The crossroads of human rights thrives for a new generation in a riveting four-decades old indie documentary. By Bob Fisher. All images courtesy of Kino Lorber.
This past August marked the 50th anniversary of one of the seminal moments in America’s history, when at the conclusion of a civil rights march on Washington that was estimated to be a crowd of some 250,000, all demanding, with a single voice, the end of racial inequality, the Rev. Martin Luther King, Jr. put to words what all those present (and around the nation) were feeling in his mesmerizing “I Have A Dream Speech.” Read more
MPI’S Maxine Gervais breaks down a new post workflow for Pacific Rim. By ICG Staff. All frame grab images courtesy of Warner Bros./Legendary Pictures.
It was a tough summer for Hollywood blockbusters. Many failed to live up to the sky-high box office expectations imposed by the massive budgets of today’s VFX-heavy franchise projects. Pacific Rim, produced by Chris Nolan’s Legendary Pictures, and released by Warner Bros. was one such casualty, although that wasn’t for any lack of effort on the part of the film’s dynamic creative team, which included Oscar-nominated writer/director Guillermo del Toro and Oscar-winning cinematographer Guillermo Navarro, ASC, AMC. Set in the near future, the world of Pacific Rim is under threat by huge invaders who come from beneath the sea. Mankind’s only hope is the Jaeger, a giant robot that takes two human brains linked together to operate. Read more
The most infamous and galvanizing hate crime of the Civil Rights era is brought back to life in a stirring new Hallmark Channel television feature. By Bob Fisher.
James Chressanthis, ASC has added another chapter to his eclectic career with the production of The Watsons Go To Birmingham. The project, airing September 20th on Hallmark Channel, integrates an intimate family story with a horrific real world hate crime that occurred during the summer of 1963 when the Ku Klux Klan planted a bomb in the 16th Avenue Baptist Church that served the African-American community in Birmingham, Alabama. Read more
Temperatures soared at Cine Gear 2013 as vendors, exhibitors and (one of our own ICG) panels kept Paramount Studios red hot with new gear and information. By Pauline Rogers.
ICG’s near-capacity panel at Cine Gear, Precise Color Management Through On-Set Communication, was not indicative of the need to escape 100-plus temperatures that burned up the Paramount back lot a few hours after its early morning start time. The diverse mix of Guild members, film students, and industry professionals had all congregated to hear what panelists Jeffrey Jur, ASC (Dirty Dancing, Carnivale) and his D.I.T. partner on Dexter, Kevin Britton, and DP Brandon Trost (This is the End, That’s My Boy) and his D.I.T. partner Kevin Stanley on the upcoming feature Townies, had to impart about changing digital workflows. Read more
A trio of Local 600 DPs uncover an inspiring tale of human endurance in the new Holocaust documentary No Place on Earth. By Bob Fisher. All photos courtesy of Magnolia Pictures.
No Place on Earth should be required viewing. The film takes audiences on a journey some 70 years back in history to a dark time when the Nazi regime murdered approximately six million Jews during the Holocaust. Thirty-eight Jewish men, women and children, from five families, survived for 511 days by hiding in a dark, underground cave in Ukraine. Some of the younger men ventured into the outside world at night to find food and fire wood. Read more
High-resolution workflows change the game at NAB 2013. By Valentina I. Valentini. All photos by Beth Dubber.
Two thousand less attendees at this year’s National Association of Broadcasters (NAB) convention in Las Vegas was an ironic reminder that anyone touting 2K gear ran the risk of being left in the entertainment industry’s technological dust. Read more
Paul Cameron, ASC, takes the shortest visual line between two lost characters for his newest feature, Dead Man Down.
All photos courtesy of Paul Cameron / John Baer / FilmDistrict.
When Danish writer/director Niels Arden Oplev called Paul Cameron, ASC to work on his new film, Dead Man Down, which was set to shoot last summer in Philadelphia, Cameron didn’t hesitate to take the call. The cinematographer had seen Oplev’s adaptation of the worldwide bestseller, The Girl with the Dragon Tattoo; and soon after he jumped on-board, Colin Farrell, Noomi Rapace and Terrence Howard confirmed their involvement. Read more
Life of Pi takes a huge slice of industry honors in our 2013 awards season wrap
By Valentina I. Valentini
It’s fun when predictions about Hollywood’s seemingly endless awards season – beginning in September with the Emmys and culminating on the last Sunday in February with The Oscars – do not pan out. There isn’t predictability in the rest of the industry, so why keep it dull with the lauding of prizes on its artists and crafts-people? Read more
Local 600 publicists get “linked in” for a special all-day workshop exploring the best of new virtual online tools.
By Pauline Rogers. All photos by Bonnie Osborne.
Some people naturally embrace social media, others get dragged, kicking and screaming, into a 24/7 online world. The issue is mostly educational, teaching publicists how to weather the avalanche of new communication tools. That’s why Local 600’s Publicity and Publications Committee, chaired by Publicists Guild President Henri Bollinger, reached out to Weissman/Markovitz Communications, which partnered with Gordon Paddison, CEO of Stradella Road, to produce a one-day seminar on social media. Read more
Cinematographer Ross Riege and director Jordan Vogt-Roberts put the visual fun back in stand-up in a groundbreaking new series for Comedy Central.
By Pauline Rogers. All photos courtesy of Comedy Central.
“I’ve been watching stand up on television for over 20 years,” says director Jordan Vogt-Roberts. “And it’s always the same boring camera placement. Drive an ENG truck up to a venue, unload, capture the routine, and then roll out. It’s the comedy equivalent of shooting live sports. Working with a group of Chicago-based comedians in the pre-YouTube days, I wanted to find a way to make stand-up more digestible for the Internet generation and I began to add visual elements.” Read more