Post-production finishing for the new independent feature Dixieland was completed at Technicolor PostWorks New York. Colorist Anthony Raffaele worked with first-time writer/director Hank Bedford and cinematographer Tobias Datum to finalize the look of the tense crime thriller set in modern day Mississippi. The facility also handled editorial conforming and visual effects.
If you’re one of the 23 million who have seen the Top 10 iTunes WTF (https://www.youtube.com/watch?v=KO_3Qgib6RQ) video of Missy Elliot featuring Pharrell Williams, you likely recognize the signature moves and grooves director Dave Meyers lent to the comeback queen’s rap performance. This year Scott Cunningham, his director of photography and long-time producer, is adding his own visual influence to Elliot’s storied career.
The Motion Picture Sound Editors will honor three-time Academy Award-winning Supervising Sound Editor and Sound Designer Richard King with its 2016 MPSE Career Achievement Award.
Kodak has announced the release of a new, P-200 Film Cleaning System that the company says transforms the traditional film cleaning process. The revolutionary design allows the cleaning solvent to be dispersed on the film surface in a unique way. This economical, compact and digitally controlled system, which uses Kodak HFE 7200 Film Cleaner Solution, makes it ideal for today’s archives and libraries.
The young adults on the autism spectrum who worked on visual effects for Alvin and the Chipmunks: The Road Chip, now in theatres, could have easily been pigeonholed into jobs that were either rote technical jobs or routine jobs, like stocking shelves at a grocery store. Instead, they went on to develop visual effects skills at Exceptional Minds vocational school – and surprised an industry that is known for its creativity: Hollywood.
Since 1992, Cutting Edge has built a string of studios that employs over 150 artists and reaches from Brisbane to Sydney. Like most professional shops they can do it all: films (Predestination, The Age of Adaline); commercials and TV series, including Powers, PlayStation Network’s first scripted show that’s based on Marvel’s beloved graphic novel series. What they couldn’t do was run all render requests off a single dispatcher, and the minutes kept adding up.
The American Society of Cinematographers will honor the extraordinary achievements of director-producer Ridley Scott in advancing the art and craft of filmmaking by bestowing him with the organization’s annual Board of Governors Award. The presentation will be made during the 30th ASC Awards for Outstanding Achievement on February 14, 2016, at the Hyatt Regency Century Plaza.
Father and son re-recording mixers Michael and Christian Minkler have joined the growing roster of sound talent at Sony Pictures Post Production Services. The Minklers, who mixed the current Columbia Pictures release Concussion in Sony Pictures’ Burt Lancaster Theatre, have been working at the studio since last year, but are now on a formal basis. The pair previously mixed Insurgent on the Sony lot and are currently collaborating on The Hateful Eight.
Panavision has announced the opening of an expanded New Orleans location. The new 30,500-square-foot space will also house Light Iron’s first brick-and-mortar facility in Louisiana. The facility represents the first location occupied by the two companies since Panavision acquired Light Iron earlier this year.
The obvious difference between sound for the big screen, the small screen, and now, the tiny screen, may not seem that different. In many ways they are not. As sound designers and editors, we want the viewer to experience every gunshot and explosion as well as every word, whether listening in a theater, at home on a TV, or earbuds on the subway. Sound for the big screen on a movie like Trumbo means you can use 5, 7 or in the case of Dolby Atmos, unlimited channels, for panning. We also have a large dynamic range because of the room size and speaker size. This, in many ways, is the easiest for those of us creating the sound tracks.
