Jump to content

Sue Smith

  • Posts

  • Joined

  • Last visited

Profile Information

  • Occupation
  • Location
    Hollywood CA

Recent Profile Visitors

39099 profile views
  1. Picture Shop, part of Streamland Media, announced it will open a new dailies facility at Pinewood Studios, just west of London, in early 2022. The new lab will offer a full range of dailies services, including four grading rooms, opportunities to collaborate with creatives from Pinewood’s world-class theatres, and secure, high-speed connections to a cloud-based content management and collaboration system. “Picture Shop Pinewood will bring a global network of talent and technology to the historic Pinewood Studios lot,” says John Fleming, UK managing director for Streamland Media’s Picture Shop. “Based on the growing need for front-end production support, we are building an innovative dailies facility to serve our clients at the highest possible level in an ideal location.” The new lab will be led by Picture Shop Head of Front-End Services (UK) Chris Barrios, who previously led dailies operations for Picture Shop in Los Angeles. Barrios brings more than 20 years of post production experience to his new role; from dailies processing and color, to engineering and facility management. “This is an amazing opportunity to envision, then to build, what we know is needed by a creative community at work around the world,” says Barrios. “Picture Shop services at Pinewood will be supported by a tremendous depth of global talent, backed by our own technological approach all in a new, purpose-built facility.” Picture Shop’s nearly 4,000 square-foot space at Pinewood will initially be able to run up to 10 projects concurrently under studio-level security protocols. The facility will be securely connected to Picture Shop locations around the globe, offering access to the company’s exceptional talent pool. Streamland’s Pulse will offer filmmakers a cloud-based collaboration tool with a worldwide reach. Production, operations, and support teams will be based at the facility, offering 24/7 client assistance. Maintaining the focus on talent and client services, a global roster of award-winning colorists will give filmmakers access to artistry, technical expertise, and industry-leading support from set to screen. Picture Shop’s recent credits include Black Widow, Operation Fortune, Andor, Willow, His Dark Materials and Aladdin.
  2. The Hollywood Professional Association (HPA) has announced the main program for the 2022 HPA Tech Retreat, which returns to an in person event from February 21-24 at the Westin Mission Hills Golf Resort & Spa in Rancho Mirage, CA. Comprised of the main conference program, Supersession, TR-X and the Innovation Zone as well as extensive networking and meeting opportunities that are incorporated throughout the four day event, the Tech Retreat is a limited-attendance event that draws the most prominent creatives, technologists, and executives working in entertainment technology and content creation. Returning to in-person for the first time since February 2020, the 2022 HPA Tech Retreat will adhere to strict health protocols. In cooperation with the venue, the Retreat will be presented in a hotel “Safe Zone” staffed by COVID compliance officers. All attendees must show proof of full vaccination. Masks will be required when not eating or drinking. Attendance is limited and onsite registration will not be permitted. The main program, which will take place the Wednesday and Thursday of the Tech Retreat, is a guided exploration of the issues of importance and concern to the industry and a look at exciting developments in relevant technology. Curated by the Tech Retreat’s legendary technologist Mark Schubin, the program has set the agenda for the industry in many ways over the past 25+ years, and conversations at the event have sparked many advancements. The 2022 main program sessions will include: Wednesday, February 23 Introduction & Technology Year in Review – Mark Schubin CES Review – Peter Putnam, ROAM Consulting Decoding CES 2022: The Consumer Trends That Will Impact the Media and Entertainment Industry – Mark Harrison, DPP Hub Not Home: Why New Ways of Working Aren’t About Covid – Mark Harrison & Rowan de Pomerai, DPP Remote, Mobile, and Live Workflow Innovation Updates – Moderator: Mark Chiolis, Mobile TV Group Media in the Cloud: A Reality Check – Chris Lennon, Ross Video; Renard Jenkins, Warner Media; Mike Strein, Disney/ABC; Mike Palmer, Sinclair Broadcasting; Shawn Maynard, Florical Systems Academy Digital Preservation Forum (ADPF) – Andrea Kalas, Paramount Pictures The Five Golden Rules of Media AI – Rowan de Pomerai, DPP The Creative Impact of AI-Assisted Color Pipelines – Moderator: Michael Chambliss, International Cinematographers Guild; Dado Valentic, Color Intelligence; Michael Gioulakis, Director of Photography; Von Thomas, Digital Imaging Technician; Maxine Gervias, Picture Shop AI-Based Video Codecs and Semantic Video Search – Rob Gonsalves, Avid ML/AI: Pitfalls, Progress & Opportunity – Moderator: Renard Jenkins, Warner Media AI - Winning Bet or Existential Threat? – Rich Welsh, Deluxe Broadcast HDR – Mark Aitken, Sinclair Broadcast Group Display Mapping for Versions – Kevin Wines and Tom Graham, Dolby Laboratories ASC Presentation of Standard Evaluation Material II - The Mission Thursday, February 24 MovieLabs Vision 2030 Update The Definitive Guide to Modern Cloudspotting – Michael Cioni, Frame.io Special Cloud Collaboration Editorial Project – Moderator: Dave Hoffman, Blackmagic Design What Does System Integration Look Like in the Cloud? – Dave Van Hoy, Advanced Systems Group Picture Post in the Cloud: A Case Study – Coordinators: Katie Fellion and Seth Hallen, Light Iron Carbon impact of production – Cedric Lejeune, Workflowers ACES Roundup – Coordinator: Annie Chang, ACES Project Chair Color Processing with OpenColorIO v2 and the Academy/ASC Common LUT Format – Doug Walker, Autodesk Quality Control Across Multiple Grades and Displays – Amaury Louarn, Joachim Zell, & Ronan Boitard, Barco Test Patterns for Reference Monitors – Norm Hurst, SRI International New Pseudo-Logarithmic Function and a New Color Space for Encoding of High-Dynamic-Range Camera Data – Harald Brendel, ARRI SMPTE Update – Thomas Bause Mason, SMPTE Technical Foundations of Non Fungible Tokens for Video Engineers – Michelle Munson, Eluv.io Production WiFi Best Practices – Patrick Sumby, Sohonet Changes to the program and speakers may occur and will be noted on the HPA website. In announcing the program, Mark Schubin said, “I’m always amazed at the submissions we receive, and it’s hard to narrow them down. We’ve got the latest in artificial intelligence and cloud production, of course, but also everything from explanations of the new work environment beyond Covid to the technical foundations of NFTs. Low-earth-orbit satellites? The carbon impact of production? The Academy’s Digital Preservation Forum? It’s all in there.” The main program sessions are the foundation of a full conference offering. HPA has previously announced that the Supersession, taking place on Tuesday, February 22, will focus on virtual production. Further details, including an announcement of the TR-X program (taking place February 21) and breakfast roundtable topics, will follow. The week’s schedule is rounded out with a reimagined Innovation Zone, a welcome dinner, and an afterparty. The schedule for the entire event is available online and will be updated regularly. Seth Hallen, president of HPA, said, “Once again, the Call for Proposals generated more than 100 submissions from the vanguard of the industry. After more than 25 years of the Tech Retreat, experts, creatives and technology companies are waiting for their moment to introduce exciting new work, and Mark, who always has his finger on the pulse, creates a vigorous and vibrant program that generates productive conversation and further discoveries from the material that’s introduced. And of course, we are thrilled to go back to our traditional in-person event and we can’t wait for the community to get together again for an exciting week of networking, learning and collaborating.” Registration is now open for the 2022 HPA Tech Retreat, which takes place thanks to the generosity of diamond title sponsor Adobe; platinum sponsor Equinix; after party sponsor Ateliere; gold sponsors Blackmagic Design, Ross Video, and Wasabi; silver sponsors HammerSpace, Key Code Media, Puget Systems, and Spectra Logic; event sponsor Dell Technologies; and bronze sponsor ZEISS. For information on sponsoring the 2022 HPA Tech Retreat, please contact Joyce Cataldo at jcataldo@hpaonline.com. For more information about the HPA Tech Retreat, visit www.hpatechretreat.com.
  3. December 9, 2021 (Burbank, Calif.) – HPA has announced that the 2022 HPA Tech Retreat Supersession, a daylong immersive exploration of a topic of critical interest to the industry, will focus on virtual production. Helmed by post executive Kari Grubin and ETC’s Erik Weaver, the event will engage participants in a hands-on experience of the promises and challenges of virtual production, from conception through post. Attendees will have direct access to the latest virtual production example environments, including multiple LED walls, cameras and game engines. Attendees will study different pitches, cameras and sensors and their impacts, and examine the engines that power virtual production. The 2022 Supersession will be an invaluable experience for anyone hoping to work in virtual production at any budget in the near future. The Supersession is set for Tuesday, February 22, the second day of the 2022 HPA Tech Retreat (February 21-24). The entire Tech Retreat will take place exclusively in person at the Westin Mission Hills Resort & Spa in Rancho Mirage. Attendees are required to be fully vaccinated and current COVID safety protocols will be enforced. Supersession discussion topics will include: · Understanding the full scope of virtual production: more than the wall · Conception to execution: how to get to stage 1 in the process · Storyboards, animatics, previs, techvis, remote scouting, and more · Introduction to the Virtual Art Department (VAD) and final pixel · The cinematographer and practical considerations · Optimizing dvLED performance for virtual production · On set and the virtual production techs · Practical considerations in virtual production lighting · Post production of virtual production projects from dailies, VFX and sound · The role of trade organizations in supporting virtual production development Grubin said, “It’s critical to embrace the full picture of virtual production and how it affects every stage of production from conception through post. The Supersession we are developing will present an opportunity to experience firsthand the virtual production workflow and allows attendees to experiment with different technologies they may encounter in the field. We are excited to be working with the thought and technology leaders at work in virtual production, and they will be with us at the Tech Retreat to guide the conversation.” Seth Hallen, president of HPA, noted, “The HPA Tech Retreat, and the Supersession in particular, has long offered prescient programming that has prepared our attendees for the technological leaps that await. This program, conceived with great creativity and insight by Kari and Erik, will serve as a launching pad for those of us just getting our feet wet in VP. I’m already looking forward to seeing what people do with the insights gained from Supersession 2022 when we come back together in 2023.” The 2022 HPA Tech Retreat will begin on Monday, February 21 with TR-X, which this year will be a deep dive into the increasing use of cine cameras in sports, event, corporate, and other live productions. Following the Supersession, attendees will enjoy the main program presentations, curated by HPA Tech Retreat Maestro Mark Schubin. In addition to the conference, roundtable discussions guided by industry experts are scheduled, as well as a reimagined Innovation Zone offering first looks at cutting edge technologies. Networking, always integral to the Tech Retreat experience, will be abundant during the four-day event. The schedule for the entire event is available online and will be updated regularly. Registration is now open for the 2022 HPA Tech Retreat, which takes place thanks to the generosity of diamond title sponsor Adobe; platinum sponsor Equinix; after party sponsor Ateliere; gold sponsors Blackmagic Design and Wasabi; silver sponsors HammerSpace, Puget Systems, and Spectra Logic; event sponsor Dell Technologies; and bronze sponsor ZEISS. For information on sponsoring the 2022 HPA Tech Retreat, please contact Joyce Cataldo at jcataldo@hpaonline.com. For more information about the HPA Tech Retreat, visit www.hpatechretreat.com.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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
  9. 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.
  10. 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.
  11. 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.
  12. 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.”
  13. 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.
  14. 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.
  15. 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.
  • Create New...