Featured Stories

Creating Blade Runner 2049's Sound

Mon, 11/20/2017 - 09:39 -- Pro Sound Effects

The sound of Blade Runner 2049 is striking. Even non-soundfolk are likely to recognize the crucial role it plays throughout the expansive follow-up to Ridley Scott’s 1982 sci-fi cult classic. Artfully sweeping from immersive to hyper-focused to nearly silent, the film’s stellar sound propels the viewer through a dystopian world feeling at once futuristic yet jarringly human. Leading the sound team was supervising sound editor Mark Mangini: winner of the 2016 Best Sound Editing Academy Award for Mad Max: Fury Road, and renowned audio post veteran with over 100 film credits across several decades.

Capturing The Morning After

Tue, 11/14/2017 - 15:24 -- Nick Dager

Shanra J. Kehl’s The Morning After features eight intercut vignettes shot in eight locations in 11 days, telling the story of the moment when you wake up next to someone... the next morning. Kehl served as director/writer/producer and cinematographer on the film. She shot with shot with Cooke S4/I lenses.

Gearing Up for The Letdown

Mon, 11/13/2017 - 11:28 -- Nick Dager

Netflix and the Australian Broadcast Corporation have partnered to produce a new comedy series, The Letdown. Produced and written by Sarah Scheller and Alison Bell, the pilot and six half hour episodes follows Audrey, played by Bell, as she navigates the chaos of motherhood while still trying to balance a career-focused husband, a self-absorbed mother, and a care-free best friend. The series also stars Duncan Fellows, Sacha Horler, Noni Hazelhurst and Celeste Barber. Cinematographer Judd Overton shot the series with Panasonic VariCam LT cameras.

Shooting Instrument of War

Wed, 11/08/2017 - 11:20 -- Nick Dager

Instrument of War is a period piece based on the true story of Clair Cline, a US Army Air Forces pilot shot down over occupied Holland during World War II and held at the German Stalag Luft 1 POW camp, and The Prison Camp Violin he made from materials found in the camp and by trading Red Cross cigarettes for a bow. “We shot in Lithuania for the authenticity of the architecture, and built the POW camp around existing buildings to enhance the film’s production value,” said cinematographer Wes Johnson. With the authentic look of their sets, and a strong U.S. dollar, Instrument of War looks like it was shot for several times its actual production cost.

Creating the Trash Mesa

Wed, 11/08/2017 - 11:07 -- Nick Dager

A crash landing, a bruised hero, a crowd about to swarm. For Montreal post house Framestore, Blade Runner 2049’s thrilling Trash Mesa attack sequence had all the elements of a classic set piece, it only needed its band of scavengers. With two days to prep, Framestore turned to Vicon motion capture products and a live link that helped two production teams make crucial decisions, five time zones away.

Thor Turns to Rising Sun

Tue, 11/07/2017 - 10:40 -- Nick Dager

Australian visual effects studio Rising Sun Pictures produced more than 170 final visual effects shots for Thor: Ragnarok¸ the new film from Marvel Studios. Working under the supervision of director Taika Waititi, production visual effects supervisor Jake Morrison and production visual effects producer Cyndi Ochs, RSP’s team spent more than 18 months helping to craft some of the film’s most memorable, creative and technically challenging scenes. It was RSP’s first project for Marvel.

Centerplex Installs Dolby Atmos on Ten Screens

Fri, 11/03/2017 - 14:14 -- Nick Dager

Centerplex Cinemas, one of the largest motion picture exhibitors in Brazil, has announced that it plans to deliver Dolby Atmos immersive audio to 10 screens throughout Brazil. In addition, Centerplex will deploy several Dolby IMS3000 integrated media servers, Dolby multichannel amplifiers and SLS 3-Axis Speakers across its circuit, becoming the first exhibitor in Brazil to install the latest Dolby technology. Plans call for the installation to be completed by the end of 2018.

Zero Weeks Premieres at DOC NYC

Thu, 11/02/2017 - 08:33 -- Nick Dager

The United States is the only country in the developed world that does not guarantee its citizens paid family leave. In the new documentary Zero Weeks, which premieres November 11 at DOC NYC in New York City, director Ky Dickens explores the impact of that policy on families dealing with the birth of a child, a medical crisis or an aging parent. For many Americans, especially those with low incomes, it comes down to a choice between keeping a job and caring for someone they love.

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