Production & Post-Production

This Sunday, movie fans around the world will turn their attention to the Dolby Theatre in Hollywood to see who the winners of the 88th Academy Awards will be. Meanwhile, the people who run a new website are betting they already know. Billing themselves as the “newest online source for unbiased gambling, reviews and information,” OnlineGambling.lv has posted odds on what to expect for the 2016 Oscars. “The Oscars continue to captivate fans unlike the other awards shows,” said OnlineGambling.lv spokesman Allan Kingsley Jones. “Movies elicit strong emotions that entice fan interaction throughout the nation and across the world.” Here are their choices:

Son of Saul, László Nemes’ Golden Globe winner, is set in the horrors of Auschwitz in 1944. The movie was shot on 35mm film, which underlined its stark and understated look. To capture the emotions that underpin the movie, Nemes set about what seems today like a revolutionary analog to digital workflow: he not only shot the feature on film, but he finished and reviewed it on film, too. Son of Saul is a very raw story. The harrowing story, also nominated for best foreign language Oscar, got its subtle grading atmosphere from one of the FilmLight Baselight suites at Budapest facility Magyar Filmlabor (Hungarian Filmlab). Having achieved the visual style that Nemes and the movie’s DP Mátyás Erdély wanted in the film print, colorist László Kovács set about recreating this in Baselight.

Platige Image has created cinematics for AAA games and commercials for Coca-Cola. It's produced viral teasers for the European Space Agency's Rosetta mission and visual effects for Lars von Trier's Antichrist. It's won two BAFTAs, and has been nominated for an Academy Award, a Golden Palm at Cannes, and a Golden Lion at the Venice Film Festival. And for the last five years the Polish animation and visual effects house has relied on Pipeline FX’s Qube render farm management system. “It's impossible to count how many shots we've rendered through Qube,” says Platige lighting artist Krzysztof Dębski. “It must be in the hundreds of thousands.”

Houses in Motion was called upon by Nick Jr. to produce a playful broadcast package that brightens its young viewers’ winter with a Warm & Fuzzy feeling. The integrated series of promos, IDs, and bumpers features stylized versions of established characters from the network’s popular children’s programming and introduces a new crew of adorable critters. Houses brought their message to life through stop motion animation that echoes the characters’ organic, handcrafted qualities.