Projects that originate on film are increasingly rare and one current standout is the HBO series Succession. Working with film creates some interesting challenges and opportunities for Light Iron senior colorist Sam Daley, whose involvement in the series goes back to the pilot episode.
To provide cinema audiences an engaging audio experience as detailed as Aeon Entertainment’s vivid theatre screens, Hibino Imagineering Corporation recently installed a premium cinema audio solution using JBL Professional VTX line array speakers and Crown I-Tech amplifiers.
As the world slowly emerges from the pandemic, the Screen Advertising World Association today launched a powerful three-minute video and multiple social media campaigns featuring vignettes from some of the world’s most iconic names in the advertising, film, and humanitarian worlds, aimed at raising awareness for the unparalleled power and effectiveness of cinema. SAWA and its members around the world are using cinema, the trade press, and social media platforms such as Facebook, Twitter, Instagram, and YouTube, to reach marketers, moviegoers, and creative and media agencies.
When it came time to record the Netflix original French-language film, Oxygène (Oxygen in English), the audio team had quite the challenge in front of them. The premise of the scientific horror film focuses on a scientist, played by French actress Melanie Laurent, who has lost her memory, awakens, trapped in a medical pod and must find her way out before the oxygen levels diminish. Given the setting, the pod is used for 90 percent of the film, and, with its tight quarters, production sound mixer Ken Yasumoto and boom operator Josselin Panchout knew they needed a reliable and unobtrusive microphone solution.
SMPTE, the home of media professionals, technologists, and engineers, today announced that Barbara Lange will step down as the Society's executive director at the close of 2021, which marks the end of her current contract. Lange has served in this role for 12 years, guiding SMPTE through a dynamic period of growth, extending the Society's leadership as a global standards organization, and working closely with staff, volunteers, members, and the SMPTE Board of Governors to make SMPTE a more inclusive organization that brings value to individuals and organizations across the media and entertainment industry.
A new report from content protection specialist Nagra, entitled Piracy Has No Boundaries, claims that thieves steal tens of billions of dollars of content value annually and that more than 80 percent of content theft is attributable to streaming. In addition, the report says, eight percent of U.S. households subscribe to illicit internet protocol services for an estimated $1 billion in illegal subscription revenue every year. The report uses Disney and Marvel Studio’s Black Widow as an example of how things can go wrong when feature films are streamed and estimates that the film lost between $50-$70 million because the movie lacked an exclusive theatrical window over its first ten days of release.
A 15-year veteran of the film and TV business, freelance re-recording mixer Alexandra Fehrman loves to get creative with her projects. Nominated for a 2021 Sound Mixing Emmy for her work on Amazon’s drama The Boys, Fehrman works with Formosa Group, a post-production facility in Los Angeles, as well as from her home studio. Fehrman, like many audio pros, started her career in music as a teenager and has been pursuing sound mixing ever since. Her specialties include streaming and TV series, as well as feature and independent films.
Studio Movie Grill has installed Ultraleap touchless interactive advertising kiosks. The company sees them as a way to ensure patrons a safe and clean environment but also as a way to extend big screen content into its lobbies.
The film We Are Lady Parts is Nida Manzoor’s anarchic and irreverent music comedy about a Muslim female punk band – called Lady Parts – who are on a mission to find a lead guitarist and maybe, just maybe, get a proper gig. It was the first time she and cinematographer Diana Olifirova had worked together, but Olifirova described all the people on board for the series as a dream team.
A cinematographer, executive producer, and whiskey aficionado, Johnny Derango was corresponding with the owner of The Bottle Haus, an online liquor retailer, who it turned out was looking for someone to create a series of commercials to promote their business on social media. “The directive given to me was to do a commercial that gives the bottles personality, as well as be funny,” said Derango. “It was very open ended, so I had to conceptualize that.”