The Chicago-based editing, design, and postproduction boutique's The Colonie has added colorist Jennifer Gaida to its staff. Gaida recently worked for Energy BBDO’s Flare and officially joined The Colonie staff at the beginning of the year. She also previously worked at Utopic as both a colorist and editor.
Santa Clarita, California post-production facility Elite Media Technologies has added two Sony BVM-HX310 31-inch 4K high dynamic range master monitors to complement several BVM-X300, 30-inch 4K/HDR OLED reference monitors. The new HX310s work in conjunction with the X300s in critical monitoring situations, mastering and quality control environments and advance Elite’s HDR capabilities by offering support for wider color gamuts and providing up to 1,000 nits of full-screen brightness with a 1,000,000:1 contrast ratio. In addition, the HX310s can be color-matched to the incumbent X300 monitors for accurate color reproduction throughout the facility.
Julien von Schultzendorff is a colorist at nhb studios in Germany, which has Baselight grading facilities in Hamburg, Berlin, Düsseldorf and Munich. He has now been with nhb for five years and is well established in the color-grading scene in Germany. At present most of his work is in high-end commercials, for clients like Mercedes, BMW, Volkswagen, Rimowa, Lufthansa and more. His long-term goal is to work on feature films. At the end of 2019 von Schultzendorff will move to Berlin, where nhb is currently building a new Baselight suite, to work alongside Pana Argueta. His father is cinematographer Wedigo von Schultzendorff and his mother a photographer, so he has virtually grown up on set being surrounded by cameras and film crew and equipment, and learning about the visual appeal of pictures. That experience played a big part in how von Schultzendorff chose a career in color grading. Digital Cinema Report recently spoke with von Schultzendorff and that’s where our conversation begins.
Veteran colorist, Anthony Raffaele, whose work includes Café Society, Mapplethorpe and Fahrenheit 11/9, has joined the finishing staff at Sim New York. With credits spread across features, episodic television and high-end documentaries, Raffaele brings versatility and experience to Sim, along with established relationships with top filmmakers and cinematographers.
Veteran colorist Kevin Michael Kirwan (American Crime Story, American Horror Story) has joined Periscope Post & Audio. Kirwan brings more than 20 years of experience as a senior colorist and credits on more than 40 television series. At Periscope, he will perform final color out of an all-new color-grading suite in Periscope’s facility in Hollywood, which launched earlier this year.
Independent London post house Directors Cut Films – owned and operated by its creative staff – has invested in a Baselight Two color grading workstation with a Blackboard 2 control panel.
Continuing to build the pool of talent at its post-production facility in New York, Sim has hired Lucie Barbier-Dearnley as senior colorist. Barbier arrives from Company 3, London, and brings expansive credits across features, episodic television and documentaries. Her first projects for Sim will include Aggie, a documentary about philanthropist and art patron Agnes Gund; and the feature You Should Have Left for Blumhouse Productions and director David Koepp.
Frame.io, one of the world’s leading video review and collaboration platform used by more than one million filmmakers and media professionals, has hired Michael Cioni as senior vice president of global innovation. Cioni, one of the industry’s most prominent production and post workflow experts, joins Frame.io from international camera company Panavision, where, in a similar role, he spearheaded numerous breakthrough products and workflows, including the Millennium DXL 8K large-format camera system.
MTI Film’s workflow software Cortex v5.2 has been officially certified to support Dolby Vision Content Mapping v4. Cortex can be used to apply Dolby Vision Content Mapping algorithms (v2 and v4) in preparing Dolby Vision interoperable master format packages, and when importing, exporting or modifying Dolby Vision XML and MXF files.
The production of the feature film Brittany Runs a Marathon presented several challenges. The directorial debut of Paul Downs Colaizzo, the film was shot by cinematographer Séamus Tierney, who came to the project late. That was just one of the reasons he was grateful to have the Panavision family of services to back him up, including camera support and Light Iron post-production.