An Adelaide native, Chelsea Mirus trained at Rising Sun Pictures in 2016 while working toward a Media Arts degree from the University of South Australia. Moving quickly into a staff position as a visual effects coordinator at RSP, she worked on a string of high-profile projects including Captain Marvel, Alita: Battle Angel, Thor: Ragnarok and Game of Thrones. Then, in 2019, she accepted a post with Important Looking Pirates, a VFX studio based in Stockholm, Sweden, and moved halfway around the globe to become part of a team attached to such hit shows as The Mandalorian, Westworld, Lost in Space and The Stand.
Technicolor has launched Technicolor Creative Studios, forming a collaborative global structure to drive innovation and creativity across its family of studios. As the company’s flagship division, it will focus on the transformation of the entertainment, experiential, and advertising industries. Technicolor Creative Studios’ new proposition – Beyond Imagination – comes from a desire to spark unparalleled creativity, pushing the boundaries of the imagination to bring groundbreaking and unforgettable ideas to life.
VFX Legion has announced the signing of veteran VFX producer Tony Gallardo. He will work in the company’s British Columbia office with Dylan Yastremski, Legion Studios/B.C.’s head of production and partner, and VFX supervisor/founder James David Hattin, who oversees the company’s global creative resources from its Burbank studio.
Burrell Communications recently returned to The Colonie, tapping the talents of editor Graham Chapman and the Chicago-based company’s design team for the multi-platform launch of Black Experience on Xfinity (BEOX). The package of broadcast and social media spots introduces a first-of-its-kind collection of movies, TV shows, news, and more celebrating Black culture.
Led by visual effects supervisor James David Hattin, VFX Legion's team delivered a challenging mix of shots for Half Brothers, director Luke Greenfield's new film for Focus Features. A fully remote company since its inception, Legion efficiently created a mix of complex photorealistic effects for the comedic road trip.
Following its Netflix launch in January, Fate: The Winx Saga, the live-action TV adaptation of Nickelodeon’s animated series Winx Club quickly shot to number one in the U.S. and number three in the U.K. Cinematographer Frida Wendel FSF shot the series. As Wendell put it, one of her considerations during the live action shoot was how to play around with the visual effects.
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.
AFX Creative of Santa Monica, California, has hired seasoned systems engineer and administrator Toby Gallo as director of technology. The company also promoted Esther Minitser to head of production, Jessica Amburgey to senior color producer, and Stefan Kim to production coordinator. Company founder and managing director Mark Leiss made the announcement.
Fans eagerly awaiting this month’s release of Zack Snyder’s Justice League on HBO Max get intriguing insight into its characters’ backstories and hints at what’s to come through an exhilarating new teaser created by the design studio yU+co.
MTI Film in Hollywood is expanding its Remote Data Center, boosting capacity and adding new, cloud-based services, as editing teams increasingly embrace remote work, not merely as a stopgap measure during the pandemic, but as the new and more efficient paradigm for post-production. MTI Film CEO Larry Chernoff says that editors who began working remotely out of necessity are now doing so by choice. “Editors like the practical benefits of being able to work from home or other remote sites,” he said. “The pandemic was the catalyst, but remote work is quickly becoming the preferred choice for editing because it improves productivity and flexibility, and it enhances lifestyles. Based on the experience thus far, we believe the future will be a hybrid of remote and on-premises operations supported by universal connectivity.”