Assimilate has announced the immediate availability of its new Digital Imaging Technician Pack+, a bundle of three tightly integrated applications that greatly simplifies the DIT’s day-to-day operations with the most efficient and streamlined workflow to date. The bundle includes Assimilate's Live Looks for live grading, Hedge for camera-media offload and back-up, and Assimilate’s Scratch.
Arsenal FX Color provided post-production finishing services for Ferguson Rises, director Mobolaji Olambiwonnu’s inspiring documentary about Ferguson, Missouri which in 2014 became a flashpoint for the civil rights movement after a white police officer was acquitted of criminal charges in the killing of Michael J. Brown, an unarmed black man, sparking days of protest and rage. Says Olambiwonnu, I wanted to provide a counternarrative to the events that took place, one based not on loss, but on hope and resilience.”
FilmLight has announced a new program of awards which will honor colorists and the art of color worldwide. The awards are being organized in association with professional bodies and are open to colorists using any grading technology, with the winners announced at EnergaCamerImage 2021 in Poland.
Feature film and television colorist Aidan Stanford has joined ArsenalFX Color. Stanford is a 25-year industry veteran whose recent credits include the hit Lionsgate feature Knives Out as well as the television series Better Call Saul (AMC), Bonding (Netflix), Briarpatch (USA) and Central Park (Apple TV+). He joins a growing post-production finishing department at ArsenalFX Color’s facility in Santa Monica where he will grade episodic television, independent features, studio features and other projects
Founded by colorists Kevin Shaw and Warren Eagles, the International Colorist Academy has been a place for industry professionals to learn since its inception. With more than 50 years of grading experience between them, and 30 years of training and demo experience, Shaw and Eagles know what they are about. They know that confidence, mentorship, and community are as important as the skills themselves.
Goldcrest Post has added colorist Steve Beganyi to its team of senior artists. Bringing more than 20 years of post-production experience, much of it centering on documentary films and television series, Beganyi joins a department dedicated to sound and picture finishing for docs. His recent credits include Jerusalem: City of Faith and Fury for CNN and My Next Guest Needs No Introduction with David Letterman for Netflix.
For the new independent drama Mayday, Goldcrest Post senior colorist Marcy Robinson worked with director Karen Cinorre, in her feature debut, and cinematographer Sam Levy to hone a unique visual language for a one-of-a-kind story that blends fantasy and reality in colorful and unexpected ways.
Pace Pictures provided complete post-production services for Tremors: Shrieker Island, the latest installment in the cult horror franchise about giant, worm-like creatures that prey on humans.
Award-winning post-production facility Electric Theatre Collective has invested in a 31-inch 4K Sony Trimaster BVM-HX310 professional master monitor for the grading suite at its London studios. The monitor was provided by accredited Sony dealer Big Pic Media.
Goldcrest Post recently performed a feat of post-production magic for one of the most unusual film releases of the year. Grizzly II: The Revenge, a thriller about a giant bear that attacks fans at a rock concert, was shot in 1983 by the late Hungarian director André Szöts. Starring Steve Inwood, and including appearances by George Clooney, Laura Dern, Louise Fletcher and Charlie Sheen, the film was intended to be a sequel to Grizzly, a modestly budgeted independent film that became the top grossing independent film of all time upon its release in 1976, but it was left unfinished. That changed late last year when executive producer Suzanne C. Nagy retrieved the nearly 40-year-old original elements from storage and sought Goldcrest’s help in getting the film ready for its long-delayed release.