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Sue Smith

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  1. 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.
  2. 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.
  3. 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.
  4. 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.”
  5. 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.
  6. 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.
  7. 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.
  8. 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.”
  9. 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.
  10. 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.
  11. Online Interview Series Features Filmmakers Discussing the Art and Craft of Visual Storytelling The American Society of Cinematographers (ASC) resumes its popular Clubhouse Conversations series this month, featuring insightful interviews with leading filmmakers discussing their creative process. The online video conversations highlight a wide array of award-contending productions. Moderated by ASC members, the in-depth discussions explore the cinematographer’s experience, and, in some instances, include their collaborators. Clubhouse Conversations are accessible on the American Cinematographer website and through its social media channels (Twitter, Facebook, Vimeo, and Instagram) for free. For more than 100 years, the ASC’s mission has been to advance the art of cinematography. Clubhouse Conversations are one of several outreach initiatives by the society to connect filmmakers and fans of cinematography with some of the top creative visual talent in the industry. This new season of Clubhouse Conversations kicks off on December 28 with a look at the making of the controversial documentary The Dissident with director of photography Jake Swantko and director Bryan Fogel. The two previously collaborated on the Oscar®-winning documentary Icarus. The initial lineup – with more to come – is expected to include: · Cherry with Newton Thomas Sigel, ASC · Fatale with Dante Spinotti, ASC, AIC · Judas and the Black Messiah with Sean Bobbitt, BSC · Mank with Erik Messerschmidt, ASC · Nomadland with Joshua James Richards · One Night in Miami with Tami Reiker, ASC · Small Axe with Shabier Kirchner · Sound of Metal with Daniël Bouquet, NSC and composer/supervising sound editor Nicolas Becker · The Midnight Sky with Martin Ruhe, ASC · The Mauritanian with Alwin Kuchler, BSC and director Kevin Macdonald · Waiting for the Barbarians with two-time Oscar winner Chris Menges, ASC, BSC A venerable group of award-winning ASC members will conduct the discussions, including Rodrigo Prieto, Lawrence Sher, Eric Steelberg, Buddy Squires, David Mullen, James Laxton, Patti Lee, Armando Salas, John Bailey, Richard Crudo, and Amy Vincent, among others. Clubhouse Conversations will run December 2020 through April 2021. Episodes will go live as they are produced, with a scheduled release of one to three per week. Guests and moderators are subject to change based on availability. To watch the most recent episodes of Clubhouse Conversations, visit the American Cinematographer website here.
  12. The American Society of Cinematographers (ASC) will celebrate the 35thASC Outstanding Achievement Awards on April 18, 2021. The annual ceremony will be streamed live from the ASC Clubhouse in Hollywood, with plans for a simultaneous in-person component to be determined at a later date. “The ASC Awards recognize the finest work of the year and its exceptional creators,” notes ASC Awards Co-Chair Dana Gonzales. “We look forward to celebrating the exceptional visual art of the many talented cinematographers contributing to the stories that are entertaining us through these unprecedented times.” The organization has also officially opened the call for entries in four television categories: · 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 deadline to enter is January 8, 2021, by 5 p.m. PST. To qualify, shows must have a premiere date in the United States between October 1, 2019, and December 31, 2020. The shift in the eligibility period reflects adjustments for the new awards date. Entry forms can be filled out online here on the ASC website. In addition to the TV categories, the ASC Awards recognizes outstanding cinematography in feature films and documentaries. The Spotlight Award, introduced in 2014, recognizes cinematography in features that typically screen at film festivals, internationally or in limited theatrical release. The ASC Documentary Award recognizes exceptional cinematography in nonfiction filmmaking. ASC members nominate and vote on winners in both categories. Movies that qualify for the Academy Awards® under their new eligibility guidelines for 2021 will also qualify for the ASC Theatrical Award. A complete timeline for the 35th ASC Outstanding Achievement Awards, can be found here on the ASC website. There are currently 415 active members of the ASC, who have national roots in some 20 countries. There are also 260 associate members from ancillary segments of the industry, and eight honorary members. For additional information about the ASC, visit www.theasc.com. #
  13. LOS ANGELES (October 13, 2020) – The American Society of Cinematographers (ASC) announces the return of its popular ASC Master Class series as a virtual offering. The newly configured course consists of a three-day online seminar with live interactions and Q&A discussions. The first class is set to resume Oct. 30 with ASC instructors Larry Fong, ASC (300, Watchmen, Super 8, Kong: Skull Island), M. David Mullen, ASC (two-time Emmy® Award winner for The Marvelous Mrs. Maisel) and Lawrence Sher, ASC (Oscar® and ASC Award nominee for Joker, The Hangover trilogy). ASC Master Classes are interactive courses taught by members representing some of the world’s top working cinematographers. Limited to 30 participants, the class is designed for cinematography students with an intermediate skill set and focuses on advancing their understanding of the art of visual storytelling. Instructors also analyze the creative work of filmmakers that are relevant to the coursework. “Since 2013, ASC Master Classes have been held in person at the ASC Clubhouse in Hollywood, as well as other international locations, offering students a unique opportunity to interact directly with ASC members and learn new creative techniques,” notes Shelly Johnson, ASC, who worked with fellow members Steven Fierberg, ASC and Mullen to re-invent the experience online. “Our hope is to transition that signature learning format into virtual interaction for a global audience. We’re excited to relaunch this educational trademark of the Society and hope to attract an even broader sector of students interested in learning more about cinematography from our accomplished members.” The online event will include live instruction, pre-recorded lighting demonstrations, selected film clips, and group discussion periods. Classes will run about 3.5 hours per day, at a time that is friendly for an international audience. Registration is now open for students worldwide. All instruction will be in English. The price of participation is $750 USD, and the deadline to register is October 26. Dates for additional courses will be announced as ASC instructors are confirmed. For more information, visit www.theasc.com.
  14. RED DIGITAL CINEMA®’s new KOMODO™ 6K camera system is now available to order. The highly anticipated KOMODO 6K comes to market after extensive engineering to incorporate production-tested innovations, including a breakthrough global shutter sensor (27.03mm x 14.26mm) that maintains RED’s high standard of image quality and dynamic range. The camera is packaged in a small 4-cubic-inch (101.6 mm) form factor and weighs only 2.1 pounds (0.95 kgs). Joining RED’s product lineup in its own category, KOMODO includes an enviable list of features designed for professional filmmakers and content creators who want high-end visuals in an easy-to-use, compact, and versatile camera. “KOMODO has turned into quite the beast,” says Jarred Land, President of RED Digital Cinema. “This tiny chameleon of a camera packs in amazing resolution, dynamic range and image quality with a global shutter that has allowed filmmakers to capture footage in ways never thought possible.” KOMODO captures 6K at 40 fps, 6K WS at 50 fps, and 4K at 60 fps. Highlights of the camera include an RF mount for users to leverage adaptors for EF, PL and other lens systems, including anamorphic lenses, for maximum creative flexibility; a phase-detect based autofocus control on the integrated, color LED touchscreen display that simplifies monitoring and menu navigation; and new streamlined REDCODE® RAW settings (HQ, MQ, and LQ compression options) enhancing the user experience for various shooting needs. Additional features include compatibility with CFAST 2.0 recording media, 4K SDI output, built-in wireless capabilities, and connectivity via the all new RED Control app, which is available now for iOS devices and coming soon on Android. KOMODO comes to market after extensive testing by many of the industry’s leading creatives, among them, renowned filmmaker Michael Bay, avid storyteller and artist Jason Momoa, and Emmy-nominated cinematographer Erik Messerschmidt, ASC. “The sensor is beautiful,” says Bay. “I always wanted something this small, this sophisticated in terms of a high-quality image. It’s very lightweight; very handheld.” Messerschmidt notes, “There is no other camera on the market with a global shutter that is this size and this versatile. And yet there are no quality compromises.” Momoa put the KOMODO camera to the test in the frozen tundra of New Jersey while shooting footage for Harley-Davidson. On the size and quality of the camera, he remarks, “It’s like cinema in the palm of your hands.” Additionally, a dedicated community of partners worked with RED to bring KOMODO and KOMODO accessories to market, including Angelbird, CoreSWX, Fool Control, Gates Housing, KipperTie, SmallHD, and Wooden Camera, among others. Adobe, DaVinci Resolve, Final Cut, Assimilate, Autodesk, Avid, and Colorfront all offer post-production support for KOMODO via RED’s latest SDK. Priced at $5,995, the groundbreaking KOMODO is ideal for a wide range of filming situations. Studio productions can use KOMODO as a B, C, or D camera. Its small size also makes it a natural fit for gimbals, drones, cranes, remote heads, and more. For content creators at all levels, KOMODO’s user-friendly system combined with RED’s unrelenting commitment to image quality provides the ability to ramp up production value, or easily venture into the RED ecosystem for the first time. The KOMODO 6K includes: • KOMODO 6K camera brain • AC power adaptor 45W • 1x RF to EF mechanical lens adapter • Mini world travel adaptor kit RED is also launching two pre-bundled pack options: • KOMODO Starter Pack ($7,200) This pre-bundled setup is perfect for content creators and run and gun operators. Including KOMODO 6K with the Wing Grip and RF to EF adapter with ND filter. Also included is media and media reader, as well as a PTap-to-power cable and timecode cable. • KOMODO Production Pack ($8,200) This includes everything from the Starter Pack plus additional production-level accessories including the Expander Module and Outrigger Handle. Several accessories are also available from RED to customize the KOMODO, including the Outrigger Handle, an Expander Module, a Wing Grip, Link Adaptor, RED® CFast 2.0 Card Reader, and RED® PRO CFast 512GB, among other ancillary components. KOMODO, the KOMODO packs, and accessories are initially available to order at Red.com/Komodo or RED Premium Dealers. Customers can also visit any one of the RED Premium dealers across the globe to schedule a demo and learn more about the product.
  15. LOS ANGELES (Oct. 6, 2020) – Moxion, creator of the revolutionary Moxion Immediates®, solution, its 'instant dailies' service platform, announced the integration of Dolby Vision®, Dolby’s advanced imaging technology that combines high dynamic range (HDR) with wide color gamut (WCG) capabilities for next-level visual storytelling. With the ability to monitor in Dolby Vision for remote cuts, color, dailies and VFX review, key creatives are now empowered to make decisions based on the image the director, colorist and cinematographer envisioned. Dolby Vision support will be available to users with compatible devices through the Moxion app on iOS, iPadOS, and tvOS. Increasingly, productions are shooting and monitoring on set in HDR, which is fueled by demand from leading content providers and streaming services. With many films and TV shows being shot simultaneously across multiple units and countries, being able to monitor in Dolby Vision, enables robust feedback and certainty of creative intent across all units. “Moxion is proud to be a pioneer with Dolby on the end-to-end integration of incredible Dolby Vision into the moving image production process,” says Hugh Calveley, CEO of Moxion. “Your Dolby Vision assets can be ingested, transcoded, and played back with the secure, high-speed Moxion ecosystem. Dolby Vision, plus Moxion’s ability to make frame accurate annotation and comments, gives certainty to the colorist, editor and VFX team that feedback is against their original creation.” Dolby Vision transforms entertainment through vivid, lifelike picture quality with highlights that are up to 40 times brighter and blacks are 10 times darker than a standard picture. Images blaze brightly from the screen and highlights dazzle. The combination of sharper contrast, true blacks, and nuanced shadow details add an amazing sense of depth. Additionally, the greatly expanded color palette of Dolby Vision adds true, distinctive colors across a wider brightness range. This means that subtle or muted colors look as real as bright, vibrant colors. Moxion’s integration of Dolby Vision into its platform will provide the production, post and visual effects communities with unmatched control over the image. Unlike HDR10, Dolby Vision allows DPs and colorists to adjust details for individual scenes on a frame by frame basis down to the exact frame. The need for such a solution is even more urgent during production in the current pandemic. Reduced numbers on-set and remote distributed workflows are the new normal, and Moxion’s support for Dolby Vision is the perfect solution to ensure that all participants are seeing identical images. Calveley adds, “Covid has forced the industry into innovating ways to sign off on cuts, VFX and color grades in scenarios where you can’t bring people into the same room. Dolby Vision guarantees that everyone is making creative decisions based on the same image.” # About Moxion Moxion was created in New Zealand in 2015, by founders experienced in film and TV, to help filmmakers make better films. Today they are based in Los Angeles with a team across the world, ensuring their customers benefit from 24/7 support, no matter where they are producing content. Their robust dailies and revolutionary Moxion Immediates platform have been put to the test by some of the biggest names in filmmaking, in some of the most complex and challenging productions, across the globe. More information available at https://www.moxion.io/
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