Post work for director Rebecca Miller’s new romantic comedy Maggie’s Plan, currently in wide release from Sony Pictures Classics, was a labor of love for Technicolor PostWorks New York. A long-time supporter of independent film, the facility furnished suites and systems to picture editor Sabine Hoffman and her crew. It also provided resources for dailies processing, editorial finishing, color grading, sound mixing and deliverables. The project involved months of concentrated effort, spanning pre-production through the film’s world premiere at the Toronto International Film Festival.
Slightly Distorted Productions, in association with the Oklahoma Film + Music Office, has announced production of the upcoming feature film Stillwater to be filmed entirely in Oklahoma. The production will utilize the Oklahoma Film Enhancement Rebate Program administered by OF+MO and commence principal photography on May 14 in Stillwater.
Faircloud Park is shooting its new feature film Rust entirely in Oklahoma. The film is taking advantage of the Oklahoma Film Enhancement Rebate Program administered by OF+MO and began principal photography April 22 in Oklahoma City.
Principal photography has begun on Runaway, a feature film from producer Mike Leahy of Strike Accord in association with Gatlin Returns. The film, which will utilize the Oklahoma Film Enhancement Rebate administered by the Oklahoma Film and Music Office will be shooting in Oklahoma City and the surrounding area including Luther and Coyle.
I recently worked as a camera operator on a VR feature called The Spring. The first question of many questions that I had for Greg Passmore, owner of Passmore Labs, Austin, Texas was, “When you are shooting a 3D 360 degree VR movie in a cave where at times you are perilously close to the top of the caves due to the water level, where do you position the crew?” His reply threw me off guard. He said, “Anywhere I want.” It was then that he told me he was shooting with one Red Epic camera. The question then was, how?
The Bollywood feature Dishoom has wrapped in Abu Dhabi after six weeks of filming facilitated by twofour54. With a final count of 38 filming days, Dishoom is Abu Dhabi’s longest feature filming project to date and is due for release in July this year. The cast and crew arrived in Abu Dhabi in January to begin a non-stop schedule of filming at 30 different locations including Ferrari World, Nurai Island, Emirates Palace, Yas Waterworld, Sheikh Zayed Stadium and Liwa Dessert, with the final scenes shot yesterday on Reem Island. In February, Sajid Nadiadwala, owner of Nadiadwala Grandson Entertainment and executive producer of Dishoom, visited the set and praised the diversity of locations that Abu Dhabi offered.
PS Production Services provided lighting, power, dolly and grip equipment for Deadpool, the comic book thriller from 20th Century Fox that opened internationally this month. PS supported the production during two and a half months of shooting on location in Vancouver. The shoot included a spectacular crash sequence staged on the Georgia Viaduct, near the city’s downtown. Deadpool smashed records, garnering $260 million at the box office worldwide for its opening weekend.
Dallas-based Table 31 Productions has completed production of its psychological thriller, Element. Director Jon Keeyes is an Academy Award semi-finalist for his short film, Angela’s Body; his recent feature Nightmare Box won four best film awards on the festival circuit.
Cinematographer Michael FitzMaurice recently concluded principal photography on the feature thriller Monolith. The Sky Italia Productions' project was shot in punishing desert conditions (Kanab, Utah and Mojave Airport, California), and is currently in post. In Monolith, the nail-biter story follows a young mother as she labors through the night to free her infant son from a monolith SUV before the desert sun comes up.
KEO Films incorporated Forscene into the remote production workflow for Bangkok Airport, its latest nonfiction project for the BBC. The filmmakers say Forscene not only served as a remote-viewing and second edit system, but also provided an efficient method of logging and translation. The resulting workflow let producers and editors in London and Glasgow, Scotland, review and edit content without delay, and at the same time collaborate with the camera crews in Thailand on the ongoing shoot.