Inspired by Michael Connelly’s Harry Bosch novels, the Amazon Prime Video police-procedural series Bosch premiered its sixth season on April 17. The show has also been renewed for a seventh and final season, offering one last outing for the eponymous LAPD homicide detective. Cinematographer Patrick Cady, ASC has been behind the camera for roughly half of the show’s 60 episodes to date, going back to Season 1. From the beginning, Cady and his collaborators have sought to create a sense of realism grounded in the show’s Los Angeles locations.
When he was asked to work on the hit thriller Aadai, India based digital cinema designer and colorist G. Balaji understood the importance of the color grade for the movie’s overall success. With the film, Balaji said he wanted to break the stereotype of how India is shown.
Light Illusion, a specialist in critical color management within the film, post-production, and broadcast industries, has launched ColorSpace CMS, currently available for pre-order, which enables participation in the open beta program to provide feedback and input for the final release.
Sometimes the story of how a film was made is almost as compelling as the story the film itself tells. That was certainly the case with There is No Evil, this year’s Golden Bear winner at the 70th annual Berlinale, the 2020 Berlin Film Festival. The film, from Iranian director Mohammed Rasoulof, faced serious and unique challenges getting onto the big screen at a film festival. First, there was the fact that Rasoulof is unable to leave Iran.
Yvan Lucas is a veteran digital intermediate colorist with a unique international story. His career spans over 30 years, has involved working in 10 different labs, and has included creative collaborations with a long list of iconic cinematographers such as Robert Richardson, Darius Khondji and Rodrigo Prieto. Lucas credits the work he did with Khondji and director Jean-Pierre Jeunet – especially on the films Delicatessen and The City of Lost Children – for launching his international career and leading him to Los Angeles.
Veteran colorist Walter Volpatto, CSI has been appointed to the leadership of the Colorist Society International as a Fellow. A senior colorist at EFilm in Hollywood, Volpatto was nominated for a 2019 HPA Award for his work on the film Green Book. His more than 100 credits also include the features Star Wars: Episode VIII – The Last Jedi, Dunkirk, Midway and Independence Day: Resurgence, as well as the television series Homecoming and Queen Sugar. He joins Dale Grahn, Lou Levinson, Charles Poynton and Kevin Shaw as CSI Fellows.
Jimmy Carter: Rock & Roll President, the new feature documentary from Grammy Award-winning director Mary Wharton, producer Chris Farrell and writer Bill Flanagan, will make its world premiere April 15 as it opens the 19th Tribeca Film Festival in New York. The rockumentary-flavored film, which went through post-production finishing at Sim Post New York, centers on the 39th president’s life-long passion for music and rock’s contribution to his unlikely journey from a peanut farm in Georgia to the White House.
The Chicago-based editing, design, and postproduction boutique's The Colonie has added colorist Jennifer Gaida to its staff. Gaida recently worked for Energy BBDO’s Flare and officially joined The Colonie staff at the beginning of the year. She also previously worked at Utopic as both a colorist and editor.
Santa Clarita, California post-production facility Elite Media Technologies has added two Sony BVM-HX310 31-inch 4K high dynamic range master monitors to complement several BVM-X300, 30-inch 4K/HDR OLED reference monitors. The new HX310s work in conjunction with the X300s in critical monitoring situations, mastering and quality control environments and advance Elite’s HDR capabilities by offering support for wider color gamuts and providing up to 1,000 nits of full-screen brightness with a 1,000,000:1 contrast ratio. In addition, the HX310s can be color-matched to the incumbent X300 monitors for accurate color reproduction throughout the facility.
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.