With 2021 just a couple of weeks and a few blockbusters short of the finishing line, the London-based firm Gower Street Analytics decided to look ahead to what's on the horizon for next year. And, after a much stronger box office year with exhibitors, distributors, and audiences becoming more comfortable in a COVID-world, Gower Street's first global box office prediction for 2022 suggests a significant improvement over 2021.
The American Society of Cinematographers has completed its Standard Evaluation Material II project. The short film is an initiative by the organization to provide standardized viewing material designed to aid in the development and calibration of technology impacting the modern imaging chain. StEM2 test packages will be available in early 2022 to download for free in all common theatrical and home TV formats.
The Disney Channel’s original musical comedy movie Spin is full of the type of color palettes expected of a story that follows Rhea, an Indian American 15-year-old – played by Avantika – who discovers her artistic side through the unique world of DJ culture, and learns she has a passion for creating mixes that blend the textures of her Indian heritage and the world around her. Cinematographer Jeremy Benning CSC and director Manjari Makijany knew from the start that they wanted the film to be shot in large format.
The global attention measurement platform Amplified Intelligence of Adelaide, Australia, is now working with cinema ad network Val Morgan on the first independent study to use attention metrics to compare the effectiveness of cinema advertising with other media channels.
In the next edition of Post Break, the free webinar series from the Post New York Alliance, a group of industry leaders will reflect on the recently announced closure of DuArt after nearly 100 years of continuous service. Panelists David Leitner, Jane Tolmachyov, Tim Spitzer, and Bob Mastronardi will join moderator Domenic Rom to reminisce about their years with the trailblazing company and celebrate its pivotal role in shaping New York’s post-production industry. The free event is scheduled for Thursday, December 16 at 4:00 p.m. EST.
Scoring mixer Rich Aitken, founder and owner of Nimrod Studios, has been one of the industry’s most respected sound production professionals for nearly 25 years. Today, whether at home or on the road at studios like Abbey Road and The Empire, Aitken manages a wide array of recordings, works with composers, and provides sonically engaging mixes to bring out the best in a musical piece for film, television, or gaming.
In some of their earliest discussions about the new film The Water Man, both director, producer, and actor David Oyelowo, and cinematographer Matt Lloyd, ASC, CSC, knew that the look of the film would need to be more majestic than a spherical lens could provide. Then, Lloyd met up with Michael Koerner of Koerner Camera of Portland, Oregon, who would provide the lenses and cameras for the project.
The entertainment company Hollywood Innovations Group has filed a lawsuit in the U.S. District Court for Central District of California alleging that Netflix willfully violated the same copyright laws it routinely enforces against its own competitors. The also illustrates the power of new dubbing technologies to seamlessly adapt video content across dozens of languages. The technology helps expose broader audiences to global content, but Netflix has quickly found a way to leverage it to capture the lucrative and highly competitive Asian market.
Sound editorial and mixing for Ghostbusters: Afterlife was based at Sony Pictures Post Production Services where a veteran crew led by supervising sound editor/re-recording mixer Will Files, supervising sound editor Perry Robertson and re-recording mixer Mark Paterson faced the formidable challenge of following in the footsteps of a legend. Released in 1984, the original Ghostbusters is among the most beloved comedies of all time and elements of the film, including many of its signature sounds, are etched in the minds of movie fans around the globe.
Fittingly for a film rooted in Broadway, post-production on the feature film Tick, Tick … Boom! was largely completed in New York City by members of the Post New York Alliance. Visual effects house Phosphene used its wizardry to reconstruct several of Larson’s hangouts from the 1990s and help the production overcome the challenges of filmmaking during the covid pandemic. Picture finishing, meanwhile, was executed wholly at Company 3, where award-winning colorist Stephen Nakamura worked with Miranda and cinematographer Alice Brooks, ASC to finetune the dreamlike imagery used to tell Larson’s story.
