sundance Grand Jury Prize winning film The Forty-Year-Old Version and Showtime’s hit series Billions. A native New Yorker, Hernandez has come a long way since she landed her first job as a production assistant in 2013, but it hasn’t been easy. It took time to find someone willing to give her a shot and she experienced a few false starts, but her hard work and persistence eventually paid off, and now the sky’s the limit.
Production & Post-Production
In a partnership that spans 16 years Christie Digital Systems and Lightstorm Entertainment, filmmaker James Cameron’s production company, collaborated to bring enhancements to theatrical display capabilities for 3D, high frame rate digital cinema for Avatar and the much-anticipated Avatar 2. Known for his creativity and development of cutting-edge technologies to push the frontier of cinematic storytelling, Cameron used Christie cinema projectors as a key part of realizing his vision.
The Colorist Society’s Virtual Colorist Mixer will be held Saturday, April 30 beginning with an informal chat hour at 9:00 a.m. PDT, followed by sessions from 10:00 am to 4:00 pm. Expert presenters will cover color grading techniques, industry careers, monitor displays, show looks, technology, and news from the NAB show floor.
SMPTE, the home of media professionals, technologists, and engineers, today announced that David Grindle will serve as the society's next executive director. He will formally join SMPTE in July after concluding a 12-year tenure as executive director of the United States Institute for Theatre Technology, an association dedicated to performing arts and entertainment professionals.
Emmy Award-winning visual effects supervisor David W. Reynolds has joined the creative team at Break+Enter, a Nice Shoes company. A 20-year industry veteran, Reynolds brings top-level experience across features, television, and advertising, including such notable projects as Jessica Jones, The Tick, Joker, The Get Down and Boardwalk Empire. In his new role, Reynolds will oversee film and television visual effects from inception through delivery, supervise teams of artists, and provide on-set visual effects supervision.
Making a successful feature film is one of the most difficult things there is to do. Having adequate financing in place is just part of the challenge. Several other elements are just as critical including a good script, a talented cast and crew, a laundry list of sophisticated technology, decent weather, and a lot of luck. With a completed feature film in hand, a filmmaker still must find a company that shares a passion for that film and will agree to distribute it properly. For many successful independent filmmakers, that is where their job ends. But should it end there?
Ian Cope, senior visual effects producer at Australia’s Rising Sun Pictures recently celebrated his 20-year anniversary at the company. A significant accomplishment in any career, Cope’s longevity is especially impressive for someone in the visual effects industry, where employment at one studio is often measured in months, not years. And, in that time he has worked on a long list of successful films, including Lord of the Rings: The Return of the King, Gravity, Ford v Ferrari, and Spiderman: Far from Home, to name just a few.
The Immersive World of MSG Sphere will be the topic this coming Saturday, April 23, during SMPTE’s day-long sessions about the future of cinema during the National Association of Broadcasters convention in Las Vegas.
The call for entries is now open for the Hollywood Professional Association’s Engineering Excellence Award. The award recognizes the companies and individuals who have created breakthrough technologies in media, content production, finishing, distribution, and archiving.
The American Film Institute has received a $350,000 grant from the National Endowment for the Humanities to embark upon a landmark initiative to study thousands of short films released in the silent and early sound eras. Titled Behind the Veil after a lost 1914 film directed by pioneering filmmaker Lois Weber, the project will be spearheaded by the AFI research team at the AFI Catalog, the world’s most authoritative, freely accessible database of every American feature film and co-production released in the first century of the art form. The project is intended to document the cultural impact of women and people of color in the creation, distribution, and reception of early cinema.