AlphaDogs has completed post-production services on Sony’s new superhero comedy, Cross Wars, a high-spirited and dynamic action comedy in the vein of Deadpool and The Cannonball Run. The story features lots of celebrities (Danny Trejo, Tom Sizemore, Brian Austin Green, Vinnie Jones and more), as well as newcomers having fun battling the streets of Los Angeles, with hot girls, sexy guns and witty banter.
Released this month by IFC Films, Band Aid marks the directorial debut of Zoe Lister-Jones, best known for her acting roles on Life in Pieces and New Girl. The film has been earning rave reviews for its engaging story of a couple who turn to songwriting to work out their marital difficulties. It has also generated lots of buzz for Lister-Jones’s unique decision to employ women in all key production and post-production crew positions.
Starz's original series American Gods adapts author Neil Gaiman's novel into a feast of visceral imagery. Developed by Bryan Fuller and Michael Green, and produced by FremantleMedia North America, the ambitious project features extensive visual effects, which were facilitated via The Portal, Deluxe’s cloud-based proprietary service.
Barcelona post-production and digital effects house Antaviana Films recently completed work on an array of feature films, including Incerta Glòria by Agustí Villaronga, La Higuera de los Bastardosby Ana Murugarren, and Non è un paese per giovani by Giovanni Veronesi. For these projects, Antaviana Films used Mistika Ultima with a Tangent Element control panel for conforming, color correction, finishing, and VFX compositing.
Ymagis Group announced today that Barco high contrast 6P laser cinema projection systems are now ÉclairColor-compliant. The announcement was made in Barcelona during CineEurope, the official convention of the International Union of Cinemas (UNIC) in Europe.
For Nissan’s Return of the Snowman spot, visual effects specialists The Embassy in Vancouver banded together with post house Alter Ego in Toronto. The Embassy is well known for its photo-realistic, hard surface VFX work, from creating the digital Iron Man suits for all three films to building massive drop ship hangers for The Hunger Games trilogy. Having worked on countless commercials with Alter Ego, The Embassy made the decision to become part of the creative process for grading, to improve the efficiency and precision of their VFX work and present a consistent preview to their clients.
Designing a precise color workflow during pre-production can save motion picture projects time and money. The larger and more complex the project, the more the potential for savings. Digital imaging technician Francesco Giardello (Pan, Game of Thrones, Ben-Hur, Thor: The Dark World) can accurately be described as a pioneer in the use of the Academy Color Encoding System on-set. He recently designed a set-to-post color workflow using ACES for the movie Life, directed by Daniel Espinosa and starring Jake Gyllenhaal, Rebecca Ferguson and Ryan Reynolds. This space thriller from Sony tells the story of the crew aboard the International Space Station and what happens when they encounter extra-terrestrial life in the form of an organism they name Calvin. On Life, Giardello worked closely with cinematographer Seamus McGarvey ASC BSC. The main cameras used were Arri Alexa 65s although, according to Giardello, several other cameras were also utilized. I spoke with Giardello about the color workflow used on Lif
The June meeting of the Society of Motion Picture and Television Engineers, New York region, will be devoted to discussions surrounding two essential topics facing the video industry today – the 2110 SMPTE production standard for video-over-IP and how to optimize video signals for wide color gamut and high dynamic range formats.
AlphaDogs has completed work on the documentary film John Lewis: Get In The Way, which tells the story of the courageous civil rights hero, congressional leader and human rights champion, whose unwavering fight for justice spans the past 50 years. In order for the documentary to air on PBS, Bill Woolery, offline editor, had the task of cutting the film down to 54 minutes, taking six minutes out of the original cut and handing off the cut down to AlphaDogs for finishing.
Technicolor has installed a FilmLight Baselight X system in its Hollywood facility for high dynamic range color grading services. The expansion in Baselight grading in this location reflects the increasing demand from the local industry to deliver an uncompromised finish that still pushes creative boundaries.
