Tag Archives: Film

Luke Scott to run newly created Ridley Scott Creative Group

Filmmaker Ridley Scott has brought together all of his RSA Films-affiliated companies together in a multi-business restructure to form the Ridley Scott Creative Group. The Ridley Scott Creative Group aims to strengthen the network across the related companies to take advantage of emerging opportunities across all entertainment genres as well as their existing work in film, television, branded entertainment, commercials, VR, short films, documentaries, music video, design and animation, and photography.

Ridley Scott

Luke Scott will assume the role of global CEO, working with founder Ridley Scott and partners Jake and Jordan Scott to oversee the future strategic direction of the newly formed group.

“We are in a new golden age of entertainment,” says Ridley Scott. “The world’s greatest brands, platforms, agencies, new entertainment players and studios are investing hugely in entertainment. We have brought together our talent, capabilities and creative resources under the Ridley Scott Creative Group, and I look forward to maximizing the creative opportunities we now see unfolding with our executive team.”

The companies that make up the RSCG will continue to operate autonomously but will now offer clients synergy under the group offering.

The group includes commercial production company RSA Films, which produced such ads such as Apple’s 1984, Budweiser’s Super Bowl favorite Lost Dog and more recently, Adidas Originals’ Original is Never Finished campaign, as well as branded content for Johnnie Walker, HBO, Jaguar, Ford, Nike and the BMW Films series; the music video production company founded by Jake Scott, Black Dog Films (Justin Timberlake, Maroon 5, Nicki Minaj, Beyoncé, Coldplay, Björk and Radiohead); the entertainment marketing company 3AM; commercial production company Hey Wonderful founded by Michael Di Girolamo; newly founded UK commercial production company Darling Films; and film and television production company Scott Free (Gladiator, Taboo, The Martian, The Good Wife), which continues to be led by David W. Zucker, president, US television; Kevin J. Walsh, president, US film; and Ed Rubin-Managing, director, UK television/film.

“Our Scott Free Films and Television divisions have an unprecedented number of movies and shows in production,” reports Luke Scott. “We are also seeing a huge appetite for branded entertainment from our brand and agency partners to run alongside high-quality commercials. Our entertainment marketing division 3AM is extending its capabilities to all our partners, while Black Dog is moving into short films and breaking new, world-class talent. It is a very exciting time to be working in entertainment.”

 

 

 

 

 

Milk provides VFX for Adrift, adds new head of production Kat Mann

As it celebrates its fifth anniversary, Oscar-, Emmy- and BAFTA-winning VFX studio Milk has taken an additional floor at its London location on Clipstone Street. This visual effects house has worked on projects such as Annihilation, Altered Carbon and Fantastic Beasts and Where to Find Them.

Milk’s expansion increases its artist capacity to 250, and includes two 4K FilmLight Baselight screening rooms and a dedicated client area. The studio has upgraded its pipeline, with all its rendering requirements (along with additional storage and workstation capacity) now entirely in the cloud, allowing full scalability for its roster of film and TV projects.

Annihilation

Milk has just completed production as the main vendor on STXfilms’ new feature film Adrift, the Baltasar Kormákur-directed true story of survival at sea, starring Shailene Woodley and Sam Claflin. The Milk team created all the major water and storm sequences for the feature, which were rendered entirely in the cloud.

Milk has just begun work on new projects, including Four Kids And It — Dan Films/Kindle Entertainment’s upcoming feature film — based on Jacqueline Wilson’s modern-day variation on the 1902 E Nesbit classic novel Five Children And It for which the Milk team will create the protagonist CG sand fairy character. Milk is also in production as sole VFX vendor on Neil Gaiman’s and Terry Pratchett’s six-part TV adaptation of Good Omens for Amazon/BBC.

In other news, Milk has brought on VFX producer Kat Mann as head of production. She will oversee all aspects of the studio’s production at its premises in London and at their Cardiff location. Mann has held senior production roles at ILM and Weta Digital with credits, including Jurassic World: Fallen Kingdom, Thor: The Dark World and Avatar. Milk’s former head of production Clare Norman has been promoted to business development director.

Milk was founded by a small team of VFX supervisors and producers in June 2013,

HPA Award noms and reactions

The Hollywood Post Alliance (HPA) has announced the nominees for the 2015 HPA Awards, which recognize outstanding achievement in Editing, Sound, Visual Effects and Color Grading for work in television, commercials and feature films. The winners of the 10th Annual HPA Awards will be announced at a ceremony on November 12, 2015, at the Skirball Cultural Center in Los Angeles.

The 2015 HPA Award nominees are:

Outstanding Color Grading – Feature Film

Monsoon
Charles Boileau // Post-Moderne

The Boxtrolls
John Daro // FotoKem

Whiplash
Natasha Leonnet // Modern VideoFilm

Outstanding Color Grading – Feature Film

Lady of Csejte
Keith Roush // Roush Media

Steve Scott at last year's awards. Photo: Capture Imaging/Ryan Miller

Steve Scott at last year’s awards. Photo: Capture Imaging/Ryan Miller

Birdman
Steven J. Scott // Technicolor
“I’m incredibly honored and grateful to be nominated for this year’s HPA Award for Outstanding Color Grading -Feature Film,” says Scott. “I remember how dumbfounded I was when I first talked with cinematographer Chivo Lubeski about Birdman, and he told me, ‘The whole movie is basically one long shot.’ Through previous experience with this amazing DP, I knew that we would be asked to carry out many complex tasks on any particular moment along this fluid, hand-held continuum of a movie. How do you even begin to sort that out in the DI? To my knowledge, no DI had ever been done on a movie that was a single long shot. There was no precedent, and no one to ask for advice. We had to create a new way of working. That was the biggest challenge of this project, and working that challenge out to help Chivo and Alejandro realize their original creative vision was the most gratifying, rewarding part of my experience with Birdman.”

Outstanding Color Grading – Television

Olive Kitteridge – Incoming Tide 
Pankaj Bajpai // Encore

Boardwalk Empire – Golden Days for Boys and Girls  
John Crowley // Technicolor PostWorks NY

John Crowley

John Crowley

Golden Days for Boys and Girls was Episode One of Season 5, which was my first encounter of the series,” explains Crowley. “I was a new member of such an outstanding and established team and I knew I had to be on top of my game. It was a great challenge as a colorist to try to carry on the feel and unique looks that were established from the past four seasons, and now to be nominated for my work is such a gratifying feeling.

“I’d like to thank Brad Carpenter, one of the shows producers, for having the confidence in me to make that happen. I’d also like to thank the director of the show, Timothy Van Patten, and the cinematographer of this episode, Jonathan Freeman. It was such a great honor and privilege to be associated with such distinguished members of our industry.”

Sense8 – What’s Going On? 
Tony Dustin // Technicolor

Game of Thrones – Hardhome
Joe Finley // Chainsaw

Masters of Sex – A Parliament of Owls
Matt Lear // Sony Pictures Television

Outstanding Color Grading – Commercial   

Toyota – Harrier 
Siggy Ferstl // Company 3

Lexus – Face Off
Dave Hussey // Company 3

Dodge – Wisdom
Beau Leon // Company 3

Lincoln – Intro
Tom Poole // Company 3

Caterpillar – Lantern Festival
Rob Sciarratta // Company 3

Outstanding Editing – Feature Film 

Selma
Spencer Averick

American Sniper
Joel Cox, ACE; Gary Roach, ACE

Whiplash

Whiplash
Tom Cross, ACE

The Imitation Game
William Goldenberg, ACE

Interstellar
Lee Smith, ACE

Outstanding Editing – Television

Foo Fighters: Sonic Highways – Austin
Scott D. Hanson // Therapy Studios

Vice on HBO – Cold War 2.0
Rich Lowe

Foo Fighters: Sonic Highways – Nashville
Kristin McCasey // Therapy Studios

House of Cards

House of Cards – Chapter 32
Cindy Mollo, ACE // Netflix

Game of Thrones – Hardhome
Tim Porter // Beyond the Wall Productions, Inc.

Outstanding Editing – Commercial

Adidas – Takers
Steve Gandolfi // Cut+Run

Fiat – Alive
Kristin McCasey // Therapy Studio

Skullcandy – Push Play
Doobie White // Therapy Studios

GNP Seguros – World Cup
Doobie White // Therapy Studios

Google – Young Together
Miky Wolf // Big Sky Edit

Outstanding Sound – Feature Film

Interstellar
Richard King, Gary Rizzo, Gregg Landaker, Mark Weingarten // Warner Bros. Post Production Services

Mad Max: Fury Road
Mark Mangini, Scott Hecker, Chris Jenkins, Gregg Rudloff // Warner Bros. Post Production Services

American Sniper
Alan Murray, Tom Ozanich, John Reitz, Gregg Rudloff // Warner Bros. Post Production Services

Birdman
Jon Taylor, Frank A. Montano, Martin Hernandez, Aaron Glascock // NBCUniversal StudioPost

Unbroken
Jon Taylor, Frank A. Montano, Becky Sullivan, Andrew DeCristofaro // NBCUniversal StudioPost

Outstanding Sound – Television

Halt and Catch Fire – SETI
Sue Cahill, Keith Rogers, Scott Weber, Jane Boegel, Mark Cleary, Kevin McCullough // NBCUniversal StudioPost

Black Sails – XVIII
Benjamin Cook, Stefan Hendrix, Jeffrey Pitts, Sue Cahill, Onnalee Blank, Matthew Waters // Starz

Game of Thrones – Hardhome
Tim Kimmel, Paula Fairfield, Bradley Katona, Paul Bercovitch, Onnalee Blank, Mathew Waters // Formosa Group

Banshee – You Can’t Hide from the Dead
Bradley North, Joseph DeAngelis, Ken Kobett, Tiffany Griffith, David Werntz // Technicolor

Homeland – Redux
Nello Torri, Alan Decker // NBCUniversal StudioPost
Craig Dellinger // Sony Sound Services

Outstanding Sound – Commercial

Medicontour – Bi-Flex 1.8
Phil Bolland // Factory

The Syria Campaign – In Reverse
Jon Clarke // Factory

Honda – The Other Side
Tom Joyce, Anthony Moore // Factory

Volvo –The Swell
Aaron Reynolds // Wave Studios

Prada – The Battlefield
Miky Wolf // Big Sky Edit

Outstanding Visual Effects – Feature Film

Jurassic World
Tim Alexander, Glen McIntosh, Tony Plett, Kevin Martel, Martyn Culpitt // Industrial Light & Magic

Tomorrowland
Craig Hammack, Eddie Pasquarello, Francois Lambert, Maia Kayser, Barry Williams // Industrial Light & Magic

Into the Woods
Matt Johnson, Christian Irles, Daniel Tarmy, Nicolas Chevallier, Benoit Dubuc // MPC

Birdman

Birdman
Ara Khanikian, Sebastien Moreau, Sebastien Francoeur, Patrick David, Laurent Spillemaecker // Rodeo FX

The Hobbit: The Battle of the Five Armies
Joe Letteri, Eric Saindon, David Clayton, R. Christopher White, Matt Aitken // Weta Digital
Outstanding Visual Effects – Television

Game of Thrones – The Dance of Dragons
Joe Bauer, Steve Kullback, Derek Spears, Eric Carney, Jabbar Raisani // Fire and Blood Productions

Outstanding Visual Effects – Television

Ripper Street – Whitechapel Terminus
Ed Bruce, Nicolas Murphy, John O’Connell, Joseph Courtis, Ronan Gantly // Screen Scene

Marvel’s Agent Carter – Now Is Not The End
Sheena Duggal, Richard Bluff, Jay Mehta, Chad Taylor, Cody Gramstad // Industrial Light & Magic

Black Sails – XVIII
Erik Henry // Starz
Ken Jones // Digital Domain
Nic Spier // Shade FX
Christina Spring, Bjorn Ahlstedt // Crazy Horse Effects

The Flash – Grodd Lives
Armen V. Kevorkian, Andranik Taranyan, Stefan Bredereck, Jason Shulman, Gevork Babityan // Encore VFX

Outstanding Visual Effects – Commercial

Shell – Shapeshifter
Russell Dodgson, Robert Herrington, Ahmed Gharraph, Rafael Camacho // Framestore UK

Pepsi – Halftime Touches Down
Chris Eckhardt, Michael Ralla // Framestore

General Electric – Invention Donkey
Seth Gollub, Theo Jones, Russell Miller, Raul Ortego // Framestore NY

Game Of War – Decisions
Benjamin Walsh, Brian Burke, Ian Holland, Brandon Nelson // Method Studios

Game Of War – Time
Benjamin Walsh, Brian Burke, Ian Holland, Chris Perkowitz // Method Studios

Danielle LaFortune upped to SVP entertainment marketing at mOcean

mOcean has promoted long-time staffer Danielle LaFortune to SVP of entertainment marketing. She is now responsible for managing all theatrical and broadcast print and on-air creative teams and projects, keeping them on deadline and budget, and overseeing all campaigns from pitch to delivery.

“My role is to act as a liaison between our creative agency and our clients,” says LaFortune. “We have to be strategic in the way we assemble our teams and how we present to the client. I’m always trying to see everything through the client’s eyes, while giving our creatives the freedom to do what they do best.”

LaFortune originally joined mOcean in 2008 as VP of print creative services. Prior to mOcean, she was VP of creative services for New Wave Entertainment for 12 years. While at New Wave, she worked on projects such as The Big LebowskiBorat and Ice Age, as well as Star Wars: Episode I, II and III, acting as the agency-of-record liaison with Lucasfilm.

LA-based mOcean offers a team of strategists, writers, editors, directors and designers specializing in branding, marketing and content development.

Formosa Group takes over former POP Sound location

Formosa Group, which serves film, broadcast, commercial and interactive clients, will re-open the facility formerly known as POP Sound (Pacific Ocean Post). The Santa Monica-based facility closed on July 7 of this year.

Bob Rosenthal

Bob Rosenthal

“We are pleased to re-open this outstanding post-production sound facility,” said Formosa president/COO Robert C. Rosenthal. “With this addition, we will now have an expanded west side presence. It also enables the core clientele to continue their great work here with many of the accomplished creative artists and support staff formerly associated with POP.”

The former POP Sound features 10 mixing stages, eight voiceover booths and an ADR stage. The facility will be refurbished and rebranded for a launch this month, with some of the existing gear.

Rosenthal is reportedly in talks with several of the former POP artists and staff members to rejoin the facility under Formosa’s management; it’s estimated that approximately 10 will rejoin.

Formosa Group, based at The Lot in West Hollywood, also has a second West Hollywood location, along with West LA and Burbank locations.

Meet the Artist/Owner: Mechanism Digital’s Lucien Harriot

NAME: 
Lucien Harriot (@mechdigi)

COMPANY:Mechanism Digital Inc.

CAN YOU DESCRIBE YOUR COMPANY?
A New York City-based production studio founded in 1996, providing design, visual effects and new development for the film, television and advertising industry. We are a smart, friendly group of passionate creatives who stay up late to help entertainment and marketing pros tell their stories in memorable ways.

WHAT’S YOUR JOB TITLE?

Executive producer and visual effects supervisor.

WHAT DOES THAT ENTAIL?
Being chief cook and bottle washer. Sales, quality control, overseeing marketing message and Continue reading

Colorist Anthony Raffaele joins Technicolor-PostWorks

Anthony Raffaele has joined Technicolor-PostWorks as a finishing colorist. He comes to the New York-based studio from Deluxe, New York, where he was senior colorist.

Raffaele has served as the finishing colorist on the CBS series Blue Bloods for the past four seasons, and has worked with a number of top cinematographers, including Dean Cundey, Igor Martinovic, Javier Aguirresarobe, Anette Haellmigk and Rachel Morrison.

“Anthony is a rising talent with strong relationships among established and emerging directors and DPs,” says Technicolor-PostWorks COO Rob DeMartin.

Raffaele began his career with Nice Shoes in 2001 and joined Deluxe in 2009. He has experience on a variety of grading platforms, including Autodesk Lustre, Da Vinci Resolve and FilmLight Baselight.

He earned his first credit as a DI colorist on the 2011 horror thriller Silent House, where he collaborated with cinematographer Igor Martinovic. He worked with Martinovic again last year on the indie drama Sunlight Jr. starring Matt Dillon and Naomi Watts. His most recent feature credit is Freedom, lensed by Dean Cundey.

On Blue Bloods¸ Raffaele has been collaborating with television DPs Craig DiBona and David Insley. His other television credits include The Tomorrow People and Gotham, both with director Danny Cannon, and The Corrections, a pilot written and directed by Noah Baumbach and based on the Jonathan Franzen bestseller. Raffaele’s credits as dailies colorists, including Blue Jasmine, The Dictator and Remember Me. He has a degree in film from Hofstra University.

Creative Sound boosts audio post services with new gear

Paris-based Creative Sound, a full-service post house serving the film and TV production markets, has added three Solid State Logic C300 HD Master Studio Systems and one C10 HD to its audio post offerings.

The studio has an extensive history of creating French language versions of international films, including such recent projects as The King’s Speech, Diana, Homefront and August: Osage County, as well as the upcoming releases Selfie and Gemma Bovery. Creative Sound accomplishes all of its recording dialogue, sound effects, Foley and music for projects in 7.1, 5.1, Dolby surround and stereo with ease through the SSL consoles.

Creative Sound installed its third C300 HD, using the console line in both of its Auditorium Cinema studios, which are Dolby Digital Cinema 7.1 surround capable as well as in Auditorium B studio, which is focused on fiction and documentary production for television.

A C10 HD is in the studio’s new Foley and ADR stage. “The SSL C10 HD was the perfect console for its ergonomics, audio quality and efficiency in our new Foley/ADR stage,” says Creative Sound’s owner/engineer Cristinel Sirli (pictured above). “We built a new facility for the C10, and, while we love the AWS 900 we have for our existing ADR room, we liked the idea of a digital console, and that led us to the C10. The console fits our size requirements and is expandable if needed.”

SGO Mistika to support Dolby Vision

SGO’s color grading and finishing platform Mistika will support Dolby Vision technology in its next available version, enabling the display of high dynamic range (HDR) images with wider color gamut capabilities.

SGO, working in close collaboration with Dolby, intends to make the Dolby Vision workflow capabilities available in Mistika from V.8.2, which was previewed at NAB and is due for release shortly after IBC 2014.

Dolby Vision allows creative teams to use the full gamut of colors, peak brightness and local contrast, knowing that those will be reproduced on televisions that feature Dolby Vision.

Said Roland Vlaicu, Senior Director, Broadcast Imaging, Dolby, “Films and TV shows will look more like the real world, and viewers will notice details that might have previously gone unseen.”

“All the necessary underlying requirements are already in place, guaranteeing our customers a future-proof return in their investment,” said SGO’s Director of Global Sales and Operations Geoff Mills. “Dolby Vision delivers vivid imagery, and we’re absolutely thrilled to be one of the first in our industry to make this technology a reality.”

 

AlphaDogs provides finishing for indie film The Dark Places

Burbank — Director Jody Wheeler recently turned to AlphaDogs to finish his feature film The Dark Place about a series of mysterious events in the life of Keegan Dark, who has the ability to remember everything that happens to him in videographic detail.

AlphaDogs colorist Sean Stack completed color correction for the film in DaVinci Resolve.  A round-trip workflow was required to conform files from FCP X into Resolve.  Stack took extra care in scrutinizing the clips for any potential problem areas before meeting with the client to set the tone and style for the film. “This was the first time we’ve delivered a project at this level with this many requirements, across both visual and sound,” said Wheeler. “AlphaDogs experience served as a wonderful touchstone. They identified some areas we hadn’t seen and, even better, already had fixes in place that were easy to implement, keeping us on track and within our budget.”

new gun

Audio for the film included balancing the sound effects and dialog, along with sound design on key scenes. Curtis Fritsch was the audio mixer for AlphaDogs. “With a 5.1 surround mix alone that’s six different audio files just for the full mix.  This doesn’t include other deliverables, such as separate music, special effects, and dialog, which gives you quite a few tracks by the end, especially if you are delivering in stereo as well.”

The Dark Place was written, directed and produced by Jody Wheeler at Blue Seraph Productions with producers, J.T. Tepnapa and Carlos Pedraza and distributed by Shoreline Entertainment.