Principal photography has begun on Runaway, a feature film from producer Mike Leahy of Strike Accord in association with Gatlin Returns. The film, which will utilize the Oklahoma Film Enhancement Rebate administered by the Oklahoma Film and Music Office will be shooting in Oklahoma City and the surrounding area including Luther and Coyle.
I recently worked as a camera operator on a VR feature called The Spring. The first question of many questions that I had for Greg Passmore, owner of Passmore Labs, Austin, Texas was, “When you are shooting a 3D 360 degree VR movie in a cave where at times you are perilously close to the top of the caves due to the water level, where do you position the crew?” His reply threw me off guard. He said, “Anywhere I want.” It was then that he told me he was shooting with one Red Epic camera. The question then was, how?
Deluxe Entertainment Services Group has appointed Stefan Sonnenfeld as chief creative officer. Sonnenfeld will to drive the artistic strategy that defines the Deluxe brand and ensure that the company houses and develops the best creative talent across color, VFX and editorial for film, TV and commercials. He’ll continue to color film and commercial projects and play a senior role in the development of new customer relationships to grow Deluxe’s creative business in North America.
Movie theatres are getting bigger again and exhibitors have learned that audiences are willing to pay for the kind of immersive entertainment that simply can’t be duplicated in the typical home theatres. This trend has only increased the demand that the audio match, or even surpass, the quality of the images on the big screen. Cinema sound has never been bigger or more important. Understanding that, Digital Cinema Report reached out to key manufacturers to learn what developments in sound technology they’ll be highlighting when the exhibition industry gathers next month at CinemaCon 2016 in Las Vegas. In part four of this ongoing series, I spoke with Daniel Saenz, cinema solutions manager, Harman Professional Solutions to get his perspective.
Cinematographer Adam Stone and director Jeff Nichols have been close collaborators since film school and share the same sensibilities, particularly with their preference for the anamorphic format. “Not knowing any better, we shot our first low-budget indie, Shotgun Stories (2007), in widescreen,” Stone said. “That film did better than expected, and we attributed some of its success to the format—widescreen added a weight and elegant stateliness to the story.”
Movie theatres are getting bigger again and exhibitors have learned that audiences are willing to pay for the kind of immersive entertainment that simply can’t be duplicated in the typical home theatre. This trend has only increased the demand that the audio match, or even surpass, the quality of the images on the big screen. Cinema sound has never been bigger or more important. Understanding that, Digital Cinema Report reached out to key manufacturers to learn what developments in sound technology they’ll be highlighting when the exhibition industry gathers next month at CinemaCon 2016 in Las Vegas. In part three of this ongoing series, I spoke with Patrick Artiaga, director, business development, audio solutions, Christie Digital Systems to get his perspective.
AMC’s critically acclaimed Revolutionary War drama Turn: Washington’s Spies transports viewers back to the cities, villages, plantations and battlefields of colonial America. Ensuring that all those locations, their buildings and geographic features are historically accurate, that the ships, flags and musket shots are correctly represented, is the result of careful research and clever work on the part of the show’s production team and visual effects artists from FuseFX.
Movie theatres are getting bigger again and exhibitors have learned that audiences are willing to pay for the kind of immersive entertainment that simply can’t be duplicated in the typical home theatre. This trend has only increased the demand that the audio match, or even surpass the quality of the images on the big screen. Cinema sound has never been bigger or more important. Understanding that, Digital Cinema Report reached out to key manufacturers to learn what developments in sound technology they’ll be highlighting when the exhibition industry gathers next month at CinemaCon 2016 in Las Vegas. In part two of this ongoing series, I spoke with Brian Claypool, senior director strategic business development, digital cinema, Barco to get his perspective.
Movie theatres are getting bigger and exhibitors have learned that audiences are willing to pay for the kind of immersive entertainment that simply can’t be duplicated in the typical home theatre. This trend has only increased the demand that the audio match, or even surpass the quality of the images on the big screen. Cinema sound has never been bigger or more important. Understanding that, Digital Cinema Report reached out to key manufacturers to learn what developments in sound technology they’ll be highlighting when the exhibition industry gathers next month at CinemaCon 2016 in Las Vegas. In part one of this ongoing series, I spoke via email with Jed Harmsen, senior director, cinema products, Dolby Laboratories to get his perspective.
Italian/UK digital media workflow specialist Kiwii Digital Solutions recently managed the production dailies of the new movie Tini: The Big Change in Violetta using the WCPApp from WCPMedia Services. The cloud-based platform made it possible to deliver dailies and other media from the film’s set in Italy to its editorial team in Spain virtually instantaneously, saving significant time and costs.
