It's a Brave New World – Blog edited by Scott Arundale

Dodge College of Film and Media Arts announced today the finalists for the new Location Filmmaking program.  During the month of January, two films will be shot, one a live action 3D film lead by Bill Dill, A.S.C. and the other a film combining live action and visual effects lead by Scott Arundale.  The completed films will be presented in the Folino Theater on Friday, April 29th at 7pm.

The two teams selected for either 3D or VFX film projects will be announced November 20.

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3D Location Finalists

Cottontail by James Humphreys

Director:  Rob Himebaugh

Producer: Natalie Testa

Cinematographer: Scotty Field

Editor: Arica Westadt

Sound Designer: Sean Yap

Production Designer: Ryan Phillips

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Gift of the Maggie by Ben Kepner

Director:  Chris Bryant

Producers: Jane Winternitz & Samantha Price

Cinematographer: Greg Cotton

Stereographer: Tashi Trieu

Editors: Chase Ogden & Matt Kendrick

Production Designer: Jeanette Sanker

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The Harvest by Turner Jacobs

Director:  Alexander Gaeta

Producer: Missy Laney

Cinematographer: Trevor Wineman

Stereographer: Andrew Finch

Editor: Ryan Kaplan

Sound Designer: Cody Peterson

Production Designer: Christy Gray

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A Smart Fly by Brandon Wade

Director:  Brandon Wade

Producer: Zach Mason

Cinematographer: Jason Bonninger

Editor: Sean Yap

Sound Designer: Andres de la Torre

Production Designer: Scheherazade Dadci
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VFX Location Finalists

A Good Man by Gary Alvarez

Director:  Gary Alvarez

Producer: Ayelet Bick

Cinematographer: David Rivera

VFX Supervisor: Alessandro Struppa

Editor: Jonathan Melin

Sound Designer: Affan Tanner

Production Designer: Micah Embry

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A Nervous Wreck by Jonathan Thompson and Norm Leonard

Director:  Jonathan Thompson

Producer:  Renee Mignosa

Cinematographer: John MacDonald

Editor: Andrew Carney

Sound Designer: Jeff Brown

Production Designer: Lauren DeWitt

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Prey by David Thompson

Director: Jack Brungardt

Producer: Ian Dalesky

Cinematographer: Michael Althaus

VFX Supervisor: Bryan Chojnowski

Editor: Alex Griffin

Sound Designer: Derek Beamer

Production Designer: Kaitlin Kubiak

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Time Capsule by Ira Parker

Director:  Shane McCarthy

Producer: Samer Imam

Cinematographer: Jared Wheeler

VFX Supervisor: Nader Owies

Editor: Affan Tanner

Sound Designer: Chris Mastellone

Oscar-winning Taiwanese-American director Ang Lee announced he will start shooting his new and first 3D film ‘Life of Pi’ in Taiwan in January.The movie, set to be released in December 2012, is based on the Booker prize-winning novel by Yann Martel about an Indian boy adrift on a lifeboat in the Pacific with a zebra, a hyena, an orangutan and a tiger.

“This movie involves water, kids and animals, all the things you better not touch in a film,” Lee joked at a press conference in Taipei, confirming that about two-thirds of the Fox 2000-produced film will be shot in Taiwan.

“It’s very challenging to shoot a 3D film because it is very new and nobody really understands it… Everybody is exploring it and it is filled with the unknown,” he said.

“3D is a new film language. It has new appeals and represents new breakthroughs,” Lee said. “I am very excited to shoot the film and I hope the audience will enjoying watching a good movie.”

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“He is the only kid with the appealing qualities that I’d had in mind. He is moving and very natural and makes the story seem real, so I thought it should be him,” Lee said.

The filmmaker, who is based in New York, was hailed as the “glory of Taiwan” after becoming the first Asian to win a best director Oscar for his gay cowboy drama “Brokeback Mountain” in 2007.

http://www.timeslive.co.za

The Hollywood veteran who oversaw special effects for science fiction classics such as “Blade Runner” and “2001: A Space Odyssey” wants to build a next-generation movie studio in Denver, a project that could change the way films are made and put Colorado on the map for big-budget productions.

At Douglas Trumbull’s proposed digital virtual studio, 3D and effects-driven films could be shot entirely on stage in front of a “green screen,” using patented technology such as a “zero-gravity” camera.

Virtual worlds of infinite forests and alien planets would be incorporated into the production in real-time via computer graphics.

Trumbull, a recipient of a lifetime achievement Oscar for his technical wizardry, calls filming on location with physical sets a “dying art.” He said the virtual process — with the ability to test and perfect shots using inexpensive stand-in actors — could cut production costs by more than 50 percent.

“I’m proposing a whole series of iterative live-action performance rehearsals of your entire screenplay, which could be shot in a couple of days because you have no sets, no props and almost no crew,” Trumbull said during a recent presentation at the Colorado Film School in Denver.

Trumbull, 68, visited Denver to solicit investments and scope metro-area locations for a multimillion-dollar project that was dreamed up a decade ago but is still in the early stages of development. Though private investors and venture capital officials attended the presentation, none have publicly expressed interest.

The studio could be a boon for a state that has long struggled to attract major motion film productions, which officials attribute to the lack of financial incentives.

“It could be a real game changer for Colorado,” said Kevin Shand, director of the Colorado Office of Film, Television & Media. “Right now, we’re just not competitive because of the incentives out there. We have everything else production companies need. We have the crew, we have the talent, we have the infrastructure, but we don’t have the money component.”

Trumbull presented the virtual studio idea 10 years ago to major film companies such as Warner Bros. and Columbia.

“Nobody called me back,” he said. “It was seen pretty unanimously as a twisted paradigm shifter that threatened their entire business model.”

He has since tweaked the pitch, proposing to couple the studio with a film production business unit to be backed by a hedge fund or venture capital to the tune of $100 million or more.

“Pixar makes their own animated films from ideas generated within their company,” Trumbull said. “I think we can adapt the Pixar business model very effectively and apply it to live-action production.”
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He said there is no shortage of science fiction and fantasy material to fill the pipeline of content.

“There are a lot of pent-up movies out there in Hollywood that got budgeted by the major studios and rejected because they were $150 million,” Trumbull said. “They would’ve been happy to spend $65 million.”

Trumbull, who lives on a 55-acre farm in Massachusetts, said he’s interested in building the studio in Denver because of the quality of life and high-tech workforce, pointing to the presence of companies such as Ball Aerospace and RealD. The latter develops 3D technology for theaters and has a research hub in Boulder.

“This is the first time I’ve made this pitch to anybody since I made this pitch in Hollywood 10 years ago,” said Trumbull, creator of the “Back to the Future” simulator ride, which had a long run at three Universal Studios theme parks.

For the virtual studio, Trumbull envisions a circular stage housed in a two-story, 15,000-square-foot building, with a state-of-the-art camera as the centerpiece.

“That camera is weightless and almost mass-less and can be grabbed and moved anywhere around the stage,” he said of the camera, which he has used to film short features.

The studio would feature an automated lighting grid that could be preset and programmed in advance. To limit financial risk, Trumbull wants the studio constructed in a way where it could be turned into an office building overnight. “If we fail, this is not a dog,” he said. “This is not a white-elephant building.”

Ed Kramer, a professor of visual effects and computer graphics at Regis University’s film school, said the concept won’t replace the traditional method of filmmaking

“But if successful, it’s going to vastly reduce the cost and much of the need for location work,” said Kramer, who worked on special effects for movies such as “The Mummy” and “Twister.”

Shand of the Colorado Office of Film said the virtual studio could help Colorado land major movie productions.

“This facility, because of the way it’s going to be structured, overcomes the financial incentives that other states offer,” Shand said. “It can be as beneficial or more beneficial to film in Colorado than it would be in some other states.”

Source: denverpost.com

Universal City, CA–In a joint venture, EFILM, a subsidiary of Deluxe Entertainment Services Group, and Universal Studios opened a Digital Intermediate suite on the Universal Studios lot, in proximity to the studio’s sound mixing stages, soundeditorial rooms, picture editing suites and other sound services. Since both final sound mixing and the DI come at the end of the post production chain for feature films, having both services in physical proximity allows the director to walk from room to room, rather than get in a car and battle traffic from Burbank to Hollywood or Santa Monica to Universal City.

What makes this new suite stand out is that it is a virtual DI room. The room is connected to EFILM’s Hollywood facility via a secure, private fiber link that transmits uncompressed 2K 4:4:4 images. That means that, in the Universal Studios’ DI suite, there is no machine room, no scanner and a minimum of hardware and software actually reside there.

Deluxe Entertainment Services Group COO Warren Stein notes that the company has similar configurations of adjacent sound stages and DI rooms in Toronto and Australia. Deluxe also has a similar virtual DI suite on the Fox lot, for internal use. The Universal Studios DI suite is the first such virtual suite to be available to incoming projects.

According to Universal senior vp/sound services Christopher Jenkins, his filmmaker clients have been asking for this kind of set-up. “All the directors want a DI suite [on the lot],” he says. “As soon as they’re into final mixing, it’s a loss of their time and attention to have sound services on the lot but have to leave to do the DI. We’ve got the sound facility here, and now we have a DI suite for all comers.”
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The DI suite features both film and digital projection, with a 2K digital projector, with capabilities of screening 3D for both XpanD and RealD 3D systems.  EFILM executive vp/GM Kevin Dillon, who also manages the EFILM virtual DI room, notes that EFILM uses a proprietary version of Autodesk Lustre for color correction. “We have worked closely with Autodesk to build out from the Lustre,” he says. “We have our own image science team and we’ve built our own LUTs for the variety of film stocks and film labs, as well as the new digital cameras such as the Canon DSLRs and ARRI Alexa.”EFILM also works with VFX houses for plate timing. “We providfe them with viewing LUTs, so they don’t go off in a different direciton,” he says, adding that the company works on testing with VFX supervisors at no charge.

The new virtual suite has no resident DI; DI artists from EFILM’s Hollywood facility will work on the lot, as requested by specific directors. The first films to go through this new DI pipeline on the Universal lot are Fast & Furious 5, The Little Fockers and The Thing. Filmmakers who work in the room will have their films scanned at EFILM’s Hollywood facility, but can see the exact same images they’d see in the DI room on the Universal Studios lot.

source: studiodaily.com

The 3D joint venture between Sony, Imax and Discovery unveiled a large and exclusive slate of first run series of original programming and acquisitions. Tom Cosgrove, President and CEO made the announcement of native 3D programs that willl air 24/7 when the channel launches in 2011.

The channel will feature one of the most extensive libraries of 3D content in genres that are most appealing in 3D, including natural history, adventure, theatrical releases and IMAX movies.

The series and films announced today are (in alphabetical order):

Original Series

Abandoned Planet

Explore the strangest places on earth — entire cities now completely devoid of all humanity.  This series of one-hour programs sheds light on why people have abandoned the places they once called home and what happens after they leave.  Produced by Flight 33 Productions.

Africa in 3D

From Gannet Island and its 100,000 seabirds of the same name sharing one giant rock, the 60,000 flamingos at Kamfers Dam, the Luangwa River and its 30,000 hippos and much more, this series of one-hour programs captures the richness and diversity of the world’s second-largest continent.  Produced by Aquavision Television Productions.

China

China’s beauty is little seen, often hidden and always surprising.  This hour-long series studies the thronging cities, epic vistas and spiritual heartlands of this huge and mysterious nation in stunning 3D.  Produced by Natural History New Zealand Ltd. (NHNZ).

Jewels of the World

This hour-long series gives viewers unprecedented access to UNESCO’s ‘World Heritage’ sites, where the planet’s natural and cultural gems are catalogued and protected, including:  the historic sanctuary of Machu Picchu, Peru; the Temple of Angkor Wat in Cambodia; and the Grand Canyon National Park in the United States, among others.  Produced by Natural History New Zealand Ltd. (NHNZ).

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Attack of the Giant Jellyfish (Discovery)

This hour-long program explores the myths and realities behind the global explosion of deadly jellyfish, including the giant Nomura, whose strength and size makes them capable of capsizing boats and wreaking havoc on the high seas.  Produced by Story House Productions.

The Haunted (Discovery)

Using infrared cameras and sensitive recording devices, a paranormal team investigates true, chilling and terrifying stories of animals and their owners who are experiencing the unexplainable.  This one-hour program is produced by Picture Shack Entertainment.

Into the Deep 3D (IMAX)

This IMAX special takes audiences on a spectacular three-dimensional exploration of the undersea world. Using the IMAX 3D camera in its underwater housing for the first time, this film captures unique marine life and magnificent underwater vistas.

Magnificent Desolation:  Walking on the Moon 3D (IMAX)

Through the magic of IMAX 3D, narrator Tom Hanks takes viewers to the lunar surface to walk alongside the 12 extraordinary astronauts who have been there to experience what they saw, heard, felt, thought and did.

Cloudy with a Chance of Meatballs (Sony)

Inspired by the beloved children’s book of the same name, this animated 3D feature follows inventor Flint Lockwood and a brainy weathergirl as they attempt to discover why the rain in their small town has stopped, and food is falling in its place.

Monster House (Sony)

A suburban home has become physically animated by a vengeful human soul looking to stir up trouble from beyond the grave, and it’s up to three adventurous kids from the neighborhood to do battle with the structural golem in this comically frightful tale.

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Being a child of the 60’s one can’t help but think back of some of the great films that exploded from that era, Mickey One, and The Chase and of course, Bonnie and Clyde.  All were from the capable hands of Arthur Penn who cut his teeth in the golden era of (live) television drama in the 50’s and came full circle in the last ten years supervising LAW & ORDER.

Bonnie and Clyde was not an easy sell for the studios and mainstream critics but it’s youth-oriented anti-authoritarian message became a touchstone for the emerging counter culture of the 1960’s and made way for a new generation of filmmakers:

“Mr. Penn was perceived as a major film artist on the European model, opening the way for a group of star directors — including Robert Altman, Terrence Malick, Bob Rafelson and Hal Ashby — who were able to work with comparative artistic freedom through the next decade. The “film generation” had arrived.” quote from Dave Kehr in The New York Times
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- Scott Arundale

Lucasfilm has announced that it’s giving all six “Star Wars” movies another re-release, this time in 3-D. “The Phantom Menace” will be first on the slate, with a release due in 2012, Variety reports.

The company has been hinting for several years that it might do 3-D versions of the saga, and the recent boom in 3-D films led to the announcement late Tuesday (Sept. 28).John Knoll, the visual effects supervisor for Industrial Light & Magic, is overseeing the conversion and tells Variety that “It’s not going to look like [other 3-D conversions] we’ve seen in the past.”

“Getting good results on a stereo conversion is a matter of taking the time and getting it right. It takes a critical and artistic eye along with an incredible attention to detail to be successful. It is not something that you can rush if you want to expect good results. For Star Wars we will take our time, applying everything we know both aesthetically and technically to bring audiences a fantastic new Star Wars experience.”
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One thing the new versions won’t contain is more playing around with the original trilogy’s visual effects. “Star Wars” mastermind George Lucas updated a number of effects shots for the 1997 re-release of “Star Wars,” “The Empire Strikes Back” and “Return of the Jedi, »

source: zap2it.com

Sally Menke, the editor behind all of Quentin Tarantino’s films, died yesterday while hiking with her dog in the 113-degree Los Angeles heat. According to The Los Angeles Times, her body was found early this morning after friends alerted the authorities when she didn’t return from her hike. Her dog was found alive.

It’s always a tragedy to lose anyone at the height of their creative skill and with so much left to offer. Menke was only 56, but that goes doubly so when it’s so unexpected. Menke received her second Oscar nomination just last year for Inglourious Basterds (the first was for PulpFiction), and it’s hard to watch that film without marveling at how the editing enhances it. Think of the long takes in the opening cabin scene combined with cuts between the two actors’ faces. Think of the surprising jump in perspective in the basement pub scene, where you realize the German officer has been there all along, listening. An editor’s work must often deliberately fade into the background, but Tarantino’s films relied so heavily on Menke’s work that many consider her his co-author. It’s hard to estimate the impact this will have on Tarantino’s future work, and honestly, you wonder if his movies will ever feel quite right again.

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Our thoughts go out to Menke’s family and friends after this shocking loss. If you want to learn more about this woman and her incredible career, Movieline did a great interview with her last year, just before she received her Lifetime Achievement honor at the Hamilton Behind The Camera Awards. You can also watch this video interview below in which Tarantino talks about his work with Menke, calling her his “number-one collaborator.”

source: cinemablend.com

Avid demo with editors from the hit TV series Lost:
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