Harkness Screens has provided a Stagelite White/Black surface for the forthcoming Academy of Motion Picture Arts and Sciences’ Oscars Outdoors summer series.
This is an entertaining and casual bit of summer fun.
Recognized with an Academy Award for Hugo and an Emmy Award for the second season of Game of Thrones, visual effects house Pixomondo recently created nearly 300 shots for J.J. Abrams' epic Star Trek Into Darkness.
Modus FX completed many of the key visual effects shots on Now You See Me.
When former photojournalist, director of photography Erik Naso was asked by his TV station to create new promos for the station he wanted each spot to have a cinematic quality that differed from the station’s regularly aired ENG-style videos.
Colorflow recently provided color grading and other post-production services for Electric Ascension, a full-length concert film documenting the Rova Saxophone Quartet’s remarkable reimagining of John Coltrane’s legendary 1965 free jazz recording Ascension.
Dolby Laboratories and Regal Entertainment Group announced today that Regal recently installed Dolby Atmos in 20 of its big-screen RPX: Regal Premium Experience theatres. The systems were installed in time for the premiere of Warner Bros. Man of Steel.
This story begins with small-time magicians doing small-time magic: card tricks, manacles, hypnotism, bent spoons. There is so much energy in their performances, such a sense of entertainment, so much polish and promise that you just know they – and their tricks – must get bigger.
JJ Abrams has made a terrific movie. Despite the fact that I’ve seen all the Star Trek movies, but seem unable to remember the plots of any of them…I loved this one. Maybe it’s because, at its core, it such a simple story: it’s the story of a friendship. Kirk (Chris Pine) and Spock (Zachary Quinto) aren’t just colleagues, they’re polar opposites, two guys who fly together, fight together, and in the end, love each other.
The franchise started with such promise: a fresh idea, lots of laughs, and almost $500 million at the box office. Part II served up refried ideas, fewer laughs, but enough revenue to make Part III a certainty. Now, the trilogy concludes with a movie that can’t decide what it wants to be: a buddy comedy, a dark crime caper, a road-trip, a chase epic? Maybe Three Men and a Psycho?