Julien von Schultzendorff is a colorist at nhb studios in Germany, which has Baselight grading facilities in Hamburg, Berlin, Düsseldorf and Munich. He has now been with nhb for five years and is well established in the color-grading scene in Germany. At present most of his work is in high-end commercials, for clients like Mercedes, BMW, Volkswagen, Rimowa, Lufthansa and more. His long-term goal is to work on feature films. At the end of 2019 von Schultzendorff will move to Berlin, where nhb is currently building a new Baselight suite, to work alongside Pana Argueta. His father is cinematographer Wedigo von Schultzendorff and his mother a photographer, so he has virtually grown up on set being surrounded by cameras and film crew and equipment, and learning about the visual appeal of pictures. That experience played a big part in how von Schultzendorff chose a career in color grading. Digital Cinema Report recently spoke with von Schultzendorff and that’s where our conversation begins.
Veteran colorist, Anthony Raffaele, whose work includes Café Society, Mapplethorpe and Fahrenheit 11/9, has joined the finishing staff at Sim New York. With credits spread across features, episodic television and high-end documentaries, Raffaele brings versatility and experience to Sim, along with established relationships with top filmmakers and cinematographers.
Veteran colorist Kevin Michael Kirwan (American Crime Story, American Horror Story) has joined Periscope Post & Audio. Kirwan brings more than 20 years of experience as a senior colorist and credits on more than 40 television series. At Periscope, he will perform final color out of an all-new color-grading suite in Periscope’s facility in Hollywood, which launched earlier this year.
Independent London post house Directors Cut Films – owned and operated by its creative staff – has invested in a Baselight Two color grading workstation with a Blackboard 2 control panel.
Continuing to build the pool of talent at its post-production facility in New York, Sim has hired Lucie Barbier-Dearnley as senior colorist. Barbier arrives from Company 3, London, and brings expansive credits across features, episodic television and documentaries. Her first projects for Sim will include Aggie, a documentary about philanthropist and art patron Agnes Gund; and the feature You Should Have Left for Blumhouse Productions and director David Koepp.
Frame.io, one of the world’s leading video review and collaboration platform used by more than one million filmmakers and media professionals, has hired Michael Cioni as senior vice president of global innovation. Cioni, one of the industry’s most prominent production and post workflow experts, joins Frame.io from international camera company Panavision, where, in a similar role, he spearheaded numerous breakthrough products and workflows, including the Millennium DXL 8K large-format camera system.
MTI Film’s workflow software Cortex v5.2 has been officially certified to support Dolby Vision Content Mapping v4. Cortex can be used to apply Dolby Vision Content Mapping algorithms (v2 and v4) in preparing Dolby Vision interoperable master format packages, and when importing, exporting or modifying Dolby Vision XML and MXF files.
The production of the feature film Brittany Runs a Marathon presented several challenges. The directorial debut of Paul Downs Colaizzo, the film was shot by cinematographer Séamus Tierney, who came to the project late. That was just one of the reasons he was grateful to have the Panavision family of services to back him up, including camera support and Light Iron post-production.
The Hollywood Section of SMPTE will explore the advent of wide color gamut and its impact on motion picture and television production at its monthly meeting September 25 at the Academy of Motion Picture Arts and Sciences, Los Angeles.
Yesterday, the new British musical comedy directed by Danny Boyle, which was released last month following its debut at the Tribeca Film Festival, used as many as twelve cameras for some scenes. This presented some serious workflow challenges. To address them, cinematographer Christopher Ross BSC, who had previously worked with Boyle on the TV series Trust was joined by Mission digital imaging technician Thomas Patrick who had worked with him for the first time on Trust in 2017.