HBO Max’s new series Tokyo Vice, a co-production with Endeavor Content and WoWow, is a gripping crime drama loosely inspired by Jake Adelstein’s bestseller about his real-life experiences as an American journalist working for a major Japanese newspaper in the late ‘90s. The show’s eight-episode first season follows Adelstein (Ansel Elgort) as he pursues members of the Yakuza crime family while navigating the vagaries of Japanese culture and bonding with veteran detective, Hiroto Katagiri (Ken Watanabe).
Production & Post-Production
Zeiss has introduced CinCraft Mapper, a new digital service that quickly and easily provides frame-accurate lens distortion and shading data for the visual effects industry. This data is essential for digital compositing to achieve a cinematic result that is as realistic and precise as possible.
Laika, the studio known for the Academy Award-nominated films Coraline, ParaNorman, The Boxtrolls, Kubo and the Two Strings and Missing Link, has announced The Night Gardener, a new project in conjunction with Bill Dubuque, creator of Netflix’s hit series Ozark. Laika’s CEO and president Travis Knight, who directed Kubo and the Two Strings and Paramount’s Bumblebee, will direct from Dubuque’s original screenplay.
Freddy Krueger and the Nightmare on Elm Street film series have been haunting horror film lovers for forty years. One of the people behind this successful iconic movie was Bill Terezakis, the visual effects master who created the Freddy Krueger double full body burn and the claw gloves among many other things.
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.
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?