FilmLight has completed the selection of judges for the 2022 Color Awards, which recognize the finest work from colorists around the world, who are using any technology platform and working in any genre. The awards deadline has been extended, and submissions will now close to the global colorist community on August 7.
MTI Film has added dailies colorist Arthur Oganesyan to its team of post-production artists. Oganesyan brings experience in streaming and broadcast series through stints at Encore, Hollywood, and Company 3. In his first project for MTI, he is grading dailies for the new season of American Horror Story for Ryan Murphy Productions and FX Network.
Arsenal FX Color, the Santa Monica-based, full-service post-production facility, has opened a satellite location in New Mexico. Located in Albuquerque, the site offers dailies, color grading, and finishing to television and film productions shooting in the state. In its first project, the Albuquerque facility provided dailies, color and finishing services for Unbroken, a pilot produced by Universal Television and starring Scott Bakula.
ArsenalFX Color has announced that Joshua Baca, a co-founder, and partner in the company, is moving into a new role as chief technology officer. A 20-year industry pro, Baca has served ArsenalFX as a finishing editor and technologist since its founding in 2012.
With entries now being accepted, the judging panel is building up for the 2022 FilmLight Color Awards. The awards, which recognize the finest work from colorists using any technology platform and working in any genre, will be presented at EnergaCamerImage in November.
Continuing its long-standing commitment to independent film, Nice Shoes helped to prepare three projects screening at this month’s Tribeca Film Festival: the feature film Allswell, the documentary Billion Dollar Babies, and the advertising series Moving Mountains.
Since the dawn of color cinema, there has always been a demand for a skilled and sympathetic person to guide color throughout a production. Back then, the color timer worked to the instructions of the cinematographer, looking essentially to achieve consistency: dramatic color shifts using irreversible wet chemistry were rarely undertaken. But while the director and cinematographer may be household names, the colorist may still go unheralded outside a small community. To correct this neglect of a vital talent in the overall creative team, last year we created the FilmLight Color Awards.
ArsenalFX Color is celebrating its tenth anniversary with an ambitious, effort to grow and extend its reach. The boutique post-production facility, which provides dailies, color, finishing and visual effects services for television and film is planning to relocate to a new, standalone facility in Santa Monica. Additionally, having successfully operated a satellite facility in Atlanta for the past five years, it intends to open new satellite operations in production centers around the U.S. and Canada with one slated to open in Albuquerque, New Mexico this fall. It will offer dailies and post services for television and film productions operating in the state.
The Last Waltz (1978), Singin’ in the Rain (1952) and several other classics represented by Park Circus will feature as part of the Cinéma de la plage program, a series of free screenings at the Cannes Film Festival, taking place each evening in an open-air theatre on the Macé beach. The festival runs May 17-28.
Color grading and editorial finishing for A Father’s Son, director Patrick Chen’s short film about the murder of a teenage boy in Manhattan’s Chinatown, was completed at Nice Shoes in preparation for its world premiere at the 17th Annual Disorient Asian American Film Festival in Oregon. Colorist Phil Choe worked with Chen, cinematographer Jason Chew and editor Xiaoya (Patricia) Ma in polishing the look of the film.
