San Francisco’s One Union Recording Studios has received certification from Dolby Laboratories to provide sound mixing services in Dolby Atmos. The certification applies to One Union’s Studio Four and includes a Dolby Laboratories wall plaque signifying that the space conforms to technical specifications consistent with the immersive sound format.
Pace Pictures, a full-service sound and picture post-production facility based in Hollywood, and ShockBox VFX, a bi-coastal specialist in visual effects, animation and motion graphics, have formed a strategic alliance for film and television projects. The two specialist companies provide studios and producers with integrated services, encompassing all aspects of post, in order to finish any project efficiently, cost-effectively, and with greater creative control.
The Motion Picture Sound Editors will honor Academy Award-winning supervising sound editor Cecelia “Cece” Hall with its 2020 MPSE Career Achievement Award. Hall received an Oscar nomination for sound editing in 1987 for her work on Top Gun and won the Oscar four years later for The Hunt for Red October.
The Society of Camera Operators will give cinematographer Steven Poster, ASC, the society’s 2019 Distinguished Service Award. The award will be presented January 18 at the Loews Hollywood Hotel.
The Ymagis Group announced today that it has signed a binding letter of intent with L’Image Retrouvée SAS, a subsidiary of the Italian company L’Immagine Ritrovata, with the purpose of successfully implementing a continuation plan for its French subsidiary Eclair Cinéma SAS, currently in receivership.
The Hollywood Professional Association has issued the call for proposals for the 2020 HPA Tech Retreat, which marks the 25th anniversary of this important event in media and entertainment technology. The annual gathering of professionals from around the world who work at the intersection of technology and creative media is a perennial sell out.
Arri announced today that it will begin shipping Alexa Mini LF cameras with final production software starting September 18. Owners of pre-production cameras can download the updated software and install it on their cameras.
Randall Dark is one of the pioneers of making movies and television programs in large format digital video. I’ve known him for more than thirty years and known his wife, Kristen Cox for more than twenty. When Randall recently confided in me that he has Alzheimer’s disease, he encouraged me to think more about Kristen’s needs now than of his own. I reached out to her to offer my support and told her I wanted to write a profile of Randall to remind the industry of how important his contributions have been for the broader world of what we now call digital cinema. She agreed and here is part of that profile, told in their own words.
Randall Dark is a pioneer of making movies in large format digital video. Still developing projects today, he was arguably the industry’s most passionate advocate in the effort to convert the television industry to high definition. Since working on the world’s first HDTV production in the ‘80s – the CBC mini-series Chasing Rainbows – he has made countless feature films and documentaries that explore both the wonders of the world around us and the complexities and humanity within all of us. Recently Randall learned that he has Alzheimer’s disease. With his wife Kristen’s support, he is fighting the disease with all the creativity and humor and simple grace that those of us who are blessed to call him friend know so well.
The Long Walk is the third feature film by director Mattie Do (Chanthaly, Dearest Sister), who was raised in Los Angeles but relocated to Laos to become the country’s first, and only, female filmmaker. In an interview in Women and Hollywood, Do described her genre-bending film as “an unconventional time-travel thriller set in a forgotten rural village in Laos, about the ethos of a man, plagued by regret and loneliness, and his downward spiral into becoming a serial killer. He also has a very complicit ghostly friend.” Cinematographer Matthew Macar shot the low-budget feature over 32 days in Vientiane, Laos with very little prep time.
