The Netflix series GLOW, which launched its 10-episode third season in August 2019, brings the Gorgeous Ladies of Wrestling to Las Vegas and the fictitious Fan-Tan Hotel and Casino. The production captures the personal and professional lives of a group of women who perform for a wrestling organization that started in Los Angeles but now find themselves in glitzy Las Vegas during the 1980s. Cinematographer Chris Teague met with show creators, executive producers and episode writers Liz Flahive and Carly Mensch to pitch his ideas for the new look of GLOW for its new Las Vegas setting, which is where they realized that everyone was on the same page.
Production & Post-Production
Academy Award-winning visual effects studio Digital Domain has opened a facility in Montréal, its ninth location worldwide. The Montréal studio will focus on feature films, episodic and streaming while supporting other groups within the multi-faceted VFX house. The official opening marks the fourth new location for Digital Domain since 2016, with all locations – including the new Montréal office – reporting directly to Los Angeles, the headquarters of Digital Domain’s VFX business.
A coalition of companies and organizations from across the media and entertainment industry, EIPMA is dedicated to nurturing the industry’s next generation of talent. It plans to partner with high schools, universities and entertainment industry organizations to increase student awareness for career opportunities in the entertainment industry through job fairs, speaker programs, webinars and other events. It will also connect aspiring professionals with mentoring and career counseling programs.
Film editor Rickard Krantz was part of the creative team that worked on the movie The Perfect Patient (Swedish title: Quick), which was nominated for Sweden’s prestigious Guldbagge award for editing. The film was also selected as one of Sweden’s three finalists for submission to the 92nd Academy Awards in 2019
Post-production innovator and software development company DigitalFilm Tree has named Nancy Jundi as chief operational officer. Jundi brings a wealth of experience to her new role, with more than 20 years of experience guiding entertainment and technology companies, both start-up and global, through exceptional growth challenges. She has been an outside consultant to DFT since 2014 and will now be based in DFT’s Los Angeles headquarters, where she will join founder and CEO Ramy Katrib in pioneering revolutionary new offerings for DFT and the industry.
According to Fandango, South Korean genre-bending hit Parasite is the top pick in the Best Picture race with 20 percent of the film fans’ votes, followed closely by Sam Mendes’ WWI epic 1917 with 19 percent. Parasite also took the number-one spot in the Best Director category, with first-time nominee Bong Joon Ho winning with 34 percent of votes.
The Chicago-based editing, design, and postproduction boutique's The Colonie has added colorist Jennifer Gaida to its staff. Gaida recently worked for Energy BBDO’s Flare and officially joined The Colonie staff at the beginning of the year. She also previously worked at Utopic as both a colorist and editor.
The five major motion picture studios Disney, NBCUniversal, Paramount, Sony, and Warner Bros. have all opted to renew deals for film stock with Kodak, the longstanding film manufacturer, according to a report in Forbes magazine last week.
The board of twofour54 Abu Dhabi has appointed Michael Garin as its CEO. Following the formation of a board of directors for twofour54 last July and the appointment of H.E. Mohamed Khalifa Al Mubarak as chairman and the then CEO H.E. Maryam Eid AlMheiri as vice chair, the CEO position became vacant.
Seventeen years after Bad Boys ll, the Bad Boys Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) teamed up again for one last ride in Sony Pictures’ worldwide box office hit, Bad Boys for Life. Car chases, gun battles, explosions and other forms of mayhem—all requiring robust sound treatment—occur throughout the film, but the story is driven by the hilarious bad-boy banter between Mike and Marcus. Capitalizing on every twist and turn of the action sequences while allowing the humor to punch through was a challenge for the sound artists.