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Sue Smith

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  1. HPA (Hollywood Professional Association) has opened the call for applications for the 2022 Young Entertainment Professionals (YEP) program. Since its inception in 2015, the growing YEP program has supported the careers of talented creative, technical, project management and administrative professionals between the ages of 21 and 32 through mentorship, community building and educational offerings. Applications are due Monday, November 8 and applicants will be notified of their status in early December. The 2022 YEP class will begin in January 2022. HPA developed the YEP program to nurture the critically important pipeline of young professionals growing into leadership positions, and YEP alumni continue to move into influential roles in the industry while maintaining their relationship with the program and HPA. An important evolution of the program has been its ability to connect program participants to each other, building a community of peers and a vibrant professional community for its alumni and entering classes. “It has been nothing short of thrilling to see our YEPs making connections with program mentors that may help position them to contribute so much to our industry,” said Kari Grubin, who co-created the YEP program with fellow HPA board member and Women in Post Co-Chair Loren Nielsen. “Each year’s class builds on the work of the previous years which ensures a meaningful return on the investment of their valuable time.” Nielsen noted, “And, equally important, we see that YEP has truly become a community in and of itself where these talented individuals connect and share with each other.” The YEP program provides immersion into HPA’s offerings and the M&E industry. During the first phase of the program (January through June), newly selected YEPs will attend the virtual YEP Orientation Program, followed by a variety of in-person and virtual events throughout 2022 including the celebrated HPA Tech Retreat February 21-24, 2022. YEPs will receive an invitation to all HPA events. YEPS will be expected to attend a minimum of 4 events (virtual and/or in-person) during their program year. The second phase of the program will begin in June. Based on each individual’s participation and overall commitment to the program, each YEP will be evaluated by the mentorship committee for pairing with an industry leader from July to December. All YEPs will continue to have access to YEP and other HPA community events. At the end of the mentorship, YEPs will be evaluated by the mentorship committee for eligibility to receive the Certificate of Completion. Seth Hallen, President of HPA, said “The YEP program is a true example of mutual benefit. It’s a privilege to help these worthy professionals achieve the full reach of their potential, and with their help we are building a better, stronger, more diverse industry. For those considering applying for the program, I can tell you it is absolutely worth every bit of energy you put into it. Please reach out to the HPA team to learn more – we encourage you to take that leap.” To be considered for the YEP program, applicants need to complete an online application and present one letter of recommendation. To learn more about the YEP program and HPA, visit www.hpaonline.com.
  2. LOS ANGELES (September 23, 2021) – The American Society of Cinematographers (ASC) will hold its 36th Annual ASC Awards on March 20, 2022. Recognizing excellence in cinematography, the ASC Awards honor the extraordinary work of directors of photography who have excelled in the art and craft of visual storytelling in feature films, episodics and documentaries. The annual ceremony will be held at the ASC Clubhouse in Hollywood and live streamed worldwide. The organization released its official timeline for entering the feature and television categories of the competition. The deadline for feature film and television submissions is December 5, 2021. To be eligible, a feature film must have a release date between March 1 - December 31, 2021. For any of the TV categories, a show must air or stream between January 1 - November 30, 2021. The four television categories are: • Episode of a One-Hour Television Series – Commercial • Episode of a One-Hour Television Series – Non-Commercial • Episode of a Half-Hour Television Series • Motion Picture, Limited Series, or Pilot Made for TV The ASC will also bestow a Documentary Award and Spotlight Award. ASC members nominate and vote on winners in these two categories. A complete timeline for the 36th ASC Outstanding Achievement Awards and additional details can be found on the ASC website. Key dates include: · Submissions Open for Feature & TV Categories Oct. 4, 2021 · TV Eligibility Period Ends Nov. 30, 2021 · Feature and TV Entries Due Dec. 5, 2021 · Spotlight & Documentary Entries Due (members only) Dec. 13, 2021 · TV Nominations Voting Begins Dec. 15, 2021 · Feature/Spotlight/Docu Eligibility Period Ends Dec. 31, 2021 · Feature Nominations Voting Begins Jan. 10, 2022 · Feature & TV Nomination Voting Closes Jan. 24, 2022 (Noon PST) · Nominations Announced (all categories) Jan. 25, 2022 · Final Voting Begins Feb. 1, 2022 · Student Awards Feb. 26, 2022 · Final Voting Ends March 17, 2022 · 36th ASC Awards March 20, 2022 Honorary awards, including the ASC Lifetime Achievement Award and Board of Governors Award, will also be presented at the awards ceremony. ASC was founded in 1919. There are over 420 members today who have national roots in some 20 countries. More than 250 associate members hail from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com.
  3. Creative production group and communications agency join forces to enhance client offerings ignite strategic communications and Origin Point have announced a formal creative collaboration, designed to provide greater levels of support and broaden services to their respective clients. The agreement expands each company’s unique expertise for connecting businesses, industry creatives and technical experts who elevate what’s possible in entertainment. Andrea Dondanville, executive producer at Origin Point, says, “We’ve worked closely with the team at ignite on a number of projects and see our collaboration as a natural progression. We are excited to leverage their unparalleled skills in – writing, media relations and communications strategy – for our clients’ success.” Origin Point was created in 2019 as RED Digital Cinema’s in-house production company, and from that auspicious start expanded to work with an array of leading brands. The team specializes in high-resolution image capture and workflow, and has travelled the world creating award-winning marketing content. Origin Point represents multiple directors with an array of creative styles to suit their clients’ needs. They have also produced successful feature films, commercials, and documentaries. Their services run the gamut from story development through pre-production, production and post. In addition to their ongoing work with RED, Origin Point clients include Nat Geo, Netflix, Allergan, Theragun, Insta360, Zeiss, and more. The Origin Point team includes Dondanville alongside Creative Directors Clyde Bessey and Jason Mitcheltree. With extensive communication experience in the media and entertainment technology arena, ignite works with leading global companies and creatives as well as an impressive group of industry organizations. The client roster of ignite includes RED Digital Cinema, American Society of Cinematographers (ASC), Hollywood Professional Association (HPA), Sohonet, ACE EditFest, Streamland Media, FotoKem, Association of Moving Image Archivists, Pixelogic, Glendale Arts and Zeiss. ignite excels in strategic communications, media relations, content strategy, event publicity, and developing below-the-line awards campaigns under the management team of Christine Purse, Sally Christgau, and Lisa Muldowney. Purse, president and founder of ignite, notes “We’ve had a truly unique opportunity to tell the story of a revolutionary time of change in the art and technology of storytelling. And that dynamic change is far from over. I know that the talent, vision and skillful execution from the team at Origin Point will help our clients realize their vision and goals. We are delighted to embark on this journey together, and are looking forward to doing great work together.” Origin Point is headquartered in Los Angeles, and ignite is based in North Hollywood.
  4. Séamus MacCormaic has been named executive vice president and managing director of Streamland Media-United Kingdom. MacCormaic previously served as chief financial officer of The Farm, a Streamland Media business. In his new role, he will continue to oversee operation of The Farm which has locations in London, Bristol, and Manchester. MacCormaic will report to Streamland Media Chief Executive Officer Bill Romeo, and The Farm co-founders Nicky Sargent and Vikki Dunn will play a consultative role in shaping the company’s future as members of the Streamland Media board. ‘’It is a privilege to lead The Farm at this time of transition alongside an amazingly strong, dedicated, and talented team,” said MacCormaic. “We are excited to be growing, winning big contracts, and diversifying our revenues. We are looking forward to the future with a great deal of optimism.” MacCormaic has a dedicated team in place who is responsible for maintaining The Farm’s industry leading reputation in providing end-to-end post-production services and innovative workflows for clients including Netflix, the BBC and Channel 4. Paul Austin, previously managing director for The Farm Manchester, has been promoted to managing director of Unscripted. The move is a result of The Farm’s growth and continued expansion in unscripted programming throughout the UK. “It is an incredible opportunity to drive The Farm forward at this time of evolution in the industry,” said Austin. “To work with our outstanding talent pool across the UK supported by the best technical infrastructure on so many brilliant projects is a dream role. I cannot wait to get going.” Adam Morris has been promoted to technical director, which includes leading all technical, IT and engineering functions at The Farm across the UK. With 20-plus years helping lead The Farm’s technical investments, Morris plays a pivotal role in shaping technology solutions that support post-production pipelines, both on-premises and remote. Morris will also help steer technology decisions across the wider Streamland Media group. “This is a fantastic opportunity to help lead technology for both The Farm and Streamland,” said Morris. “The lines for technology in post have never been more blurred. Facility-based and remote working, traditional kit and cloud, and all the workflow and security challenges make navigating this technology space a real challenge and I’m thrilled to be part of it.” Chris Chalmers, head of Partnerships, oversees The Farm's managed service contracts (MSC), working with broadcasters across multiple projects from The Farm and client locations. The Farm is currently embedded in UKTV’s creative services team in Hammersmith, London, and in BBC Sports in Media City, Salford. Further MSC updates will be announced in the coming weeks. “I’m delighted to be heading our MSC department as it goes from strength to strength,” said Chalmers. “Upcoming expansion offers a great opportunity to build and diversify an already strong team. The implementation of exciting new technologies will create a truly unique service for our client partners.” Chris Swan is director of Projects and Innovation for The Farm. Swan is an experienced project manager, and media systems and workflow engineer with 15-plus years of experience in the broadcast industry. His addition is part of The Farm’s commitment to providing location and related post-production services to its client base. “I’m delighted to be joining The Farm’s talented technical team to oversee how we drive technology forward in this period of accelerated change,” said Swan. “I hope to offer clients an industry-leading technical platform on which creatives can build their best work.” The Farm’s recent credits include Formula 1: Drive to Survive Season 3 for Netflix, Spitting Image for BritBox, and The Lateish Show with Mo Gilligan for Channel 4.
  5. 2021 EditFest Global Presents Top Talent from Around the World Panels, networking and conversation set for August 28 and 29 American Cinema Editors’ EditFest Global returns during a virtual event on August 28 and 29, 2021, offering access to the insight and experiences of the world’s finest editors. EditFest Global successfully debuted in 2020 as the online partner to EditFest’s popular in-person events in Los Angeles and London. The lineup for the two-day virtual event features live and prerecorded conversations with an array of the world’s most talented editors working across all genres and outlets. EditFest Global also offers direct interaction with ACE editors, industry experts and a community of attendees in live breakout rooms. The schedule for EditFest Global 2021 is available here. The days kick off at 9:15 am, and end at 2:00 pm PDT, on Saturday and Sunday August 28 and 29. Highlights include: Editing For Musicals Moderated by Carolyn Giardina, Tech Editor at The Hollywood Reporter Kris Fitzgerald – Central Park Ali Greer – Schmigadoon! Alan Heim, ACE – All That Jazz Virginia Katz, ACE – Dreamgirls, Beauty and the Beast Myron Kerstein, ACE – In the Heights, Crazy Rich Asians, tick, tick…Boom Inside the Cutting Room with Bobbie O’Steen: A Conversation with Tom Cross, ACE The author of The Invisible Cut & Cut to the Chase joins the esteemed editor of Whiplash, La La Land, First Man, No Time to Die From Assistant to Editor: Mentoring the Next Generation Moderated by Matt Feury, Senior Director, Artist Relations, AVID Part 1 – The Mentors Alan Baumgarten, ACE – Trial of the Chicago 7, Molly’s Game Ben Bulatao, ACE – Deadliest Catch, Florida Man Melissa McCoy, ACE – Ted Lasso, Whiskey Cavalier Joi McMillon, ACE – Zola, The Underground Railroad, Moonlight Harry Yoon, ACE ­– Minari, Shang-Chi and the Legend of the Ten Rings Part 2 – The Assistants Francesca Castro Irene Chun Christina Mar Daniel Morfesis Art O’Leary, ACE International Partner Program Launch Strengthening the Art of Editing in the Global Film Community Moderated by Jazz Tangcay, Senior Artisans Editor at Variety Panelists: Alexander Berner, ACE – Babylon Berlin, Cloud Atlas, Resident Evil Janus Billeskov Jansen – Flee, Another Round, Pelle The Conqueror Yang Jinmo, ACE – Parasite, Snowpiercer, Train to Busan Soledad Salfate – A Fantastic Woman, Somos., Gloria Bell Michelle Tesoro, ACE – The Queen’s Gambit, Flag Day, When They See Us Over the course of EditFest Global, attendees can sign up to engage in breakout rooms and converse with a world of talented editors: Networking Break-Out Rooms Josie Azzam and Susan E Kim – Discussion with Sally Menke 2020/21 Fellows Patricia Barnett, ACE – iCarly, Everybody Loves Raymond, Call Your Mother Kirk Baxter, ACE – The Social Network, Mank Lillian Benson, ACE – Chicago Med, Maya Angelou: And Still I Rise Avril Beukes, ACE – Respect, Queen Sugar Daysha Broadway, ACE – A Black Lady Sketch Show, Insecure Erika Dapkewicz, ACE – Vivo, Puss and Boots Susan Federman, ACE – How I Met Your Mother, Man with a Plan Dana E. Glauberman, ACE – The Mandalorian, Ghostbusters: Afterlife Yana Gorskaya, ACE – What We Do in the Shadows, Hunt for the Wilderpeople Jessica Hernández, ACE – A Black Lady Sketch Show, Self-Made Charles Little II, ACE – 911, Lone Star Mikkel E.G. Nielsen, ACE – Sound of Metal Julio C. Perez IV, ACE – Euphoria, Malcolm & Marie Stephen Rivkin, ACE – Avatar, Pirates of the Caribbean Molly Shock, ACE – Top Chef All Stars, Rupaul’s Drag Race All Stars Rosanne Tan, ACE – The Falcon and the Winter Soldier, Mr. Robot, Homecoming Frédéric Thoraval, ACE – Promising Young Woman Andrew Weisblum, ACE – The French Dispatch, Black Swan, tick, tick…Boom! Breakout rooms will be moderated by Matthew Allen, Susana Benaim, Alfonso Carrion, Alyssa Donovan, Glenn Garland, Robbie Gibbon, Hailey Ruffner, Kelly Soll, Christina Velez, and Shannon Weiss. As announced earlier, EditFest Global is unveiling its long-awaited International Partner Program during the event. The program is designed to strengthen the art of editing in the global film community with formalized opportunities to be part of ACE. EditFest Global membership is open to all and can be purchased at www.editfestglobal.com. Membership and tickets for both days are $69; tickets for the event alone are available for $40. Valuable membership benefits include 2021 EditFest Global online events; an entire year of content; ongoing offers and discounts from ACE, its partners and sponsors; and a subscription to Cinema Editor magazine. ACE members and current Cinema Editor magazine subscribers can join EditFest Global for free. For further information about participating in EditFest Global, visit editfestglobal.com. For further information about American Cinema Editors, visit americancinemaeditors.com
  6. The industry’s coveted honors for Color Grading, Editing, Sound, VFX accepting entries until July 20, 2021 The 2021 Hollywood Professional Association (HPA®) Awards call for entries for creative categories has opened. For over fifteen years, the HPA Awards have recognized the creative brilliance of the HPA community, honoring artistry in color grading, editing, sound, and visual effects in feature film, episodic, and commercials. A sought-after honor, the HPA Awards have recognized the most compelling and important work from around the world. The HPA Awards successfully pivoted to a popular virtual ceremony in 2020. As the creative community has hoped, the 2021 HPA Awards will again be an in-person celebration. Details for the event will be revealed in coming weeks but the evening promises to deliver an engaging take on the popular event. Submissions for consideration in the creative categories will be accepted between June 11 and July 20, 2021. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 10, 2020 through September 7, 2021. Entrants need not be members of the Hollywood Professional Association or working in the U.S. Submissions are now being accepted in the following competitive categories: Outstanding Color Grading - Theatrical Feature Outstanding Color Grading - Episode or Non-theatrical Feature Outstanding Color Grading - Commercial Outstanding Editing - Theatrical Feature Outstanding Editing - Episode or Non-Theatrical Feature (30 Minutes and Under) Outstanding Editing - Episode or Non-Theatrical Feature (Over 30 minutes) Outstanding Sound (Design, Editing, Mixing) - Theatrical Feature Outstanding Sound (Design, Editing, Mixing) - Episode or Non-Theatrical Feature Outstanding Sound (Design, Editing, Mixing) - Commercial Outstanding Visual Effects - Theatrical Feature Outstanding Visual Effects - Episode or Non-Theatrical Feature (13 Episodes and Fewer) Outstanding Visual Effects - Episode (Over 13 Episodes) The call for entries for the HPA Engineering Excellence Award, honoring products and processes representing outstanding technical and creative ingenuity in media, content production, finishing, distribution, and archive, opened last month and submissions will be accepted until June 24, 2021. The Judges Award for Creativity and Innovation, a juried award, will be announced in advance of the gala. Both special awards will be bestowed during the HPA Awards. Seth Hallen, HPA President and a founding member of the HPA Awards Committee, said: “I am thrilled to open the call for creative categories; this year we have much to celebrate. For the past year and a half, we’ve seen artists face unforeseen difficulties and yet continue to create amazing work. It’s been nothing short of awe inspiring. Our community came together during an unbelievably challenging, and hopefully once-in-a-lifetime crisis. Like their clients, these talented artists continued to do what needed to be done, and to do it creatively. I am looking forward to celebrating the talent and dedication of the artists and companies who persevered, who were flexible and inventive and brilliant. What they have done during the past year is what we will honor this year - it’s truly special and we are going to make this a very special event!" The HPA Awards are made possible through the generous sponsorship of Awards Title Diamond Sponsor Blackmagic Design and Event Sponsors DTS and Zeiss. For sponsorship or program advertising opportunities, contact Joyce Cataldo at jcataldo@hpaonline.com. Complete rules, guidelines and entry information for the creative categories and all of the HPA Awards, as well as a list of previous winners, are available at hpaonline.com.
  7. As production continues to ramp up and content creation for a multitude of platforms increases, industry veteran Andre Trejo has joined FotoKem as vice president of Creative Services, the theatrical dailies and finishing division of FotoKem. The role was previously led by Tom Vice, who moves up to co-chief operating officer, overseeing operations across multiple divisions and business units. The appointments support the company’s commitment to serving filmmakers with industry-leading digital and film post production services. Mike Brodersen, FotoKem’s COO and chief strategy officer, comments, “Tom has played an integral part in Creative Services and having known Andre for many years was tremendously excited with what his expertise and industry relationships bring to the table. We are thrilled to have him aboard.” Since joining FotoKem in 2008, Vice has thoroughly navigated the critical requirements of dailies and creative finishing services. He adds, “Andre’s decades of experience supporting the creative community – including editors, cinematographers and directors – gives us a knowledgeable ambassador to seamlessly guide projects through the creative and technical offerings available at FotoKem.” Trejo has worked closely with some of the most revered feature filmmakers, up-and-coming independents, and top-tier episodic creators in a career spanning over 25 years. He is well known in the industry for his expertise in strategic management, client service, and post-production workflows. Prior to joining FotoKem, he was director of Theatrical Operations at Technicolor, where he managed the Los Angeles facility’s team of DI colorists, editors, and producers, and contributed to the design and implementation of solutions that optimized efficiencies for both clients and staff. Before Technicolor, Trejo oversaw operations for the DI and Mastering divisions of LaserPacific, playing a pivotal role in the company’s transition from servicing primarily film-captured productions to embracing digital acquisition and finishing. For more information, visit www.fotokem.com.
  8. The Board of Governors of the American Society of Cinematographers (ASC) has voted on the organization’s 2021-2022 officers and Stephen Lighthill has been re-elected president. He will serve his next one-year term alongside Vice Presidents Amy Vincent, Steven Fierberg and John Simmons; Treasurer Steven Poster; Secretary Gregg Heschong; and Sergeant-at-Arms Jim Denault. Lighthill was elevated to president last year and previously served in the role from 2012-2013. He and the Board have been guiding the Society through the challenging transitions necessitated by the global pandemic, focusing on helping members learn safe practices on set and sharing those findings with the industry at large. The organization also streamed its annual Outstanding Achievement Awards online for the first time, which was watched by over 4,500 people worldwide. Lighthill notes, “As we safely emerge from the pandemic, we plan to continue to share our expertise on best practices for remote solutions and virtual production in service to the artistic process of filmmaking. We also remain focused on recruiting diverse and inclusive crews as well as supporting underrepresented filmmakers through our scholarship and mentorship programs.” As the Discipline Chair: Cinematography at the American Film Institute Conservatory, Lighthill continually advocates for gender diversity at both the faculty and graduate levels. Additionally, he has served as an officer on the National Executive Board of the International Cinematographers Guild (ICG). Lighthill began his career shooting for San Francisco Bay area news programs and national news shows, such as 60 Minutes. He segued into documentary cinematography, working on many films including Gimme Shelter and Berkeley in the Sixties, which was nominated for an Academy Award® and won the Audience Award at Sundance. His narrative credits include such television dramas as Vietnam War Story, Earth 2, and Nash Bridges, among many others. In 2018, Lighthill was bestowed the ASC Presidents Award. He is also the recipient of the Society of Operating Cameramen’s (SOC) President’s Award in 2000. The ASC strives to serve its mission of inspiring the next generation of cinematographers and advancing the art of filmmaking through many industry events and organizational initiatives. The Society has over 20 committees leading the ASC’s various activities, such as: the Future Practices Committee, which worked tirelessly to assist and advise ASC members and the industry on COVID-19 safety on set; the award-winning Motion Imaging Technology Council (MITC) that promotes ongoing education in the role of technology on the imaging chain, including a focus on virtual production and the new tools available to cinematographers for this creative style of filmmaking; and the Vision Committee, which is actively helping to advance underrepresented cinematographers, their crews and other filmmakers. Other ASC programs include Master Classes taught by members; Clubhouse Conversations with members and filmmakers about highly regarded work; and the activities of the Education & Outreach Committee with film schools. “We are following the recommended health and safety guidelines and look forward to relaunching some our events in person later this year, in addition to reopening our historic clubhouse,” Lighthill adds. ASC was founded in 1919. There are over 420 members today who have national roots in some 20 countries. More than 250 associate members hail from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com.
  9. Colorist Élodie Ichter has joined the roster at Picture Shop, a Streamland Media company providing award-winning post production services. Ichter, who recently collaborated with cinematographer Joshua James Richardson on Oscar®-winning Best Picture “Nomadland” for Searchlight Pictures, will focus on picture finishing for both features and episodic content. “We are delighted to welcome Élodie to the Picture Shop family,” said Sherri Potter, president of Picture and VFX for Streamland Media. “Her international experience will serve our goal of continuing to provide industry-leading picture finishing services to creative clients around the world.” In addition to her work on Nomadland, Ichter recently reunited with Academy Award®-winner Robert Richardson, ASC on Venom: Let There Be Carnage. She previously collaborated with him as associate colorist on Quentin Tarantino's Once Upon A Time… In Hollywood. Ichter began her career at Éclair in Paris, where she focused on the art of color grading in a traditional film environment. During her career she has developed a repertoire of creative skills that are widely respected across the film and television industry. Her credits include Marshall, Okja and The Shallows. Prior to that she assisted on dozens of titles such as The Irishman, The Hunger Games: Mockingjay – Part 1, Maleficent and Snow White and the Huntsman, among others. With a network of creative influences spanning Europe and America, Ichter brings a distinctly collaborative and personable approach to the art of color grading. She is skilled at crafting unique looks that enhance the creative vision set by her clients. "While the industry begins a new chapter after an unprecedented year, I am thrilled to join a team of the most talented and renowned artists and technologists in the world,” said Ichter. “In this time of pivot and growth, I am excited to further expand my craft and help clients bring their stories to life.”
  10. Picture Shop, an award-winning post production house offering comprehensive picture services, and Ghost VFX, a renowned full-service visual effects company, collaborated on the recently released series Shadow and Bone, based on Leigh Bardugo's bestselling fantasy novels. A Netflix production from 21 Laps Entertainment, Shadow and Bone follows mapmaker and orphan Alina Starkov (Jessie Mei Li), who discovers she has extraordinary powers that could greatly impact her war-torn country. As she struggles to perfect her power, she finds that nothing is what it seems and dangerous forces are in play, including a group of charismatic criminals. Showrunner Eric Heisserer tapped director Lee Toland Krieger and cinematographer David Lanzenberg to create the series look over the first two episodes. Picture Shop Senior Colorist Shane Harris, who first collaborated with Krieger and Lanzenberg on Celeste & Jesse Forever (2012), was also brought on board. “Shane has a great eye for palette,” notes Krieger. “He usually knows what David and I want without even having a conversation. Shane also doesn’t like anything that looks too clean or sterile. He’s great at protecting our look.” Principal photography took place at the Mafilm Studio complex in Fót outside of Budapest, Hungary. Before filming began, Harris worked to create LUTs based on film references from the DP and director. “I’ve been lucky enough to work with Lee and David on several projects over the past decade,” says Harris. “Between Lee’s meticulous, clear vision for the look and David’s framing, they’re able to capture so much in-camera that it always makes my job that much easier.” Krieger, Lanzenberg and Harris handled the color finishing out of Picture Shop’s flagship facility in Burbank, with Harris completing SDR and HDR grades in the Resolve. Picture Shop’s Zac Dych handled editorial on the show. Harris also worked closely with Shadow and Bone’s award-winning VFX Supervisor Ted Rae to go through every VFX shot and make them seamless using mattes, simultaneously diffusing to give it an organic feel. For a show of this epic size and scale, numerous vendors delivered 1,700 visual effects shots. Leading the team for Ghost VFX were VFX Supervisors Matt von Brock (Burbank) and Martin Gardeler (Copenhagen). “We reviewed shots every morning together while each location did their own shots,” explains von Brock. “The Shadow Fold is a key visual and critical story element in Shadow and Bone. Ghost created the exterior surface of the Shadow Fold, which has been described in many ways, but the one that sticks most is thinking of the surface of it like the sun. There are millions of constant nuclear reactions keeping it together, but in the case of the Shadow Fold, it is dark energy, not light energy. It’s full of terrors, and the surface consists of a dark penetrable membrane that organically lives while emitting a thick smoke-like particulate. It keeps the evil from within it from escaping.” Ghost VFX producers on Shadow and Bone included David Brown, Cilie Kragegaard, Monique van Buitenen, and Rikke Hovgaard Jørgensen. “Ghost VFX did a lot of work on the Shadow Fold,” describes Krieger, who worked closely with Rae and reviewed the show’s visual effects shots. “Even their first round of something is really exceptional.” To learn more about the making of Shadow and Bone, watch interviews with Krieger, Lanzenberg and Harris here. (https://youtu.be/GtRuZ6DR_fo) Picture Shop and Ghost VFX are Streamland Media companies.
  11. With Oscar® wins in the cinematography and documentary categories last night, productions shot on RED Digital Cinema capped off a successful awards season. Erik Messerschmidt, ASC took the Best Cinematography prize for his glorious black-and-white photography of Mank. Messerschmidt was a favorite going into Sunday night’s ceremony after winning awards from his peers at the American Society of Cinematographers (ASC) and British Society of Cinematographers (BSC). Mank, which took home two Oscars, led all nominations with 10, including a nod for legendary director David Fincher. The Netflix film was shot on a RED RANGER with a HELIUM 8K MONOCHROME sensor. It was the 17th black-and-white film in Academy Award® history to be nominated for cinematography since separate categories for color and black-and-white films were merged in 1967. “We are incredibly proud of Erik on his Oscar win for best cinematography,” said RED Digital Cinema President Jarred Land. “It is a well-deserved recognition for creating truly breathtaking images for Fincher’s Mank. We are honored that he chose to shoot it on RED cameras, and we can’t wait to see what he does next.” Best Documentary winners Pippa Ehrlich, James Reed and Craig Foster collaborated with cinematographer Roger Horrocks on Netflix’s My Octopus Teacher, shot on a RED DRAGON. The touching under-the-sea story has been widely recognized this season, winning BAFTA, ACE, PGA and IDA awards. It also earned nominations from DGA, MPSE, and CAS. Horrocks claimed a Best Cinematography Award for a documentary at the Critics’ Choice Awards. Additional productions shot on RED that received accolades this awards season include Netflix’s The Queen’s Gambit, shot by Steven Meizler on the RED RANGER. The limited series earned Meizler an ASC Award. The show also won DGA, PGA, SAG, Golden Globes, AFI, ACE, ADG and WGA awards, among others. Ammonite, The Dissident, The Last Dance, The Social Dilemma and David Attenborough: Life on Our Planet were also recognized for their achievements.
  12. The virtual presentation of the 35th American Society of Cinematographers (ASC) Awards for Outstanding Achievement in Cinematography takes place on April 18, 2021. Awards for feature film, documentary and television cinematography will be handed out in seven categories (For a full list of nominees, go here). Writer-producer-director Sofia Coppola will also receive the organization’s Board of Governors Award. The live stream takes place at 12:30 pm PDT. For the first time in the history of the ASC, everyone around the globe will be able to share in the online celebration in their time zone: · 12:30 pm Pacific Time (Los Angeles, Vancouver) · 2:30 pm Central Time (Chicago) · 3:30 pm Eastern Time (New York, Atlanta, Toronto) · 8:30 pm GMT (London) · 9:30 pm Central European Time (Paris, Berlin, Prague) · And on April 19 at 5:30 am Australian Time (Sydney) To tune into the live stream of the 35th ASC Awards, register for a high-quality, HD viewing link via Luma or watch it on the American Cinematographer Facebook page.
  13. Picture Shop, an award-winning post-production house offering comprehensive picture services as part of the Streamland Media community of companies, has added distinguished industry colorist Steven Bodner to its roster of artists. Bodner joins Picture Shop as supervising colorist, bringing over 15 years of finishing experience on award-winning episodics and features. “Steve’s artistry and collaborative spirit will be a great addition to our extraordinary creative team,” says Bill Romeo, CEO of Streamland Media. “His immense talent, in addition to his warm personality, have made him a trusted partner of many cinematographers and showrunners. We are excited to welcome him to the Streamland Media community.” Bodner has been nominated for three Outstanding Color Grading Awards from the Hollywood Professional Association (HPA) for his work on the acclaimed series The Marvelous Mrs. Maisel and Vinyl. His extensive credits include the highly lauded The Queen’s Gambit, Ramy, Emily in Paris, Maniac, and True Detective (‘S1’). What the Constitution Means to Me, Selah and the Spades, Can You Ever Forgive Me?, and Beasts of No Nation comprise Bodner’s feature work. A native New Yorker, Bodner was introduced to world of post-production by his father, who owned an offline editorial commercial company. His career began at Nice Shoes, where he ultimately moved up to color assistant. During his time at Deluxe, he transitioned into a finishing colorist role for features. Most recently he was a senior colorist at Light Iron. “I’m excited to be joining Streamland,” adds Bodner. “It offers a unique experience backed by a team of talented creatives and technological experts. I look forward to being a part of their network of global, boutique businesses that set the bar among industry facilities.”
  14. The winners of the 2020 American Society of Cinematographers (ASC) Student Heritage Awards were named Saturday night (February 27) during a virtual presentation. Three student filmmakers were chosen for demonstrating exceptional cinematography skills in their submitted work. ASC cinematographers Paul Atkins, Tommy Maddox-Upshaw and David Stockton presented the awards alongside ASC President Stephen Lighthill, Student Awards Co-Chairs Crag Kief and Armando Salas, and Sony’s Manager of Digital Cinema Camera Sales and Business Development Daniel Perry. As this year’s student awards sponsor, Sony also bestowed gift packages, including Sony cameras, to the nominees and winners. The recorded event will be made available for on-demand streaming on the ASC website and social channels in the coming weeks. Following is the complete list of winners: Michael Chapman Student Heritage Award – Graduate Category: Ai Chung for A Young Tough (Chapman University) Allen Daviau Student Heritage Award – Undergraduate Category: Elias Ginsberg for Milk Teeth (University of Southern California) Haskell Wexler, ASC Student Documentary Award: Melanie Grams for Driven (University of Southern California) Designed to encourage and support the next generation of cinematographers, the annual ASC Student Heritage Awards also celebrate the memory of an ASC member. This year’s Undergraduate Award was named in honor five-time Oscar®-nominee Allen Daviau, ASC (Bugsy, Avalon, Empire of the Sun, The Color Purple, E.T. the Extra-Terrestrial). The ASC Graduate Award recognizes two-time Academy Award nominee Michael Chapman, ASC (Raging Bull, The Fugitive). The Documentary category is enduringly dedicated to multi-Oscar®-winner Haskell Wexler, ASC (Who’s Afraid of Virginia Woolf?, Bound for Glory). Many of those recognized by the ASC Student Heritage Award program since inaugurated in 1999 have gone on to have successful careers in filmmaking, including the Student Awards Committee Co-chairs Craig Kief and Armando Salas, alongside other ASC members Nelson Cragg, Masanobu Takayanagi, and Lisa Wiegand.
  15. The American Society of Cinematographers (ASC) will present writer-producer-director Sofia Coppola with the organization’s Board of Governors Award during the 35th Annual ASC Awards on April 18. The Society bestows the ASC Board of Governors Award to filmmakers for their significant and indelible contributions to cinema through their body of work. It is the only ASC Award not given to a cinematographer and is reserved for industry stalwarts who have been champions for directors of photography and the visual art form. This year, the award is sponsored by Picture Shop, a Streamland Media company. Coppola earned an Academy Award® for Best Original Screenplay as well as Academy Award nominations for Best Director and Best Picture for Lost in Translation (shot by Lance Acord, ASC) in 2004. The film received worldwide recognition from the DGA, WGA, BAFTA, Golden Globes, AFI, Film Independent and the Venice Film Festival, in addition to a host of worldwide honors for the cast and crew. In 2017, Coppola made history as only the second woman to win the Best Director prize at the Cannes Film Festival, and the first woman to win since 1961, for her film The Beguiled (photographed by Philippe Le Sourd, ASC, AFC), starring Nicole Kidman, Kirsten Dunst, Elle Fanning and Colin Farrell. “Beginning with her breakout hit The Virgin Suicides, Sofia Coppola has been a powerful influence in the filmmaking community,” says ASC President Stephen Lighthill. “We’re excited to honor her contributions and celebrate her accomplishments. Her collaborative spirit and imaginative execution puts her at the forefront of a unique cinematic category." Over her 20-year career, Coppola has compiled an illustrious body of work and extensive accolades for her vanguard approach to indie filmmaking. Her directorial debut, The Virgin Suicides with Oscar®-nominated cinematographer Ed Lachman, ASC, won the MTV Movie Award for Best New Filmmaker after screening at the Cannes and Sundance film festivals. She has worked with an array of DPs to bring her dexterous storytelling talents to the screen on such films as Marie Antoinette (Acord), Somewhere (Harris Savides, ASC), The Bling Ring (Savides and Christopher Blauvelt), and A Very Murray Christmas (John Tanzer). She wrote and directed her current film, On the Rocks, starring Rashida Jones, Bill Murray and Marlon Wayans, with Le Sourd returning behind the camera. She is also in development on an adaptation of Edith Wharton’s classic novel Custom of the Country as a limited series for Apple. In addition to her film career, Coppola directed a production of Verdi’s classic, “La Traviata” at the Rome Opera House, for which she teamed up with fashion designer Valentino Garavani and production designer Nathan Crowley. Francis Ford Coppola, Sofia Coppola’s father, received the ASC Board of Governors Award in 1998. Previous recipients also include Jeff Bridges, Angelina Jolie, Denzel Washington, Ridley Scott, Barbra Streisand, Harrison Ford, Julia Roberts, Christopher Nolan, Morgan Freeman, Francis Ford Coppola, Sally Field, Ron Howard, Martin Scorsese and Steven Spielberg, among many others. For information regarding the 35th ASC Awards for Outstanding Achievement in Cinematography, visit www.theasc.com or call 323-969-4333.
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