The Hungarian FilmLab (Magyar Filmlabor), Hungary’s largest provider of film laboratory and post-production services, has purchased an MTI Film Cortex::Dailies system to service feature and television productions working in Hungary and throughout Europe.
“In the true tradition of independent film, Cold Turkey is a dialogue- and character-driven movie,” explained director of photography Lucas Lee Graham. “We wanted an intimate, personal look with a really shallow depth of field and nice portraiture so that the visual emphasis would be on the characters and what they were doing.”
Sony Pictures Digital Productions did the post-production work for Sony Pictures Animation’s Cloudy with a Chance of Meatballs 2, the much-anticipated sequel to the 2009 hit.
Venture 3D used Signiant’s Media Shuttle as its primary file transfer solution during production of Metallica’s latest cinematic venture, Metallica: Through the Never, which premiered in Imax 3D on September 27 and will premier in theaters everywhere on October 4.
The Walt Disney Studios has entered into an agreement with Christie to provide the latest digital cinema technologies and a variety of professional services for The Walt Disney Studios’ production, post-production, screening rooms and premieres.
Doremi has upgraded its software-mastering suite, CineAsset, to incorporate all of Doremi’s essential workflow tools including CineExport and CinePlayer into one suite.
The Short Game about competitive junior golfers around the world was shot with Canon’s C300 digital cinema camera.
Hula Post Production provided 3D editorial gear and space for Metallica: Through the Never, the new feature-length 3D concert film released worldwide this month by Picturehouse.
Technicolor-PostWorks New York provided post-production services to five films that screened at this month’s Toronto International Film Festival. They included three narrative films, John Turturro’s Fading Gigolo, David Frankel’s One Chance, and Ned Benson’s The Disappearance of Eleanor Rigby: Him and Her, as well as Alex Gibney’s documentary The Armstrong Lie, and The Weinstein Company’s concert film 12.12.12: The Concert for Sandy Relief.
San Francisco is one of the most beautiful cities to shoot – hills, architectural variety, Mother Nature’s beauty – and the inevitable fog. That fog was something that could have hampered photographer Alex Pitt’s recent time-lapse shoot.
