Being a pioneer in any field is at the very least daunting, but imagine if what you are doing not only deals with a taboo topic of the era, but could also earn you some time in jail? In the documentary film I Always Said Yes: The Many Lives Of Wakefield Poole audiences are given an inside look into the life of overlooked gay liberation and independent film pioneer, Wakefield Poole.
Technicolor-PostWorks New York recently completed final post-production work for Last Weekend, a dark comedy from first-time directors Tom Dolby and Tom Williams. Martin Zeichner applied the final grade to the film, the story of an upscale family’s Labor Day holiday at their estate in Northern California.
Cinematographer James Mathers often chooses projects that have passion, heart, and a positive message. Such was the case of his latest production, 1000 to 1: The Cory Weissman Story.
Heli is also one of the first films produced by Mexico’s burgeoning independent film industry to be captured with an ArriRaw workflow based on Arri’s Alexa camera and Codex’s Onboard Recorder.
Film director and cinematographer Patryk Kizny and LookyCreative assembled the 2010 short film The Chapel using motion controlled HDR time-lapse to achieve an interesting, hyper-real aesthetic.
Phase 4 Films in partnership with Samuel Goldwyn Films are jointly releasing Emmy award-winning director Josh Greenbaum’s The Short Game.
Facing Fear is first-time director Jason Cohen’s powerful documentary short about the unlikely friendship between a former neo-Nazi and the gay man he victimized decades earlier. Kent Pritchett of Colorflow performed final color grading for the doc, which recently made its world premiere at Outfest Los Angeles where it won the Audience Award. Facing Fear is scheduled for a theatrical run at the Laemmle Music Hall Theatre in Beverly Hills, August 9-15.
One solution to a common challenge of independent filmmaking is to use multiple cameras to ensure scene coverage – especially of action scenes – to ideally save time and money. Unfortunately, because camera manufacturer settings vary, the end result can be contrasting images depending on which camera is used. This was the case with the new action sci-fi thriller Alien Hunger. Producer Jack Tucker, and editor Nancy Brindley Bhagia, had concerns in how the “horror look” would be created in the film due to lighting issues within some of the footage.
The American Film Institute has announced a dramatic increase in scholarship funding at the AFI Conservatory – its immersive two-year graduate program in the art and discipline of filmmaking.
The Room, a boutique finishing facility located within Technicolor – PostWorks, New York, recently wrapped post-production on We Steal Secrets: The History of WikiLeaks and History of the Eagles, two new documentaries from producer/director Alex Gibney.
