Tag Archives: The Mill

The Mill’s color team adds long-form work to offerings

The Mill, known for its work on spots, games and music videos, is broadening its offerings to include creative digital intermediate work for feature-length indie projects. This new initiative is being led by Mill colorist and director of DI, Damien Van Der Cruyssen at The Mill’s New York studio. Van Der Cruyssen has worked on features Clown (directed by Jon Watts), Blue Caprice (directed by Alexandre Moors) and the Mick Rock documentary Shot! The Psycho-Spiritual Mantra of Rock (directed by Barney Clay).

“Our passion is for the artistic side of the DI process,” says Van Der Cruyssen. “Being able to work on both commercials and movies is wonderful for a colorist. The variety helps you approach all different kinds of work, with each one giving you new creative skills that you can apply to the other.”

And how does the work differ from spots to long-form? “In commercials, I finesse every shot and push the boundaries to create the desired emotion and have an impact,” says Van Der Cruyssen. “For features, it’s more about letting the grade develop over time and building it around the arc of the story.”

L-R: Damien Van Der Cruyssen and Dee Allen.

Dee Allen, who was promoted to global color director back in July, calls this expansion of services a natural progression. “Our team collaborates with world class directors and DPs, and this allows us to extend the collaboration into features. In New York, we are also supported by our relationship with Technicolor PostWorks, providing an end-to-end solution to clients across all aspects of DI workflow and final deliverables. Of course, we’ll continue to grow our commercial and music video work, finding creative opportunities across all media.”

DI color work will be also available at other Mill studios in the moviemaking hubs of London and Los Angeles, as well as the burgeoning industry in Chicago. Additionally, filmmakers can work from any Technicolor location across the globe, either using The Mill’s remote network or by flying the talent into, for example, Montreal, Toronto or Vancouver.

Mill Color’s latest feature work can be seen in Barry (our main image), a biopic of outgoing US President Barack Obama set during his time as a college student in New York City. Released mid-December on Netflix, the film was directed by Vikram Gandhi and colored by Van Der Cruyssen.

Mill colorists already have experience working on features. Recently, head of color in NYC Fergus McCall graded The Greasy Strangler (directed by Jim Hosking) and colorist Mikey Rossiter completed work on Burn Country (directed by Ian Olds). In Chicago, head of color Luke Morrison graded Among Wolves (directed by Shawn Convey). In London, colorist Mick Vincent has done work for leading long-form TV shows including Dr. Who and Merlin. The team also has a successful history working with feature directors and DPs on commercials, including Guy Ritchie, Rupert Sanders, Tom Hopper, Peter Berg and Wally Pfister.

 

Technicolor buys VFX house The Mill

Technicolor has purchased London-based The Mill, a large visual effects and content creation studio for the advertising industry, for €259 million ($292 million) on a debt-free basis.

Founded in 1990, The Mill has been providing high-end visual effects for both advertising agencies and brands, and has earned in excess of 1,000 industry awards. It has operations in the key markets of London, New York, Los Angeles and Chicago.

According to Technicolor, this acquisition accomplishes many objectives set out in Technicolor’s Drive 2020 strategic roadmap:
·     It establishes visual effects and digital creation across all segments of high-end content, including cinema, TV and advertising.
·     It reinforces Technicolor’s portfolio of brands, including MPC, Mr. X and Mikros Image servicing a broad range of customers across 10 global locations.
·     It brings talent and expertise around emerging technologies such as virtual reality content that will enable Technicolor’s to enhance its technology platform across the entire industry.
·    It adds significant financial contribution with a business that has grown revenues at a 16% CAGR since 2009 to reach €135 million in 2014 while delivering EBITDA margins of approximately 20 percent.
·     It allows Production Services to better balance its portfolio through increased exposure to advertising and strengthens the financial profile of the Entertainment Services segment. With this acquisition, Production Services accounts for approximately 40 percent of Entertainment Services revenues.

Tim Sarnoff, president of production services and deputy CEO at Technicolor, wrote this about the acquisition in his blog:

“For a company like Technicolor, this phenomenon is a terrific opportunity to focus on our established strengths as a creative technology company and to invest further in the talent and resources that will help drive this evolving definition of artistic and persuasive storytelling.  Today’s acquisition of The Mill is aligned to the growing demand for premium content and creation of new consumer experiences.

Tim Sarnoff

Tim Sarnoff

The Mill is a leading provider of VFX content creation for the advertising, gaming and music industries. The Mill’s leading position in the global advertising VFX/post-production market aligns to our desire for immediate scale. Their investment in developing and producing content in emerging spaces (they partnered with Google’s Advanced Technology and Projects group on a five-minute live-action virtual reality short film) also complements our company-wide efforts in these technologies. The Mill and their passionate talent are constantly pushing the frontiers of visual narrative, which means they will avidly leverage the technical chops of Technicolor to create new solutions for their clients.

“Equally, The Mill’s push into the content creation space, working closely with agencies to develop and realize their more technically complex ideas and stories, provides Technicolor visibility further upstream in the content creation value chain. 

“With this acquisition Technicolor will extend its current position and technology know-how in VFX to rapidly capture further market share within the advertising and branded experience sector.”

To read Sarnoff’s entire blog click here.

2015 AICE Awards: Cut + Run’s Sam Ostrove wins Best in Show

At the 2015 AICE Awards, held May 14 at the Skirball Center in Los Angeles, the four-minute Volvo Vintersaga (pictured below) film from the Swedish ad agency Forsman & Bodenfors, edited by Sam Ostrove of Cut + Run, was named Best in Show. The film also won Ostrove the AICE Award in the Automotive category.

AICE Best in Show Vintersaga from VolvoAICE_BestInShow_Vintersaga_Volvo3main

Editors Graham Chisholm of Married to Giants, Chris Franklin of Big Sky Editorial, Joe Guest of Final Cut, Nadav Kurtz of Cutters and Adam Pertofsky of Rock Paper Scissors each won two AICE Awards. Chisholm won in the Public Service category for work for Cundari’s CIBC Run for the Cure and in Best of Toronto for the Toronto Raptors. Franklin won in the Dialogue/Monologue/ Spoken Word category for American Express and in National Campaign for E*Trade. Guest won in the Montage category for Lurpak and in Storytelling for John Lewis. Kurtz won in the Online Campaign category (which he shared with Cutters editor Cameron Yergler) for CVS and in Under 50K for Wingmate. Pertofsky won in the Fashion/Beauty and Best of Los Angeles categories for his work for Levi’s.

Rock Paper Scissors editor Damion Clayton won for a Beats by Dre spot in the Alternative Media – Over :90 category while editor Biff Butler won in the Best of New York category for work for Adidas.

Beast editors took home three AICE Awards: Blake Bogosian won in the Alternative Media Category — :90 and Under category for Johnny Random; Karen Kourtessis won in Comedy for Hayden 5’s Hello Flo; and Jai Shukla won in Spec Spot for New Balance. Cutters editors were recognized with three AICE Awards; in addition to the winners for Kurtz and Yergler, editor Louis Lyne won in the Best of Detroit category for Ford.

The Mill editor Adam Scott won in the Color Grading category for Axe White Label, while the company’s Lisha Tan and Andrew Proctor won in the Design category for work for the Texas Lottery. Winning the Visual Effects award were Phil Crowe, Chris Bayol, Robert Sethi, Becky Porter, and Jacob Bergman for their work for DirecTV.

The full list of winners is available online at http://www.aice.org/?section=events/aice_awards_show/winners/&view_by=year:::2

Paul Marangos brings his Flame expertise to Hooligan in NYC

Paul Marangos has joined New York editing and VFX boutique Hooligan as senior visual effects Flame artist. He has over 20 years of post experience, with an eight year tenure at The Mill and stops at London’s Cell, LA’s The Finish Line, Johannesburg’s Blade and Scarlet in NYC.

He has already wrapped up several projects with Hooligan, including commercials for Citi and Match.com, and Indrani’s short film Crescendo, curated by Pepsi in conjunction with the 2014 FIFA World Cup.

Match

“I’ve always enjoyed working with editors, and Hooligan provides me the opportunity to step out of traditional facilities and work directly with them in order to continue doing what I do best,” says the South African born Marangos.

“Paul always seems to be way ahead of me,” adds Kane Platt, president/senior editor at Hooligan. “He always knows what I’m working on and what the creative challenges are, and will call me into to his room to look at wonderful visual ideas before I’ve even started cutting. It’s an enthusiasm that one rarely finds — and it usually leads to great things.”

Over the years Marangos has contributed to commercials for brands such as Nike, BMW, Taco Bell, Lexus, Honda, Guinness, Cadburys, Samsung and Pepsi. His advertising reel is highlighted by Nando’s Cannes Lion-honored “Dictator” campaign and FNB’s 2010 World Cup ad in which he seamlessly composited a full stadium using only 150 people.

Marangos has also worked on graphics packages for major networks and TV shows, including the Sucker TV, and the 2001 feature film “Hannibal. His special effects work can be found in music videos for Oasis (Right Here, Right Now) and Mariah Carey (My All), as well as Björk, Madonna, Goldfrapp, Kyle Minogue, Radiohead and Elton John.

Meet The Artist: Sandra Dow

Behind the Title…

The 20-year vet of The Mill couldn’t live without a kettle, DVR and an encoder… oh, and she likes sleep!

Sandra

NAME: Sandra Dow

COMPANY: The Mill (@millvfx) in Los Angeles

CAN YOU DESCRIBE YOUR COMPANY?
The Mill in Los Angeles has been producing visual effects content and imagery for commercials and films since 2007

WHAT’S YOUR JOB TITLE? 
Head of MCR  (Master Control Room)

WHAT DOES THAT ENTAIL?
The Machine Room is responsible for everything that enters or leaves The Mill. I would like to think we are the heart of The Mill, without us, the building couldn’t run. It might not be the most glamorous job, but we make sure that all the months/day/hours of creative hard work actually reach your TV/computer screen looking the best they possibly can and on time.

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