Alan Blanco says he thinks of himself “as a filmmaker first” and it’s understandable why. For someone still so early in his career he’s had a wide range of craft jobs on a long list of films. His IMDB credits list includes gaffer, key grip, camera operator, sound recordist, editor, sound editor and ADR engineer. Now, he’s added two more credits: screenwriter and cinematographer. Blanco co-wrote Manos Sucias, a widely acclaimed independent feature film with director Josef Kubota Wladyka and shot the film on location in Colombia. The film opens in select New York theatres April 3.
The Big Picture
As the National Association of Broadcasters convention approaches, one topic that seems likely to get a lot of attention is the Interoperable Master Format. The motion picture industry as a whole is starting to coalesce around the concept of relying completely on metadata to carry content through the entire production, post-production and delivery process. In particular, the IMF is steadily gaining traction and, when widely adopted, could serve to streamline workflow and delivery. It can’t happen too soon.
Having recently completed my first micro-budget indie feature, White Rabbit, I follow the latest methods for a suitable theatrical release. In this light, attending the American Film Market revealed to me that theatrical distribution is seeing upheaval triggered by the industry’s now-complete conversion to digital cinema.
Hollywood produces seemingly fewer films each year and when a large number of those films fail to attract audiences – as was the case this past summer – the downturn in business hurts studios and theatres alike.
American Dreams in China, director Peter Chan's first digital cinema effort, was shot on Arri Alexa and recorded on Codex. Chan’s strong affection for the filmic look determined how the film would be graded and finished in post. Colorist Antonio Zhang of the Chinese facility Post Production Office Group supervised the entire process.
Arri Rental’s Alexa 65 camera system was officially launched last night in front of a packed audience at the Linwood Dunn Theater in Los Angeles.
Dolby Laboratories today announced Dolby Cinema, a branded premium cinema offering for exhibitors and moviegoers the company says combines spectacular image and sound technologies with inspired design to make every visit a completely captivating cinematic event
How does a young man some called “a wastrel” become, at just 33, Julius Caesar, ruler of the known world? For writer, director, producer Paul Schoolman, that question was the genesis of his new film Jail Caesar. Starring Derek Jacobi as Sulia, John Kani as Marius and Alice Krige as the Pirate Captain, the movie is set in three South African prisons and features prisoners in key roles. The film has won several major awards around the world and will be available on Netflix later this year. I spoke via several emails with Schoolman and co-producer Krige, about the long, hard task of bringing Jail Caesar to life.
As was widely reported last week, a new film studio has opened in North Austin, Texas under the direction of a partnership between Bulltiger Productions and 25 year industry veteran Randall P. Dark. Stephen Brent formed Bulltiger Productions in 2011 to develop film, games, mobile apps and graphic novels. Dark is the founder of HD Vision in New York City and Dallas, a co-founder of HD Vision Studios in Los Angeles. I spoke with Dark to learn more about the new facility.
With knowing irony, the filmmakers behind the new independent horror feature Found Footage 3D, call their movie “the Scream of the found footage genre,” and it’s part of the point they’re making. “Of course, shooting a found footage movie in 3D doesn’t make a damn bit of sense,” says Steven DeGennaro, the movie’s writer, director and producer.