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Nitefall on the River “takes a break” this summer, production team announces concerts at Water Works Park

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One of Des Moines’ summer concert series is “on hiatus” this summer, and it’s not because of COVID-19.

Nitefall on the River will not take place in 2021 as their usual venues, Brenton Skating Plaza and Simon Estes Ampitheatre, are closed for the summer, according to a Tuesday morning tweet.

However, that does not mean that the concert season will not take place in Des Moines.

Nitefall’s production team, SA Presents, has announced several upcoming acts at Water Works Park starting this Saturday.

Here is the 2021 summer program:

Further acts will be announced over the summer.

Umphrey’s McGee and The Dead South were two acts moved from Nitefall’s usual locations to the Lauridsen Amphitheater. Tickets already purchased will be honored.


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Kartik Aaryan gets picked up in front of a production house | Hindi movie news

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Actor Kartik Aaryan, who made headlines for losing Bollywood films, was seen leaving filmmaker Rohit Dhawan’s office today. Sporting a casual look in a black t-shirt paired with blue denim, the actor also wore a black face mask due to security amid the second wave of COVID-19 in India.

Looked:

Earlier, Kartik had announced the release of the Karan Johar-backed film “Dostana 2”, citing creative differences. A little later, reports that he had withdrawn from another film backed by Shah Rukh Khan’s production house added fuel to the fire.

While another report suggested that Kartik’s upcoming film with the production house of filmmaker Aanand L Rai had also been canceled, an official statement from Aanand’s Color Yellow Productions read: “These are baseless rumors. We met Kartik for another movie and we’re still talking. We took another movie to Ayushmann and it’s a complete mix.

In addition to that, Aanand L Rai also told ETimes: “There was no such film signed by Kartik, all of these reports are baseless. There are so many actors who come to meet me, but it doesn’t does not mean that he or she signed for my film.

Since then, several theories about the loss of Kartik in major Bollywood films have caused a stir among netizens. However, in the midst of this filmmaker, Anubhav Sinha was spotted supporting the actor and even called the alleged campaign against him “concerted.”

On the job side, Kartik recently finished 10 years in Bollywood with his first film ‘Pyaar Ka Punchnama’. He was last seen in ‘Love Aaj Kal 2’ with Sara Ali Khan.

He will then be seen in ‘Dhamaka’ and ‘Bhool Bhulaiyaa 2’ with Kiara Advani.

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Julia Redwood becomes sole owner of Western Australian production company Prospero Productions

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After 30 successful years in business together, Julia Redwood is now the sole owner and director of Prospero Productions, following the departure of her partner Ed Punchard from the company last month.

The move marks the end of an era for Prospero Production, best known for its long-running observational documentary series, including Outback Truckers, Outback Opal Hunters and Australia Railway, as well as multi-award-winning titles such as SAS: Seeking Warriors, The Man Who Jumped, Change My Race, Pay For The Pied Piper, Heartbreak Science and Death of the mega-beasts.

“Ed and I have accomplished so much in three decades and I am more than excited to lead Prospero into the next great chapter in its history. The future looks bright for the Australian screen company and industry. Ms Redwood said.

Ms Redwood looks to the future with an all-female management team by her side, including the CEO Jules Fortune; Financial director Orla Holland; and responsible for post-production Freya Brueschke.

A new production manager joins them Nathalie Bell.

“Prospero is a powerhouse in the fact-based production space and I can’t wait to start working with this stellar team,” said Bell.

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Bell has over 20 years of experience in the film production and live performance industries and most recently was the executive producer of an iconic theater company in Western Australia where she oversaw strategic and financial operations. .

“As the new saying goes, behind every great woman is a team of great women and I sure have it,” says Ms. Redwood.

As part of Ms. Redwood’s commitment to the industry, she is committed to investing in other skills development programs for her employees.

“Our long-standing and recorded series such as Outback Truckers and Outback Opal Hunters have been the training ground for many screen practitioners over the years and in the future I want to find ways to make more of these unique opportunities. “

Prospero Productions is Western Australia’s largest factual staff employer, with 50 employees currently engaged in three series and a feature film Fulldome, which will culminate with the production of 42 hours of screen content this year alone.

“Season 5 of Outback Opal Hunters is in production; Season 9 of Outback Truckers finalize post-production; and we have a new Fulldome movie, Dreaming of a star, directed by first-time documentary director Perun Bonser.

Prospero recently celebrated a number of milestones, including the airing of the 100th episode of his long-running series. Outback Truckers on 7mate.

Redwood has also received the 2021 West Australian of the Year Business Award, awarded to celebrate excellence and outstanding ethics in corporate leadership, social entrepreneurship or innovation at the state, national or international, leading to a major positive social or economic impact in Western Australia. .

“I am honored and proud to have received this emblematic award! This is a testament to the cultural and economic importance of our local screen industry.

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Why ‘Loki’ production team are thrilled fans see Tom Hiddleston and Owen Wilson’s onscreen chemistry

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Loki is one of Marvel’s most anticipated developments to date. The new series, which premieres on June 9, features Tom Hiddleston reprising his role as God of Mischief and seeking to emerge from the shadow of his brother Thor.

Although Loki does not include Chris Hemsworth, there are a few cool new additions to the series’ cast. Owen Wilson joined the group to play Mobius, an agent working for the Time Variance Authority. The organization monitors disruptions in the Universal Timeline and takes Loki into custody to fix them.

LokiThe production team of is especially excited that fans see the onscreen relationship between Hiddleston and Wilson. Both have an interesting dynamic that Marvel boss Kevin Feige says will bring some of Loki’s best performances.

Marvel’s production team are thrilled people see Tom Hiddleston and Owen Wilson together on screen

Tom Hiddleston speaks on stage about Loki’s life in the Marvel Universe | Mat Hayward / Getty Images

RELATED: Tom Hiddleston Organized a ‘Loki School’ to Help Marvel’s Creative Team Come Up with Series Ideas

Feige discussed the unique relationship between Hiddleston and Wilson characters – and why Loki’s The team are delighted fans are seeing him, in a recent interview with Weekly entertainment.

“Mobius is no different from Owen Wilson in that he’s kind of baffled by the MCU,” Feige said. “[Loki] is used to making people react, whether it’s his brother or his father, or the other Avengers. He likes to be very flamboyant and theatrical. Mobius doesn’t give him the reaction he’s looking for. This leads to a very unique relationship that Loki is not used to.

Tom Hiddleston helped Owen Wilson better understand Loki

When Wilson first signed for Loki, he certainly did not know anything about the character or his universe. In order to freshen things up, he had to ask Hiddleston to personally teach him everything he needed to know about Loki.

“Tom Hiddleston, who of course plays Loki, he sort of or us sort of – they were almost like the Loki lectures,” Wilson said in an interview on Sirius XM. “And so he explained to me everything and the whole lore and showed me clips from other films and how it all contributed to this story. So, it was really kind of Tom to tell me about it and tell me about his character.

Tom Hiddleston and Owen Wilson to face off in “Loki”

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Hiddleston, who has played Loki for over 10 years, probably has more knowledge than anyone else about Loki and the way he operates. When Wilson asked Hiddleston what he liked about playing the odd character, he provided a moving answer.

“I said, ‘I think it’s because he’s got so much reach,” Hiddleston told Entertainment Weekly. “I remember saying this to him: ‘Out of the 88 keys of the piano, he can play the sparkling keys at the top. He can keep it witty and light, and he’s the god of mischief, but he can also come down to the other side and play the heavy keys. And he can play some really deep chords there, which speak of heartache, betrayal, loss, grief, jealousy, and pride.

Wilson liked the description so much that it inspired her performance on Loki.

“He said, ‘I think I could say that on the show,'” Hiddleston recalls. “And that was a brilliant preview for me of Owen’s openness as an artist and performer. “

Loki premieres on Disney + on June 9.

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Rajamouli to collaborate with a Hollywood production house for Mahesh Babu Starrer?

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oi-Sruthi Hemachandran

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After a long hiatus, SS Rajamouli’s project with Mahesh Babu once again made headlines. Although the director confirmed his upcoming with the superstar in April 2020, nothing was revealed about the film at that time. Let us tell you the film should hit the court after Rajamouli finishes his magnum opus

RRR

with Ram Charan and Jr NTR.

Rajamouli

For now, it looks like the director has gradually started to prepare for the star of Mahesh Babu as we learn that he is ready to collaborate with a Hollywood production house on his next film. Apparently, in his recent interview, Rajamouli’s father and veteran writer KV Vijayendra Prasad confirmed the news of the director teaming up with a Hollywood production house for an Indian film, which will be produced to international standards.

Mahesh Babu's gentle gesture wins hearts and sponsors COVID-19 vaccination campaign in Burripalem, Andhra PradeshMahesh Babu’s gentle gesture wins hearts and sponsors COVID-19 vaccination campaign in Burripalem, Andhra Pradesh

Notably, although the writer hasn’t revealed much about the project, his statement created a buzz on social media, leaving many curious and excited at the same time. Interestingly, a few also speculate that Prasad was actually talking about the Mahesh-Rajamouli film, which they believe will be officially announced in the coming days. The highly anticipated project will be supported by KL Narayana under the Durga Arts banner.

Sarkaru Vaari Paata: THIS sandalwood actor could play the villain in The Mahesh Babu Starrer!Sarkaru Vaari Paata: THIS sandalwood actor could play the villain in The Mahesh Babu Starrer!

Well, speaking of their upcoming projects, Mahesh Babu is currently busy with Parasuram

Sarkaru Vaari Paata

and # SSMB28 from Trivikram Srinivas.

Sarkaru Vaari Paata

also starring Keerthy Suresh will hit theaters in January 2022, coinciding with Sankranti. On the other hand,

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also starring Bollywood actors Alia Bhatt and Ajay Devgn, will be released on a massive scale on October 13, 2021.

Article first published: Wednesday June 2nd, 2021, 03:28 PM [IST]

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Guard opens fire on Karachi defense production team

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Nine people were injured after a guard opened fire on them for having lunch in the garage of a rented bungalow in DHA’s Khayaban-e-Shujaat on Wednesday afternoon.

A team of 7e Sky Entertainment was filming a drama series called Mohabbat Dagh Ke Surat when the staff went to an un rented part of the bungalow for lunch.

The guard, identified as Gulbai, walked up to them and asked them to move inside or in the garden. He told them that the owner of the house would be arriving soon and that he would park his four-wheeled vehicle under the porch of the car.

“We told him [the guard] it was very hot and we couldn’t sit in the garden, ”an employee of the production house, who was on site, told SAMAA Digital. We assured him that we were going to move but he didn’t budge.

The guard then threatened to shoot if we did not leave the premises immediately. “One of our colleagues Bilal told him to shoot if he could dare,” said the employee, adding that “the guard opened fire by pointing his gun at the ground.”

Southern Police Chief Superintendent Zubair Nazir said nine people were injured after the guard opened fire. “Clifton Police immediately arrived at the scene, arrested the guard and seized his gun.”

Police registered FIR No. 246/2021 under section 324 (attempted murder) of the Pakistan Penal Code (PPC) on the complaint of Geo News technical department chief Muhammad Sadiq Khan.

The injured were transferred to Jinnah Postgraduate Medical Center (JPMC) for treatment. They have been identified as Muhammad Yousuf, Akber, Zahid Ali, Muhammad Shahzad, Muhammad Awais, Farhan Alam and Shahzad.

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PowerHouse VFX Expands Production Team With New Hires

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PowerHouse visual effects Further expands its team with the addition of VFX Supervisor Alan Precourt, who joins the company after a two-year tenure at Blue Sky Studios. The VFX house also welcomes production manager Caitlyn Tomasik, who has produced for PowerHouse as a freelance for the past six months.

“As we continue to grow and expand, the addition of Caitlyn and Alan will bring invaluable experience to our team,” commented PowerHouse VFX executive producer Ryan Cunningham. “Each demonstrates the core values ​​of our company as well as a great relationship with the visual effects community.”

At Blue Sky, Precourt has lent his artistic eye and extensive technical expertise to projects such as Spies in disguise and the feature film project, Nimona. He began his career after studying film production at UCLA working on film crews; eventually, he combined his understanding of production with his love of computer programming, which led him to work on Richard Edlund Boss Movies then on Digital Domain while the VFX are running for Titanic was in full swing.

Since then he has split his time between VFX and CG animation work at many industry-leading companies including Walt Disney Company, DreamWorks, Sony Pictures Imageworks, Weta Digital, Rhythm & Hues, and FuseFX.

“Alan is a perfect addition to our team,” said Ed Mendez, Senior Visual Effects Supervisor / Creative Head of PowerHouse. “It’s rare to find someone with their combination of on-set experience, live-action production, expertise in the art of animation that Blue Sky has done so well, and a deep understanding of the type. VFX workstation that PowerHouse is known for. We are obviously very happy that it is working with us. “

“PowerHouse VFX is a bundle of great talent,” noted Precourt. “They have a reputation for establishing a high quality bar and exceeding expectations, while fostering a talented team with a dynamic spirit. This is a unique place with a great future – a place that I am delighted to join and to push the boundaries of what we can accomplish together in the service of art and to achieve the vision of our clients. “

After working freelance for PowerHouse, Tomasik joined the team as production manager. Before going freelance, she worked for more than three years as a production manager at Alkemy X in New York. Prior to that, she spent over four years as a Senior Producer at Spontaneous, a New York-based commercial finishing house.

Originally from the Dallas / Fort Worth area, Tomasik learned post-production and visual effects at facilities in Dallas, Reel FX and Post Asylum. She moved to New York, “… to be closer to the action”. The wonderful Mrs. Maisel and Fear the living dead.

Source: PowerHouse VFX

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Emma Stone credits Cruella’s production team for doing “at least half” of their work | People

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Emma Stone believes costume and makeup artist “Cruella” did “at least half of her job” for her in the film.

The 32-year-old actress portrayed Estella “Cruella” de Vil in the “101 Dalmatians” prequel, and she admitted that much of the aspiring fashion designer’s character was about what she wore and of her looks, so she credited the behind-the-scenes crew for their hard work.

She said: “Jenny Beavan, our costume designer, has been doing an amazing job for so many years, as has Nadia Stacey, who has done the hair and makeup.

“This particular movie, of all the movies I’ve done, it felt like the three of us were creating the character together.

“Without this outward version of Estella / Cruella, especially since she is creative, so much of what she feels inside is expressed through her clothes, hair and makeup, they were doing this job for me.

“It was nothing I could have imagined as an actor, so they did at least half of my work for me, for sure.

“And they just crushed him. It was so much work on both sides of them.”

Stone admitted it was “wild” to have to change your look to play Estella – who would so often become the Dalmatian fur-loving villainous criminal Cruella – but found it “exciting” to work with such talented artists.

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Best post-production house: Fifty Fifty | Characteristics

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Fifty Fifty’s handling of the many challenges of the pandemic, devising a series of ongoing initiatives that put the mental health of its staff at the heart of new ways of working, was praised by our judges.

Like other post houses, Fifty Fifty was forced to switch to remote working when the country went into lockdown, but it’s how the business has adapted to being human that has really impressed the judges: flexible working offer, yoga sessions and weekly Zoom quizzes. , sending “Thursday Treats” and inviting team members to get creative with recreating album covers, famous artwork, TV shows and Hollywood movies.

“I was impressed with the creative initiatives the company took to care for its customers and its team during a year of intense mental struggle,” a judge said.

Another added: “Fifty Fifty stood out to me for the following reasons: excellent performance and an impressive company philosophy in terms of caring for their people, with an outstanding demonstration.”

The judges were also impressed with the Fifty Fifty credits, which included Netflix’s Jack Whitehall: Travels With My Father, Gordon, Gino And Fred: ITV’s American Roadtrip (pictured) and the BBC1 documentary Prince William, Football And Our Mental Health, which was completed remotely over a single weekend.

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Pier 10

Dock 10 started the year promisingly, with a full slate of work across all genres. He hosted Sport Relief on March 13, just before the country was plunged into lockdown, and has since migrated over 100 sequels to remote work and released huge productions such as The Voice Kids and Match Of The Day. .

Movies at 59

Movies at 59

Within two weeks of the lockdown, Films at 59 had 30 editing rooms operating remotely and soon after moved all finishing off-site, enabling it to meet the delivery deadline for all bookings. In progress. High profile projects included Night On Earth (Netflix), Seven Worlds, One Planet (BBC1) and The Great British Bake Off (Channel 4).

Fitzrovia Post

Fitzrovia Post

Fitzrovia, an audio post specialist, is unique in the post industry in being 90% female, which is especially remarkable when female audio engineers make up only 5% of the industry. A standout production in 2020 was The Tiger Who Came To Tea, for which he handled all elements of sound publishing on Foley’s heavy production.

Halo post

Halo post

Halo has impressed with its response to the lockdown, creating a ‘virtual facility’ in the space of a weekend and sending out custom-designed remote voice-over and ADR recording kits to enable remote voice recording . His impressive list of credits included and The World According to Jeff Goldblum (Disney+) and The Surgeon’s Cut (Netflix).

The edition

The edition

The Edit stood out in 2020 by following a very different route to other post houses – while others temporarily left their buildings, The Edit began work on a 6,000 square foot Covid-secured facility, including Brighton’s first Dolby Atmos room. The company has released numerous prime time series including The Repair Shop (BBC1), Saving Lives At Sea (BBC2) and George Clarke’s Old House, New Home (Channel 4).

Amazon to buy production house MGM Studios for $ 9 billion: report

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Amazon is looking to gain a huge stake again. According to a recent report, he may well sign the deal to acquire MGM Studios in Hollywood. MGM Studios is one of Hollywood’s oldest production houses. They are known for several live action movies as well as animated movies.

Amazon nears signing date for MGM Studios deal

Amazon’s deal with MGM Studios is reportedly worth nearly $ 9 billion, including debt. According to the Wall Street Journal, the American e-commerce giant will buy out the veteran production studio, making MGM Studios a valuable asset to the company. According to the website, the two could announce the deal as early as this week.

This deal with MGM Studios will mark the second-largest acquisition after the e-commerce giant bought Whole Foods for $ 13.7 billion in 2017. As of December 2020, MGM was valued at around $ 5.5 billion, including debt. . The studio’s stock price rose from $ 105 to $ 140 after news of its deal with Amazon broke online. As of March 2021, MGM had approximately $ 2 billion in debt.

News of this deal between MGM Studios and Amazon came to light shortly after AT&T announced it was combining its media assets with Discovery Inc and forming a new company. Discussions on the MGM Studios-Amazon deal continued on both sides. Talks have resumed in recent weeks, but there is no guarantee that they will reach an agreement.

What does this agreement bring for Amazon?

This agreement with MGM will give Amazon access to several classics such as Pink panther, singing in the rain, to name a few. Movies from before 1948 have already been sold to Warner Bros, including classics like The Wizard of Oz and Blown away by the wind.

Amazon has been eyeing the entertainment market for a long time now. From acquiring titles to releasing its own production, Amazon has also spent money acquiring licenses and live streaming rights. Currently he is preparing the television series based on The Lord of the Rings. The first season of the said series is estimated at $ 465 million.

MGM Studios had entered a CEO ban policy from 2018 after its then CEO Gary Barber was found in preliminary talks with Apple Inc for an estimated sale of $ 6 billion. Since then, MGM Studio has been run by the “CEO’s office” which includes executives from across the company.

(Image: Shutterstock)

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Ronnie C’s Bollywood debut in the works with a major production house

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Currently he is on a 3 month assignment and will be training under the direction of acclaimed international director and actor coach Michelle Danner, who has trained star actors such as Salma Hayek, Henry Cavill, James Franco, Gerard Butler, Penelope Cruz and Chris Rock.

Ronnie C is the latest from B-town! We learn that the former footballer and entrepreneur is ready to make the leap to Bollywood and is about to sign a contract with one of the biggest production houses in the country. His first film is set to hit the courts this year and is due out in early 2022.

Aiming for perfection in his chosen field, Ronnie plans to attend Los Angeles Acting School to hone his skills as an actor. Currently he is on a 3 month assignment and will be training under the direction of acclaimed international director and actor coach Michelle Danner, who has trained star actors such as Salma Hayek, Henry Cavill, James Franco, Gerard Butler, Penelope Cruz and Chris Rock. During this training, Rob also intends to seek out opportunities to meet Hollywood legends, an experience that could give him a quantum boost and a solid platform on his return.

Asked why Ronnie chose to be an actor over a footballer, he said: “I love to win and I want to be the best at everything I do. My hard work will surely be visible to people and I aim to break down all barriers and become the best. Football has a limited window, but as a born artist, playing has always been the best option. “

Ronnie grew up with a passion for football and moved to the UK at the age of 15 to try out local club Bishop’s Stortford. His flair and aptitude in the sport has earned him an opportunity with Southend United FC as a forward and winger. Ronnie was the first player of Indian origin to appear in their leagues in the first and reserve teams of Southend United, Burton Albion and Brentford FC.

Bollywood is a place for people who dare to dream big. Being a foreigner and a newbie to the industry, Ronnie has come a long way to make his mark in B-town. No doubt about his personality, but will he be able to climb into the big leagues? Only time will tell.

Disclaimer: This is a company press release. No HT journalist is involved in the creation of this content

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Sana Makbul of Khatron Ke Khiladi 11 told the production team to organize THIS for her

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Sana Makbul loves Eid and loves to celebrate it with the family. However, this year she is far from home. She is in Cape Town for the filming of Khatron Ke Khiladi 11.

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Will Not Start Filming for ‘Drishyam 2’, Production House Told to HC | Hindi movie news

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Panorama Studios International, which had acquired the rights to the Hindi-language remake of the hit Malayalam film ‘Drishyam 2’, has assured the Bombay High Court that it will not start filming until the prosecution is due. copyright filed against it would not be pending. Viacom 18 Media Pvt Ltd approached HC last week to seek an order banning Panorama Studios International from producing a sequel to the film in Hindi.

Viacom, in its lawsuit, alleged an infringement of their copyrights and sought recognition and award of copyright and other rights in the production of the sequel to the “Drishyam franchise,” which includes a film on the continuation of the previous story.

Viacom also filed a request for interim injunctive relief which was heard by Judge Gautam Patel on Wednesday.

“The statement is that the defendants (Panorama) will not begin by themselves or through any other person with whom they may have a contract or arrangement, the shooting of the film in question, that is to say a sequel to the movie Drishyam, ”the Ordinance says.

The production house also accepts that if they undertake any preparatory work, such as the development of a treatment, a script, a screenplay or a dialogue, it will be at their own risk and that they will not have the right to claim actions on this basis in the future, further noted the HC.

The court posted the suit for a new hearing on June 18.

Viacom, in its lawsuit, said it signed a remake rights agreement with Wide Angle Creations and Raj Kumar Theaters Pvt Ltd whereby it held the copyright to produce new films by adapting the movie “Drishyam”.

In 2017, Panorama Studios approached Viacom to seek to produce the prequel or sequel to the film, but the proposal did not work due to a disagreement over terms.

Viacom later learned that Panorama had acquired the rights to remake the sequel to the film, after which she approached HC.

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Won’t start filming for ‘Drishyam 2’, production house tells HC

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Panorama Studios International, which acquired the rights to the Hindi-language remake of the hit Malayalam film ‘Drishyam 2’, assured the Bombay High Court that he would not start to turn until the copyright lawsuit filed against him was pending.

Viacom 18 Media Pvt Ltd approached HC last week to seek an order banning Panorama Studios International from producing a sequel to the film in Hindi.

Viacom, in its lawsuit, alleged an infringement of their copyrights and sought recognition and award of copyright and other rights in the production of the sequel to the “Drishyam franchise,” which includes a film on the continuation of the previous story.

Viacom also filed a request for interim injunctive relief which was heard by Judge Gautam Patel on Wednesday.

“The statement is that the defendants (Panorama) will not begin by themselves or through any other person with whom they may have a contract or arrangement, the shooting of the film in question, that is to say a sequel to the film Drishyam, says the order.

The production house also accepts that if they undertake any preparatory work, such as the development of a treatment, script, screenplay or dialogue, it will be at their own risk and that they will not have the right to claim actions on this basis in the future, further noted the HC.

The court posted the suit for a new hearing on June 18.

Viacom, in its lawsuit, said it signed a remake rights agreement with Wide Angle Creations and Raj Kumar Theaters Pvt Ltd whereby it held the copyright to produce new films by adapting the film. Drishyam.

In 2017, Panorama Studios approached Viacom to seek to produce the prequel or sequel to the film, but the proposal did not work due to a disagreement over terms.

Later, Viacom learned that Panorama had acquired the rights to remake the sequel to the film, after which she approached HC.

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Won’t start filming on Drishyam 2, production house tells HC

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Bombay:

Viacom 18 Media Pvt Ltd approached HC last week to seek an order banning Panorama Studios International from producing a sequel to the film in Hindi.

Viacom, in its lawsuit, alleged an infringement of their copyrights and sought recognition and award of copyright and other rights in the production of the sequel to the “Drishyam franchise,” which includes a film on the continuation of the previous story.

Viacom also filed a request for interim injunctive relief which was heard by Judge Gautam Patel on Wednesday.

“The statement is that the defendants (Panorama) will not begin by themselves or through any other person with whom they may have a contract or agreement, the shooting of the film in question, that is to say a sequel to the movie Drishyam, ”the Ordinance says.

The production house also accepts that if they undertake any preparatory work, such as the development of a treatment, script, screenplay or dialogue, it will be at their own risk and that they will not have the right to claim actions on this basis in the future, further noted the HC.

The court posted the suit for a new hearing on June 18.

Viacom, in its lawsuit, said it signed a remake rights agreement with Wide Angle Creations and Raj Kumar Theaters Pvt Ltd whereby it held the copyright to produce new films by adapting the movie “Drishyam”.

In 2017, Panorama Studios approached Viacom to seek to produce the prequel or sequel to the film, but the proposal did not work due to a disagreement over terms.

Later, Viacom learned that Panorama had acquired the rights to remake the sequel to the film, after which she approached HC.

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Seth Dahl Joins Outlaw Video Production Team – Explore Big Sky

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By Mira Brody EBS STAFF

BIG SKY – Still images are great, says Seth Dahl, video director of Outlaw Partners, but the story is what emerges once you have movement of light, sound, and movement. The Great Falls native studied photography at Montana State University and transferred to the University of Montana where he earned a bachelor’s degree in journalism.

“I love both, active photography, finding that a frame that tells the story is a photojournalist’s quest and one that thrills me beyond anything,” Dahl said. “But I started to find that I like those frames after and before that single frame. The story that comes out of it with the sound, the audio… you feel something go off topic.

Dahl joins Chis Kamman in the Outlaw video team, who brought a wealth of experience after working for Big Sky Resort and his own video production company, SkyLab Media House. He has helped Outlaw produce high quality real estate videos, advertisements for clients, internal projects and more.

Chris Kamman and Seth Dahl will work together to produce high quality video content for Outlaw Partners. PHOTO COURTESY OF CHRIS KAMMAN

Dahl clearly remembers the time of his call – it was in 2004 and he was serving in Iraq for the 1-163e Army Infantry Battalion, a National Guard unit based in Missoula. He had been deployed on a mission with an Associated Press photographer and had watched in wonder as she documented something many would never know about home. The stories she told about documenting history and capturing the human spirit in the midst of conflict inspired her to go to school to learn documentary filmmaking and photojournalism upon her return.

For the past five years, Dahl has been in Boise to run his business, Big Cedar Media, which he launched in 2013. Big Cedar has produced a 20-minute Clif Bar sponsored documentary called The Long River Home, featuring starring veterans Aaron Howell, Russell Davies and Lonnie Bedwell, a blind Navy veteran, as they deal with the residual effects of the war in the Grand Canyon, by kayak. It premiered at the Banff Film Festival and was screened in 43 different countries as part of the Banff World Tour.

“It’s amazing going to these festivals to see the crowds react to your video,” Dahl said of the experience. “They just want to sit down and listen to a story.

Dahl was a river guide for Boundary Expeditions when offered the position at Outlaw and was happy to return to Big Sky. He calls it “a return ticket”.

Currently, Dahl and Kamman are busy with a variety of internal and client projects. One Outlaw project they work on together each week is a series called A Sense of Place, in which a one-minute video is created to capture a single moment in Big Sky, the lights, movement, and sound.

“They are meant to showcase both places and businesses, acts and events of Montana,” Dahl said. “They are really just to show the sights and sounds of a place, in time.”

Dahl hopes to expand Outlaw’s video production capabilities, moving towards full-length film productions. With his roots in documentary filmmaking, he’s always drawn to the more “emotional and artistic” endeavors, he says, and hopes there will be an opportunity to bring more of that passion to Outlaw as the department is developing. “It’s always the art of getting the true story of the character in a movie,” he said.

As for Outlaw, it will add volume and quality to an already thriving and talented department.

“Video continues to be one of Outlaw’s most sought-after services,” said Megan Paulson, CEO of Outlaw Partners. “We are delighted that Seth has joined the team; his leadership will be a key element of our ability to elevate and evolve our production capacity for customers.

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Lost King production crew heads to Morningside to shoot Steve Coogan’s film

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Let us know what you think and join the conversation at the bottom of this article.

Stage lights will be used atop the aerial platforms at the junction of St Filan’s Terrace and Morningside Drive as well as at the junction of Morningside Grove and Morningside Drive.

Residents received a letter asking residents who may have issues with the bright lights shining in their homes to contact the production team by May 6 so they can provide the homes with blackout curtains. and other materials.

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Filming will be authorized on May 10 and the approximate filming times are between 1:30 p.m. and 11:30 p.m.

Scissor lifts will be used to elevate stage lighting so that the crew can film night scenes.

Morven Macpherson, manager of the location, wrote a letter to residents, stating, “We are very much aware that we are visitors to your neighborhood, and we are counting on the cooperation and goodwill of local residents to ensure that the shoot works. Please accept our sincere apologies for any delay or inconvenience the filming may cause.

“We will endeavor to minimize any disruption, and as a thank you in advance for your kind cooperation and assistance, we are liaising with the Morningside Community Council to donate to the community projects they are currently working on. . your region.

The Lost King’s filming plans

The film stars Alan Partridge legend Coogan as the husband of historian Phillipa Langley who was instrumental in rediscovering the lost remains.

The last of the Plantagenet rulers died in action in 1485 and his skeleton was found under a municipal parking lot in Leicester nine years ago.

Comedian and actor Coogan and his Stan and Ollie writing partner Jeff Pope are producing a film about the discovery of the King’s remains alongside famed director Stephen Frears.

Filming is set to take place in Edinburgh as well as in Midlothian where the film has obtained permission from the Midlothian Council to recreate the famous excavation of the Lady Victoria Colliery mine at the National Mining Museum in Newtongrange.

Letter sent to residents by The Lost King production team

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YRF calls on Maharashtra CM to help production house vaccinate 30,000 cinema workers, keen to get workers back to work | Bollywood

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Following the second wave of Covid-19 raging in India, Yash Raj Films (YRF) boss Aditya Chopra has pledged to vaccinate day laborers across the Hindi film industry.

YRF, in a statement, urged Maharashtra Chief Minister Uddhav Thackeray to allow the company to purchase 30,000 Covid-19 vaccines and meet all expenses related to the vaccination program for daily workers at the industry.

Akshaye Widhani, Senior Vice President of YRF, said in a statement: “With the film industry going through unprecedented times, there is an urgent need to restart at the earliest so that thousands of workers can start earning a living again and protect their families. Yash Raj Films, through the Yash Chopra Foundation, wishes to offer its support in this regard.”

He further adds, “We have sent a request to the Chief Minister of Maharashtra to allocate and enable us to purchase Covid-19 vaccines for 30,000 registered workers, who are members of the film industry federation in Mumbai at earlier.”

“The Yash Chopra Foundation will cover all other costs also associated with the vaccination of workers, such as outreach, transportation of workers and setting up all the infrastructure required for the vaccination program. We hope that our kind request will be approved, which will allow our members to be safe and also get them back to work at the earliest.

YRF further explained that once the vaccination is done, the workers will be able to return to their respective jobs and the industry will be able to continue operating without a few.

“This vaccination establishment is necessary to fight not only against the deadly disease, but also to fight against the downfall of the economy of the state. Let us all unite together and eradicate this disease, poverty and unemployment from the Maharashtra,” the statement said.

The second wave of coronavirus infected many people and the number of Covid-19 positive cases increased rapidly.

Also Read: Kangana Ranaut’s Twitter Account ‘Permanently Suspended’ After Incendiary Tweets Violating ‘Hateful Conduct’ Policy

Many Bollywood celebrities like Priyanka Chopra, Sonu Sood, Varun Dhawan, Akshay Kumar and others have come forward to contribute to the Indian government to help people crippled by the Covid-19 pandemic in the country.

Amid the spike in cases, many stars like Katrina Kaif, Sidharth Malhotra, Alia Bhatt, Mira Rajput, Bhumi Pednekar among others have used social media to amplify the voices of those in need.

YRF asks Uddhav Thackeray to help production house vaccinate 30,000 workers from FWICE-Entertainment News, Firstpost

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“The Yash Chopra Foundation will bear all other costs also associated with the vaccination of workers,” said Yash Raj Films.

Representation image. Unsplash

In an effort to ensure the safety of cinema workers amid the increasing cases of COVID-19[female[feminine , Yash Raj Films, one of the country’s leading production houses, is responsible for vaccinating 30,000 members of the Federation of Film Workers of West India (FWICE).

In a letter to FWICE, Yash Raj Films (YRF) said they sent a request to Maharashtra Chief Minister Uddhav Thackeray to allocate and allow them to purchase COVID-19[female[feminine vaccines for these registered workers, members of the Mumbai federation.

FWICE has a total of 2.5 lakh of registered workers.

In the letter dated May 1, Akshaye Widhani, senior vice president of YRF, said the production banner, through the Yash Chopra Foundation, offered its support to the daily workers.

“As the film industry goes through an unprecedented period, there is an urgent need to restart as soon as possible so that thousands of workers can start making a living and protect their families,” the letter said.

“The Yash Chopra Foundation will bear all other costs also associated with the vaccination of workers, such as awareness raising, transporting workers and setting up all the infrastructure necessary for the vaccination program,” he said. added.

BN Tiwari, President of FWICE, said the body of the film is grateful to the production house for thinking about worker safety amid the second wave of the coronavirus pandemic.

“It is a good initiative that they have taken for our workers, who are now working following all the protocols because they have to earn bread and butter. With the vaccine, they will be able to continue working safely without any fear.” , Tiwari said. PTI, adding that workers are also in urgent need of financial assistance, as not everyone has the opportunity to work.

Referring to the letter sent by YRF, FWICE also appealed to Thackeray to provide vaccines to artists, workers and technicians in the film industry.

“We ask that you kindly consider Yash Raj Films’ request and provide vaccines to approximately 30,000 workers. FWICE will also extend all its support and cooperation to make this vaccination campaign a success.

“Once the vaccination is complete, our members can resume their respective jobs and the industry can continue to operate without any fear,” FWICE said in a letter to the CM.

Maharashtra’s government announced last month that all shootings were suspended to curb the spread of infection in the state.

Currently, few TV shows and film shoots take place outside Maharashtra.

Maharashtra reported 48,621 news on Monday COVID-19[female[feminine cases and 567 deaths.

Last year, many movie personalities including Salman Khan, Amitabh Bachchan, Rohit Shetty, Varun Dhawan, Arjun Kapoor, Janhvi Kapoor, among others, offered financial assistance to workers during the national lockdown induced by the pandemic.

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Bardas Investment plans production studio in former Sears

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Bardas Investment Group founder David Simon and the project site. (Google Maps, Bardas, Getty)

UPDATE, May 5, 25, May 5, 2021: The demand for filming and production space in Los Angeles is booming and now Bardas Investment Group and Bain Capital Real Estate want to enter.

The companies plan to develop a production studio and office complex on the site of a former Sears store in Hollywood, according to the Los Angeles Times, which first reported the story. The project will cost $ 450 million, according to Commercial Observer, who provided additional details.

West Hollywood-based Bardas and Bain would build five sound stages and two five-story office buildings totaling 350,000 square feet, along with other production support facilities, the Times reported. Bardas calls the project Echelon Studios.

The development site totals approximately five acres at 5601 Santa Monica Boulevard, an area that is now primarily reserved for parking.

As streaming services have grown, so has the need for more office and production space in the city. Netflix signed the biggest office lease last year to establish its first in-house animation studio in Burbank.

Unlike the declining office market, the production space occupancy rate in the Greater LA area has remained above 90% in recent years, according to FilmLA. Demand is expected to increase as restrictions related to the pandemic are lifted and film projects ramp up.

Hackman Capital Partners is gobbling up studios across Los Angeles with plans to expand many of these properties. And Hudson Pacific Properties now owns approximately 1 million square feet of the 5.2 million square feet of rental sound stages in LA County. Blackstone bought a stake in this portfolio last summer.

Bardas is working on two other projects in Hollywood. In February, the company released plans for a 68,000 square foot office project at the corner of Melrose Avenue and Seward Street. He is also renovating an office building on Fountain Avenue and Cahuenga Boulevard.

[LAT] – Denis lynch

This story has been updated to include the estimated cost of the project and the addition of Bain Capital as a partner in the planned development.

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Coronation Street production crew member found dead after mental health issues linked to lockdown

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An “industrious” man who spent more than 30 years working for Coronation Street has died of suicide, according to an investigation heard today.

Glyn Pattison, 64, of Harwood, Bolton, was the grips manager for ITV Granada – a skilled technician role in camera equipment.

An inquest into his death at Bolton Coroner’s Court on Tuesday 4 May learned that he had suffered a number of personal difficulties which had contributed to an “increasingly low mood” in the months leading up to his death on May 21, 2020.

He died just ten days after his 64th birthday on May 11 and had just celebrated his ruby ​​wedding anniversary with his wife Cheryl, coroner Simon Nelson has learned.

An avid RVer, Mr Pattison had recently purchased a new motorhome, but the start of the lockdown in March 2020 meant it was ‘static’ in his driveway.

Having been put on leave from work during the lockdown, Mr Pattison is said to have had a series of financial issues regarding custody of the newly purchased trailer.

He had also recently lost a beloved family member as well as his companion dog Oscar, who has been described as his “best companion”.

Mr Pattison’s son Ross told the inquest that his father had no known history of mental health issues, but had started noticing a change in him in the months leading up to his death.

“When the lockdown hit, you could really notice a difference in her appearance,” said Ross Pattison.

“You could tell there was a lot going on in his head – he had lost a lot of weight and looked like he was about ten years old.

“He thought the world was coming to an end because of the lockdown.

“But he was still laughing and joking. I remember we had a socially distant reunion outside and I brought her a corona beer for a joke. “



On May 18, 2020, Mr Pattison was rushed to Royal Bolton Hospital after a “serious attempt to end his life”.

While in hospital, he was assessed by clinician Dr Arun Kallat and Dr Razia Hussain, representative of the hospital’s mental health team.

During his assessment at the hospital, Dr Kallat told the coroner’s court that Mr Pattison was in a bad mood and expressed concerns about the money and his motorhome.

Having initially been “reluctant” to pursue medical treatment, Mr. Pattison is said to have eventually cooperated with staff about his care.

The next day, May 19, Dr. Razia Hussain had a “long” discussion with Mr. Pattison about his mental health.

Dr Hussain said Mr Pattison was “open and honest” about his struggles, but said he was afraid of “infection” and contracting coronavirus in hospital.

On May 20, Mr. Pattison was released from the hospital and returned to his home.

After speaking with family and friends, including lifelong friend Mark Davies, Mr Pattison reportedly said later in the day that he had “told the doctors what they wanted to hear” in the frame of a “check box exercise”.

“He said he had to pay tribute to the mental health team and tell them what they wanted to hear,” Davies told the inquest.



An episode of Coronation Street was dedicated to Glyn's memory.
An episode of Coronation Street was dedicated to Glyn’s memory.

Dr Hussain said she did not have the same impression of Mr Pattison and that he expressed “remorse” for what he had done.

Dr Kallat also spoke to Mr Pattison that day and said he felt he had ‘a change of character’ since his first admission.

“He was more positive, he was making eye contact and discussing the possibility of taking antidepressants,” said Dr Kallat.

“He was very different, he was talking about the pregnancy of his son’s wife – he had something to look forward to.”

He told doctors the previous incident was “improvised” and he was anxious to see his wife again.

A day after Mr. Pattison’s release, he got into an argument with his wife.

When she was subsequently admitted to the hospital, Mr. Pattison was left at home alone.

Friends and family kept in touch with him as they tried to find out what support he might receive during this time.

At around 6 p.m., friend Mark Davies attempted to visit Mr. Pattison at his home and could not get an answer on his cell phone.

He then alerted his wife’s mother, who then contacted other family members.

Upon entering the property, Mr. Pattison was found unconscious and without a pulse.



'Beloved' Coronation Street cameraman found dead following lockdown-related mental health issues
Glyn Pattison has been a cameraman and shooting manager for Coronation Street for over 30 years

“None of us felt that he should have been left alone,” Davies said.

“I don’t understand why, without consulting any family member, he was fired.

“If he had had a little more time he might have been able to understand how he was feeling.”

Questioning Mr. Pattison’s discharge from hospital, Coroner Mr. Nelson asked if it was “standard procedure” to discharge a person with just a “phone number” for assistance.

“He was offered support but he said he didn’t need to talk to a psychiatrist, he would be fine after talking with his wife,” Dr Hussain said.

“His sanity had changed, he was remorseful for what he had done and he hadn’t expressed any concerns to me.

“He wouldn’t have been fired if there had been any doubts.”

When asked, in hindsight, if she would do anything differently, Dr Hussain said: “I would also have reassured the patient and their family more to see if they had different views.

“I would contact the family now anyway if I had a patient’s permission to do so. “

Samaritans (116,123) samaritans.org operates a 24 hour service available every day of the year. If you prefer to write down how you are feeling or are worried about being overheard over the phone, you can email Samaritans at [email protected], write to Freepost RSRB-KKBY-CYJK, PO Box 9090, STIRLING, FK8 2SA and visit www.samaritans.org/branches to find your nearest branch.

Disturbs 0300 123 3393 Monday to Friday, 9 a.m. to 6 p.m.) promotes the views and needs of people with mental health issues. Visit www.mind.org.uk

QUIET (0800 58 58 58) thecalmzone.net A helpline is for men who are down or have hit a wall for some reason, need to talk or find information and support. They are open from 5 p.m. to midnight, 365 days a year.

HEALTH (0300 304 7000) Emotional support, information and guidance for people with mental illness, their families and caregivers, every day, from 4.30 p.m. to 10.30 p.m. Visit www.sane.org.uk/support

For more information about your NHS mental health crisis helpline, visit here

Coroner Simon Nelson concluded that he believed Pattison had been “appropriately discharged” from the hospital, but agreed that “contact with one or more family members prior to his discharge may have altered the outcome. “.

Mr Nelson said it was “difficult” to determine what triggered his mental health problems, but it had potentially been a combination of things.

The cause of his death was concluded to be “suicide while the balance of his mind was disturbed”.

No suspicious circumstances or involvement of third parties were discovered by officers investigating the death.

Mr. Pattison’s son said his father was a “wonderful father, wonderful husband and wonderful worker”.

“He was highly respected and well-loved,” said Ross Pattison.

“He was never the type to sit around and do nothing, which is why he never retired.

“He was dedicated to his job – it was a very big part of his life and the job was very important to him.”

In conclusion, Coroner Simon Nelson addressed Mr. Pattinson’s family to say, “I hope you, his family and friends can reflect on the tremendous qualities of Mr. Pattinson for many years to come and for the long haul. of your life.

“He was a hard worker, he was loved by those he worked with for decades, and he was a very good character.”

Speaking after the investigation, his son Ross added: “It has been a very difficult year for the family.

“It was an unnecessary death and there were some failures of the mental health team.

“We don’t want to cause any problems for anyone, but we want to prevent more deaths and make sure these things don’t happen again.”

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NBC Sports Brings Production Team Back On Site, Launches Live Drone, Live JockeyCams

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NBC Sports’ backstretch Bat Cam returns for the first time since 2019

Typically one of the largest annual productions on the live sports calendar, NBC’s Kentucky Derby broadcast last year had a significantly reduced footprint and was produced remotely due to the pandemic. This year, a sign that live sports production is returning to some normalcy, Peacock’s production and announcement teams are back on site at Churchill Downs, and they have plenty of new tech toys to play with.

“The big difference is that last year we produced the show from our [Sports Production Operations Center in] Stamford, Connecticut, ”says Rob Hyland, Coordinating Producer, Horse Racing Coverage, NBC Sports. “This year we are back in Louisville and we are very happy to be back.

For the first time, a live drone and two live JockeyCam RF systems will be deployed in Derby coverage. Additionally, NBC Sports’ Bat Cam Backstretch returns for the first time since 2019, offering a perspective 15 to 18 feet above the track and moving up to 80 mph.

NBC’s production team returns to Churchill Downs

NEP ND1 mobile units A, B, C and D are available for NBC’s Derby production.

Last year’s Kentucky Derby late show was produced from NEP EN1 mobile units parked at the Stamford loading dock (and used NBC Sports’ NEWBERT remote flypack to bring the streams back), and almost all of the on-air talent was located in Stamford. On Saturday, Hyland’s production team and the 200-plus team will return to Louisville, operating NEP ND1 A, B, C and D mobile production units, and more than a dozen advertisers are attending Churchill Downs.

Hyland, who has been part of the broadcaster’s horse racing coverage since his first Derby in 2001, joins director Drew Esocoff to the front bench inside unit A of ND1. Coverage on NBCSN today and earlier Saturday will be provided by producer Billy Matthews and director Kaare Numme.

“Twenty years ago I was in NBC’s first Kentucky Derby,” Hyland says. “It was a show of about two hours, with a small team of journalists, some elements of reporting, and it was the preparation for the big race. This year, we have over a dozen advertisers, a production team of over 200 people, and around 15 hours of coverage.

Over 50 cameras in the park range from robots to airships

Producer Rob Hyland expects NBC’s new drone to deliver unique new views of the iconic Twin Spiers of Churchill Downs.

NBC has scattered over 50 cameras in and around Churchill Downs this year, including 12 wireless RF systems, six slo-mos, two robots, an airship, a two-point Bat Cam aerial system, two live RF JockeyCams and a live drone.

According to Hyland, the concept of using a drone first surfaced after the 2019 Derby, and NBC explored the use of a drone for the 2020 race before the pandemic overturned those plans. This year, with the Derby in full swing, NBC has chosen to introduce the drone into its production.

Supplied by Beverly Hills Aerials, the drone system was fitted with a Canon CJ20ex5B 4K broadcast zoom lens. The Hyland team conducted rehearsals with the provider on Wednesday and Thursday to establish a comfort level on its use on the show.

NBC has deployed over 50 cameras at Churchill Downs this year for the Derby.

While Hyland says the exact plan for the drone is still being worked out, he envisions it covering the front stretch in the same way the Bat Cam covers the back stretch. He hopes to get at least one infield drone shot for each race.

“We can use [the drone] and take you to places we didn’t have before with our traditional cameras, ”says Hyland. “Specifically, wrap around the twin arrows, go between the twin arrows to the paddock, from the paddock to the front, around the track, to the chute where the kilometer chute is – where it is difficult to get cameras, a very narrow area. We think this camera perspective will be a great – call it a magic carpet – for the Derby viewer during five hours of our show.

NBC worked closely with Churchill Downs to ensure the drone did not interfere with racing and pose a danger to customers on the track.

Although the Live JockeyCam has been used often in Europe, this is the first time it will be used on an NBC Sports Kentucky Derby production.

“We were worried about this with Bat Cam years ago, but the horses never noticed it in a race,” says Hyland. “Churchill Downs has been great working with us, and the supplier has been great. Our number one priority is safety.

Another novelty for this year’s production is a pair of RF systems supplied by UK-based JockeyCam mounted on board jockey helmets. NBC used JockeyCam for the Breeders Cup World Championships, but this is the first time the system will feature race action in the Derby.

“We think this will be a really cool rerun for grass and gravel races,” said Hyland. “[It’s] an effort to bring viewers closer to the action and give them a feel for the speed and decision-making that goes into each race and how fast.

Kornacki and SMT Extend Data-Centric Conversation in Derby Broadcast

SMT is once again providing data feed for NBC’s Derby coverage, which will be used by handicapper / reporter Eddie Olczyk (pictured) and Derby newcomer Steve Kornacki.

SMT once again provides a wealth of race and betting data, helps drive graphics for NBC broadcast, and provides the interface for the interactive touch screens used by handicapper / journalist Eddie Olczyk and newcomer Derby Steve kornacki.

After capturing the cultural zeitgeist as a data-driven political analyst for NBC News on coverage of the 2020 presidential election, Kornacki joins this year’s Derby broadcast team to bring a focused angle on horse racing data. He previously provided election-style ‘big advice’ for NBC Football night in America during the NFL playoff race and for his “Triplecast” coverage of the Wood Memorial, Blue Grass Stakes and Santa Anita Derby this month.

“Steve will be integrated throughout the show with the trends and what history says about the Kentucky Derby as we take a look at the field,” said Hyland. “Steve will have more of a holistic view of Derby trends, of what history tells us, of where the money is going. “

Although Churchill Downs is not at full capacity, up to 48,000 spectators are expected to pass through the gates on race day.

NBC will work closely with SMT to take snapshots of the movement of money throughout the day – something new to NBC’s Derby show.

“[Kornacki] will have a lot of data, “Hyland notes,” and it will have a big table. It will look a lot like his presentation on NBC News or MSNBC. Steve will be able to follow the money that comes in to one of the individual horses in the race on the night of the Derby, and we can take snapshots of that and explain it to the public.

NBC Sports Group Coverage of 147e The Kentucky Derby begins today on NBCSN with coverage of the Kentucky Oaks and continues with coverage of the Derby Saturday at noon ET on NBCSN, followed by NBC airing starting at 2:30 p.m. ET.

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LSU students create media production team showcasing college community | News

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A group of LSU juniors have created a media production team that showcases the campus community.

Ugo Njoku, Kyron Wilson and Damien Henry use their skills in photography, videography and graphic design to showcase the creative abilities of LSU students through a community and campus media production team called Action Awareness.

“As far as our experiences on campus, we didn’t necessarily see that creative outlet and we wanted to do our part to create it,” Njoku said.

Since the organization began in June 2019, the team said Action Awareness activities have increased.

Wilson said the team has “paved the way for the visual arts to be more valued and accessible to members of LSU’s minority community who are interested in such things.” Action Awareness captures and creates content for social events and minority activities on campus, such as the Student Union’s Black Open Mic and Karaoke Night and the African American Cultural Center.

Students on campus can use the organization’s photo and video services to showcase their clothing brands, businesses, and personal events like birthday parties.

“They took my vision and brought it to life through their photos,” said Nylah Lowe, junior kinesiologist.

The organization’s video production of LSU’s Alpha Phi Alpha Fraternity “Louisiana District Stroll Off” video was recognized during Black History Month by four-time Academy Award-nominated actress Viola Davis, and the Black Entertainment Television Network.

Viola Davis reposted the video with the caption: “We are kings”.

“It felt like the product of everything we’ve worked to bring to life,” Njoku said in response to Instagram reposts. “An overwhelming sense of joy was born that the work produced by one of our members was even able to reach these platforms.”

Going forward, the Action Awareness team said it plans to expand its work in the community and on campus.

“As the campus reopens in the fall, we ourselves are working to take on bigger projects both in the community and on campus,” Njoku said.

Major TV and Film Production Studio Comes to Knoxville

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Knoxville, Tenn. (WATE) – Knoxville is set to host a state-of-the-art television and film studio thanks to a partnership with a local independent production company and business leaders.

Knoxville-based RIVR Media has partnered with HGTV co-founder Bob Baskerville and Cleveland Browns owner Dee Haslam to open RIVR Studios in summer 2021. According to a report by Deadline.com, the 20,000 square foot studio will include more than 6,000 square feet earmarked for television and film production. It would also include a 1,500 square foot studio designed for digital production in addition to full-service post-production facilities.

RIVR Media is co-led by veteran producer and entrepreneur Dee Haslam, managing partner of the Cleveland Browns, investor operator of Columbus Crew SC and CEO of Haslam Sports Group; and Emmy-nominated showrunner and CEO Lori Golden-Stryer.

In a joint statement, Dee Haslam and Lori Golden Stryer commented : “Knoxville has long been a hidden gem in the Southeast as a television and film hotbed. Seeing its continued growth over the past year, we have identified an exciting opportunity to launch a full-service studio space equipped for all forms of production. Having Bob as President will bring unparalleled experience in brand building, digital technology and business leadership to RIVR Studios.

RIVR Studios is a partnership between RIVR Media and Bob Baskerville, former Executive Vice President, Digital and Media Operations at Discovery Inc., where he led the company’s US portfolio of production and post-production services. Baskerville, one of the founders of HGTV, has led several technology businesses and initiatives during his more than 20 years at Scripps Networks. He will be president of RIVR Studios.

RIVR Media’s portfolio includes series for Discovery, HGTV, Food Network, DIY Network, Animal Planet, A&E, Lifetime, Oxygen, ESPN and more.

RIVR Media has plenty of upcoming shows for 2021 and beyond, including “Breaking Bland” for HGTV, “Super Dad” for Magnolia, and several new series for major networks to be announced soon.

Major TV and film production studio arrives in Knoxville

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KNOXVILLE, Tennessee (WATE) – Knoxville is preparing to host a state-of-the-art television and film studio through a partnership with a local independent production company and business leaders.

Knoxville-based RIVR Media has teamed up with HGTV co-founder Bob Baskerville and Cleveland Browns owner Dee Haslam to open RIVR Studios in the summer of 2021. According to a report from Deadline.com, the studio of 20,000 square feet will include more than 6,000 square feet for television and film production. It would also include a 1,500 square foot studio designed for digital production in addition to full-service post-production facilities.

RIVR Media is jointly led by veteran producer and entrepreneur Dee Haslam, Managing Partner of the Cleveland Browns, Operator Investor of Columbus Crew SC and CEO of Haslam Sports Group; and Showrunner and Emmy-nominated CEO Lori Golden-Stryer.

In a joint statement, Dee Haslam and Lori Golden-Stryer commented : “Knoxville has long been a hidden gem in the Southeast as a home to television and movies. Seeing its continued growth over the past year, we have identified an exciting opportunity to launch a full service studio equipped for all forms of production. Having Bob as President will bring RIVR Studios unparalleled experience in branding, digital technology and business leadership. ”

RIVR Studios is a partnership between RIVR Media and Bob Baskerville, former executive vice president, digital operations and media at Discovery Inc., where he led the company’s US portfolio of production and post-production services. Baskerville, one of the founders of HGTV, has led several companies and technology initiatives during his 20+ years with Scripps Networks. He will be the president of RIVR Studios.

RIVR Media’s portfolio includes series for Discovery, HGTV, Food Network, DIY Network, Animal Planet, A&E, Lifetime, Oxygen, ESPN and more.

RIVR Media has many upcoming shows for 2021 and beyond, including “Breaking Bland” for HGTV, “Super Dad” for Magnolia and several new series for major networks that will be announced soon.

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Joe Mineo Creative is looking for organized people to fill the production team

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The production team pulls all the necessary materials, builds and offers custom items

(WKBN) – Big events are big jobs behind the scenes. For example, Joe Mineo Creative hosts the Rock and Roll Hall of Fame induction ceremony every year. Now that events are back on the calendar, the business needs more team members.

Joe Mineo Creative takes special events to the next level. This work begins by focusing on the smallest details, which will ultimately have a big impact.

She is looking for members of the production team, who are the heart of the business.

“It’s the team that prepares everything that is in place at events – takes it apart, sets it up, makes it perfect for our client. Then start over the following week, ”said Joe Mineo.

The production team pulls all the necessary materials, builds and offers custom items, loads the trucks and helps install the parts. It is the workforce combined with the organization.

“We want people who understand that logistics are very important in organizing parties and that they are really able to step in and help in all aspects of creating the event,” said Mineo. .

Joe Mineo Creative organizes weddings, mitzvahs, special occasions and corporate events. You name it, they will. Every event is different and the production team is a great way to start.

“There are a lot of different aspects of designing an event, but starting in this position is really great because you see the details of what it takes to produce a truly fabulous event,” Mineo said.

The team also needs a floral designer. Every weekend, the company produces wedding bouquets, centerpieces and other flower arrangements. He wants someone with two years of experience to help create spectacular designs, not mom-and-pop designs.

“If you don’t want to make the same arrangements that you might have made at your local florist, because the traditional work is so popular, this is a real opportunity for you to come and work for us and do something that is. a little different, ”Mineo said.

Joe Mineo Creative will take applications in person at 592 Industrial Rd., Youngstown, OH 44509. You can also email your resume to [email protected]

Visit their website for more information.

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Vidyut Jammwal Starts Action Hero Films Production House After Completing Decade In Cinema

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Vidyut Jammwal has surely made a name for itself in the industry. The actor has always chosen roles that put him in big roles and packed with high octane action. From his first Force to Commando franchise, the actor has always given everything for his films and surprised audiences with his love for the action.


Today, Vidyut Jammwal took to her social media to make a huge announcement. The actor has now launched his production house called Action Hero Films. Now is a big step for the superstar to take. Vidyut took that milestone the same year he completed a decade in the industry and has much to be proud of. He took to Twitter and said: “I’m celebrating 10 years in the movies and I’m grateful to share this milestone with you. Announcement from our production house @ actionherofilm1 co-producer @ abbassayyed771 #ActionHeroFilms #TenYearsOfVidyutJammwal #Gratitude # JammwalionsAreTheBest #Milestone #MakingMoviesIsTheDream. With the banner named Action Hero Films, we are sure that the production house will provide us with top-notch action entertainment and keep us in awe. We congratulate the actor and hope to see him reach new heights of success with this new role in showbiz.

Vidyut Jammwal

Vidyut Jammwal made her debut in 2011 with Force and the Horns Locked with John Abraham on the big screen. The actor even won the Best Debut (Male) Filmfare Award and made his mark. Since then, he has always chosen roles that satisfy his thirst for deed and action. The actor is very popular on social media and his action moves drive fitness enthusiasts crazy.


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10th Annual DSM High School Musical Theater Awards Announces Production Team and Fullinwider Award Winner

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Dallas Summer Musicals has announced that the production team for the 10th Annual DSM High School Musical Theater Awards (HSMTA) will include Joel Ferrell as director / choreographer, Cherish Love Robinson as Music Director and Eric Lee Tysinger as production supervisor.

Liz mikel was named the recipient of the 2021 Fullinwider Award in honor of her impact on the North Texas theater community. The awards ceremony will be presented as a virtual live stream on DSM’s YouTube page on June 11, 2021.

Ferrell is a veteran director and choreographer based in Dallas, Texas. He is the former associate artistic director of Dallas Theater Center and has directed and choreographed extensively across the country for the Denver Center Theater, Portland Center Stage, North Shore Music Theater, and more. His acting credits include nationwide tours on Broadway, regional theater, television and film.

Robinson is an award-winning theater and music industry veteran with a career spanning the past two decades as an artist, producer, composer, music director and songwriter. She has produced and arranged the vocals for artists across the country including Elle King, The Texas Gentlemen and Paul Cauthen, and television shows such as Big Little Lies and Grey’s Anatomy.

Tysinger has spent the past 19 years managing stage and production in all facets of the performing arts. He held the position of production manager for The Dallas Theater Center (Regional Theater Tony Award 2016) for six years and for Triad Stage for two years. Tysinger’s credits include The Last Ship on Broadway and the Hamilton Nationwide Tour.

Dallas native and Broadway veteran Liz mikel will receive the 2021 Fullinwider Award in honor of his accomplishments within the theater community of North Texas and beyond. Mikel is a multi-faceted, award-winning artist who has been a fixture on the Dallas-Fort Worth art scene for over 30 years. She has smoothly transitioned from the stage to television, studio recordings, cabaret and feature films, toured nationally and internationally, and worked alongside some of the industry’s most prominent artists.

The Fullinwider Award is presented to artists with roots in the North Texas community who have had a significant impact on local, regional and national theater communities. The award is named after Leah and Jerry Fullinwider, founding donors of the DSM High School Musical Theater Awards. The award was created to honor the Fullinwiders for their initial donation of $ 100,000, which helped fund and produce DSM HSMTA and the College Scholarship Program in 2012.

The awards ceremony, which traditionally takes place at Music Hall in Fair Park, will be featured as a production broadcast live on DSM’s YouTube page. All awards will be announced live and the evening will feature captivating live performances and acceptance speeches by this year’s nominees and winners.

Inspired by the Tony Awards on Broadway, the DSM HSMTA celebrates the power of the arts and its ability to dramatically improve all areas of education. The annual DSM HSMTA recognizes the artistic and educational achievements of North Texas students and their high school programs. A total of 41 performances from 39 participating high schools were evaluated by a diverse group of highly skilled judges from the North Texas theater community.

Prizes will be awarded in 15 categories and scholarships are awarded to outstanding graduates who are nominated by their teachers and selected by the DSM scholarship jury. With funds raised through private donations, DSM HSMTA will award $ 55,000 in cash scholarships to continue to promote the great talent that North Texas has to offer. To date, the DSM HSMTA University Scholarship Program has awarded over $ 350,000 in cash scholarships to deserving students.

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Jason Botkin launches production company A New Face in Hell

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Production vet Jason Botkin started A Fresh Face in Hell, a film production company with bases of operations in Seattle and Los Angeles.

Botkin is the owner and general manager of the new company named after its never say die approach to production and will provide full-service production solutions for advertising and brands. Botkin has over 20 years of experience in commercial production companies, including as an EP at B-Reel Films, Furlined and Cap Gun Collective. He is also known for creating Streetgang Films, a music video production company that launched the careers of many top directors today.

A Fresh Face in Hell opens with a list of directors that includes:

  • Olof Lindh, visual storyteller known for his work on Gradifi and Whirlpool from Goodby Silverstein & Partners. Lindh was previously at B-Reel Films.
  • Meiko Takechi Arquillos, a well-known commercial photographer turned director. This is his first post on the list for commercial production.
  • Casper Balslev, seasoned business manager, photojournalist and owner of New Land Films. Balslev had been at RSA for many years.
  • Aaron Brown, longtime collaborator of Arctic Monkeys music videos. Previously at Skunk
  • Tom Haines, renowned music video maker and documentary expert for the BBC, Tate and Channel 4. Previously at B-Reel Films.
  • David Robert Mitchell, Favorite Independent Director of Critically Acclaimed Films It follows and Under the Silver Lake. This is his first post on the list for commercial production.
  • Industry veteran Chris Volckmann known for his directorial work with REI, Amazon and Nike. Volckmann was previously replaced at Unheard Of.
  • And Austin Wilson, music documentary filmmaker who has produced profiles for Iron & Wine and Band of Horses. Wilson was previously replaced at Society.

For directors’ representation, A Fresh Face in Hell works with Kevin Batten and Crystal Bedford at PopArts on the West Coast, Chiara Chung at CCCo. in the Midwest, and Dani Ostrowski of MoreMilkToast Co. on the east coast.

In addition to production, Fresh Face also offers in-house post-production capabilities including editorial, telecine, online, VFX, design and animation.

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Dingbat Theater Project Announces Cast and Production Team of Reimagined SHREK THE MUSICAL

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Dingbat Theater Project has announced the casting and production team for its upcoming production of Shrek the Musical with a book and lyrics by David Lindsay Abaire author of Rabbit Hole and music by Jeanine Tesori composer of Fun Home and Caroline, or Change. The musical is based on the DreamWorks animated film Shrek which is celebrating its 20th anniversary this year. The film is in turn based on the children’s book by Guillaume Steig.

The musical is reimagined by the Dingbat Theater Project with an eight-person cast, all-new stage and costume designs, and a new staging reminiscent of Brechtian and Theater of the Absurd storytelling techniques. Shrek will be directed by Luke Manual McFatrich and choreographed by Brian F. Finnerty, who are also in the cast. Michelle Kasanofsky is the musical director and conductor for the performances. Matt Neier is the lighting designer, and David walker is the costume designer.

Production will begin on May 7, 2021 and will perform outdoors in the courtyard of the Bazaar on Apricot and Lime at 821 Apricot Avenue in Sarasota until May 15, 2021. Food will be available prior to performances from the Hamlet’s Eatery food truck located in the lesson. Tickets are available on www.dingbattheatre.org. There is an ongoing gofundme campaign to subsidize production costs to https://gofund.me/d1dd5fc7.

The cast is filled with community favorites led by Cory woomert like Shrek and Alyssa Goudy like Princess Fiona. Donkey is played by Derric Gobourne Jr., formerly of the Westcoast Black Theater Troupe, and vertically challenged Lord Farquaad will be played by Brian F. Finnerty who also serves as choreographer for the production. To complete the cast, Amanda Heisey as Pinocchio, Noelia Altamirano as Mama Bear, Jamie Molina as Gingy and Luke Manual McFatrich as Dragon. All of the cast members play various other roles in the production like a variety of fairytale creatures, Duloc dancers, knights, and more. Michelle Kasanofsky as Fairy Godmother and Judah Woomert as Farquaad’s guard and guitarist will make special appearances.

Shrek the Musical tells the story of an unlikely hero who finds himself on a life-changing journey alongside a sarcastic donkey and a fiery princess who resists his rescue. Add in an angry villain, a cookie with an attitude, and over a dozen other fairytale misfits, and you’ve got the kind of mess that calls for a true hero. Luckily, there’s one on hand … and it’s called Shrek.

This is the Dingbat Theater Project’s second stage adventure, following Brian and Luke’s December 2020 sold-out series Amazing Terrific Jaw-Dropping Fantastical Specatular Tremendous Live Holiday Jamboree, designed and performed by Brian F. Finnerty, Luke Manual McFatrich and Michelle Kasanofsky.

McFatrich is on staff at the Venice Theater where he is an instructor, development staff member and director of teen improv programming. He was the founder of The Basket Cases Theater Company in Starkville, Mississippi, where he wrote, co-wrote or directed original productions of The Elves and the Shoemaker, The True Adventures of the Ugly Duckling and Frost. He was also the solo performer of a production of L’Appel de la nature, which he adapted from the Jack London novel. While in the Sarasota area, he appeared on stage in Head Over Heels and Hello, Dolly! at The Players Center and Peter and the Starcatcher and Born Yesterday at the Venice Theater, among others.

“We approach Shrek as if it had never been played before. The choice to have only eight artists is necessary due to the pandemic, but it has opened the doors for us to tell this story in a more meaningful way.” , says McFatrich. “Rather than the typical pageantry exercise, this approach makes Shrek the Musical a human story about overcoming the way society perceives the unusual, celebrating yourself and others for who you and they are. , to deal with loneliness and find a family where you least expect it. And the farts jokes, there are also the farts jokes, so it’s fun. This show is a great opportunity for the Sarasota audience to see something completely new, unexpected and exciting with an incredibly multi-talented cast playing dozens of roles. It’s really special and fun for the whole family. “

Finnerty is the Social Media Manager and Studio Instructor at Players Studio and The Players Center for Performing Arts, where he has directed and choreographed the critically acclaimed productions of SHOUT! The Musical Mod, Hello Dolly! (with co-director of Amanda Heisey) and the regional premier of Head Over Heels. Also a prolific artist in the area, he has appeared on Random Acts produced Reefer Madness at The Starlite Room, Bubbling Brown Sugar at Westcoast Black Theater Troupe, Singin ‘in the Rain at Players Center, and 42nd Street and The Rocky Horror Show at Venice Theater. Original works include Vaudeville’s Dead and Christmas Belles of ’45: An offensive radio play with Plump Sister Productions.

“Shrek the Musical focuses on the relatable human experiences of prejudice, of battling insecurities and depression, to finally embracing one’s true self and the search for love and acceptance. And of course, the musical delivers the witty sarcastic nerve depicted in the Dreamworks movie. The story is strong, it doesn’t need cartoonish costumes and a cast of over 30 actors to convey what’s important. There is a different appreciation that comes with viewing such a well-known fairy tale parody in a way that truly reflects our realities, ”says Finnerty. “Through this process, brilliantly imagined by Luke, I discovered that it’s even more satisfying to capture Shrek’s hilarious story with a cast of 8 versatile performers, swapping costume pieces, accents, intentions and a physical. It gets everyone involved (actors, production crew and audience) to once again embrace the imagination and creativity behind the “pretend” we did when we were kids. A diver is a sword, a scooter is a horse, sock puppets are a villain’s entourage. It’s so much fun. It’s cool and something this area has never seen before. “

The production of Shrek the Musical by Dingbat Theater Project is made possible through collaboration with The Players Center for Performing Arts, The Bazaar on Apricot & Lime and Hamlet’s Eatery.

COVID-19 PROTOCOLS:

– All performances are outdoors in the courtyard of the Bazaar on Apricot Lime.

– Non-contact temperature checks will be carried out for all members of the public before admission to the courtyard.

– Masks must be worn over the nose and mouth at all times, unless actively eating or drinking while seated in their designated section. This includes clients who have been vaccinated.

– Social distancing between parties is required and enforced.

– Before each performance, all seats will be disinfected.

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Oscars production team adds Questlove, Dream Hampton and more

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The 93rd Oscars Show producers Jesse Collins, Stacey Sher and Steven Soderbergh recently announced 14 key members of the production team for the 93rd Academy Awards. Below is a list of the seven black members who make up the show’s new talent and veterans! OScars Questlove Production Team, Dream Hampton

Drummer, DJ, producer, writer and founding member of hip hop group The Roots, Questlove joins the Oscars production team as the show’s musical director. He is the musical director of “The Tonight Show Starring Jimmy Fallon”, for which The Roots is the house group. Five-time Grammy Award® winner, Questlove has held musical leadership roles with artists such as D’Angelo, Eminem and Jay-Z. He produced through his production company Two One Five Entertainment the documentary series “Hip Hop: The Songs That Shook America” ​​and will then direct a documentary on Sly Stone. He made his directorial debut with the feature documentary “Summer of Soul (… Or, When the Revolution Could Not Be Televised),” which premiered at the 2021 Sundance Film Festival and received both the Grand Jury Prize and Audience Prize for the best American documentary. . Questlove is a member of the Academy and has performed at the Oscars before.

dream joins the Oscars production team as a screenwriter. Award-winning filmmaker and writer, his most recent works include the feature documentary “Treasure”, the HBO documentary “It’s a Hard Truth Ain’t It”, the BET documentary series “Finding Justice” and Lifetime’s Emmy’s nominated “Surviving R Kelly” , which broke audience records and won a Peabody Award. hampton was named to the 2019 TIME 100 list of the world’s most influential people.

Co-producer Jeannae Rouzan-Argile joins the Oscars production team for the first time. She is a screenwriter and producer, and vice president of promotions for Jesse Collins Entertainment. For more than 15 years, Rouzan-Clay has been at the helm of several television shows for major networks and streaming platforms, including CBS, BET, VH1, Nickelodeon and Netflix. NAACP Image Award® winning producer, her work includes awards including “BET Awards”, “Black Girls Rock! “,” BET Honors “,” ABFF Honors “and” Soul Train Awards “; specials such as “Super Bowl LV Halftime Show Starring The Weeknd”, “The 14th Annual Stand Up for Heroes”, “The All-Star Nickmas Special”, “Leslie Jones: Time Machine”, “Dear Mama”, “Def Comedy Jam 25 “and” BET Presents Love and Happiness: A Celebration of Obama “and the” Sunday Best “competition series.

Oscar Production Team Questlove, Dream Hampton

Co-producer Dionne Harmon joins the Oscars production team for the first time. She is Executive Vice President of Content and Strategy at Jesse Collins Entertainment, where she oversees the development and production of unscripted and scripted content. Four-time NAACP Image Award winner, Harmon has produced tents and specials including “A Grammy Salute to the Sounds of Change”, “Super Bowl LV Halftime Show Starring The Weeknd”, “John Lewis: Celebrating a Hero”, “BET Awards”, “BET Hip Hop Awards”, “Soul Train Awards” and “BET Presents Love & Happiness: An Obama Celebration”, as well as the comedy specials “Leslie Jones: Time Machine” and “Amanda Seales: I Be Knowin ‘”and the contest shows“ Rhythm + Flow ”and“ Nashville Squares ”. On the script side, Harmon’s credits include the BET miniseries “The Bobby Brown Story” and the “American Soul” series.

Rodney Barnes returns to the Oscars production team as a screenwriter. Writer and producer, he is currently executive producer of an untitled HBO series about the 1980s Los Angeles Lakers, and showrunner, writer and creator of “Things That Make White People Uncomfortable” for HBO Max. Barnes wrote “The Falcon” by Marvel Comics, “Lando: Double or Nothing” by Marvel / Lucasfilm and “Quincredible” for the Lion Forge imprint. Other credits include “Wu-Tang: An American Saga”, “The Boondocks” and “Everybody Hates Chris”.

Oscar Production Team Questlove, Dream Hampton

Amberia Allen returns as a writer at the Oscars for the second year in a row. She has written for “The Daily Show with Trevor Noah” and “The Last OG” and has written for numerous live awards and variety specials including “Golden Globe Awards”, “Primetime Emmy Awards” and “The Mark Twain American Comedy Award In addition, Allen holds a PhD in Sociology from UCLA and is a co-author of UCLA’s annual report on Diversity in Hollywood.

Oscar Production Team Questlove, Dream Hampton

Mitchell Marchand returns to the Oscars show as a writer. His credits as a comedy writer include award shows such as “BET Awards”, “Hip Hop Awards”, “UNCF Evening of Stars”, MTV Video Music Awards “,” NAACP Image Awards “and” Primetime Emmy Awards ” “. He wrote jokes for big name talents like Jamie Foxx, Anthony Anderson, Mike Epps, Kevin Hart and Chris Rock, and created presentations for Oprah Winfrey, Tyler Perry, Quincy Jones and Kerry Washington. As of 2021, Marchand’s work can be seen on the Netflix series “The Upshaws” and the second season of “Kids Say the Darndest Things” on CBS.

Other members of the production tram include:

Rob paine has been associated with telecasting the Oscars for over 20 years and returns as supervising producer. Paine has over 200 televised events to his name and has won eight Primetime Emmy® Award nominations, one Daytime Emmy Award nomination and a Peabody Award. Her credits include “Celebrating America,” “A West Wing Special to Benefit When We All Vote,” 12 Super Bowl halftime shows, “The Kennedy Center Honors” and the “Primetime Emmy Awards.”

Co-producer Raj kapoor joined the Oscars for the fifth year in a row, overseeing content and on-screen performance. Her recent credits include “The Wonderful World of Disney: The Little Mermaid Live!” “Mariah Carey Magical Christmas Special”, “Grammy Awards®”, “Primetime Emmy Awards”, “Academy of Country Music Awards”, “Latin Grammys”, “The E! People’s Choice Awards ”,“ Stand Up to Cancer ”and several“ The Disney Family Singalong ”specials. Kapoor has organized numerous large-scale international tours for Carrie Underwood, Faith Hill and Tim McGraw, One Republic, “American Idol”, “So You Think You Can Dance”, Backstreet Boys, Shania Twain, Juanes, Jonas Brothers and Demi Lovato .

Taryn hurd joined the Oscars for the eighth consecutive year as a talented producer. She has also been a talent producer at the last six Governors’ Awards ceremonies, as well as numerous television variety specials and awards shows.

Richard LaGravenese is a first-time writer for the Oscars show. Writer, director and film and television producer, he won an Oscar® nomination for his original screenplay of “The Fisher King”. Her other writing credits include “Unbroken”, “Water for Elephants”, “The Horse Whisperer”, “Beloved”, “The Mirror Has Two Faces”, “The Bridges of Madison County”, “A Little Princess” and ” The Ref. “He has written and directed films such as” The Last Five Years “,” Beautiful Creatures “,” PS I Love You “,” Freedom Writers “, the” Pigalle “segment in” Paris, Je T’Aime And “Living Out Fort.” His television credits include “Behind the Candelabra,” for which he received an Emmy nomination; the Emmy-nominated documentary “A Decade under the Influence” and the legal series “The Divide” .

Editor-in-chief Jon macks returns for its 24th Oscar TV show. He was honored with eight Primetime Emmy Award nominations, including three for Oscar telecast. In addition to his Oscar work, Macks wrote for 22 years on “The Tonight Show with Jay Leno” and writes for Billy Crystal, Steve Martin, Chris Rock, Martin Short, Helen Mirren and Michael Douglas. Over the past year, he wrote for the 2020 Democratic National Convention, prepared the debate for President Biden, and was one of two editors for the “Celebrating America” ​​Inaugural Night special.

Production designer David rockwell returns to the Oscars squad. He previously served as Production Designer for the 81st and 82nd Academy Awards, the latter earning him a Primetime Emmy Award. Rockwell is the founder and president of Rockwell Group, an interdisciplinary architecture and design firm with a focus on innovation. He has designed sets for over 60 theatrical productions, both on and off Broadway, including “She Loves Me”, for which he won a Tony Award®, “Kinky Boots” and “Hairspray”. Rockwell’s current work includes The Perelman, a new art center in New York (restaurant and lobby interior designer); Nobu hotels and restaurants around the world; 1 Toronto Hotel; Smithsonian “FUTURES,” an exhibit celebrating the Smithsonian’s 175th anniversary; and Drama, a new book exploring architecture and theater published by Phaidon in May. Honors include the Cooper Hewitt National Design Award, the Smithsonian National Design Museum, and the Presidential Design Award.

Lighting designer Robert dickinson returns for its 32nd Academy Awards. It won 18 Primetime Emmy Awards, including three for Oscar TV shows. In addition, Dickinson was honored with two Daytime Emmy Awards. His credits include “The Kennedy Center Honors”, “Grammy Awards”, “Primetime Emmy Awards”, “Tony Awards”, “Golden Globe Awards” and “Academy of Country Music Awards”; Olympic ceremonies in Atlanta, Salt Lake City, Athens and Vancouver; the ceremonies of the European Games in Baku; and the specials “Peter Pan Live! and “The sound of live music!” ”

Academy commissions black artists for 93rd Oscar campaign

Oscar Production Team Questlove, Dream Hampton Oscar Production Team Questlove, Dream Hampton

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93rd Academy Awards Announces 14 Key Production Team Members For April 25 Show – Under the Line

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The Oscars® show producers Jesse collins, Stacey Sher and Steven soderbergh announced 14 key members of the production team for the 93rd Academy Awards®, which will air live on ABC on Sunday, April 25, 2021.

Rob payne

Rob paine has been associated with telecasting the Oscars for over 20 years and returns as supervising producer. Paine has over 200 televised events to his name and has won eight Primetime Emmy® Award nominations, one Daytime Emmy Award nomination and a Peabody Award. Her credits include “Celebrating America,” “A West Wing Special to Benefit When We All Vote,” 12 Super Bowl halftime shows, “The Kennedy Center Honors” and the “Primetime Emmy Awards.”

Jeannae Rouzan-Argile

Jeannae Rouzan-Argile

Co-producer Jeannae Rouzan-Argile joins the Oscars production team for the first time. She is a screenwriter and producer, and vice president of promotions for Jesse Collins Entertainment. For more than 15 years, Rouzan-Clay has been at the helm of several television shows for major networks and streaming platforms, including CBS, BET, VH1, Nickelodeon and Netflix. NAACP Image Award® winning producer, her work includes awards including “BET Awards”, “Black Girls Rock! “,” BET Honors “,” ABFF Honors “and” Soul Train Awards “; specials such as “Super Bowl LV Halftime Show Starring The Weeknd”, “The 14th Annual Stand Up for Heroes”, “The All-Star Nickmas Special”, “Leslie Jones: Time Machine”, “Dear Mama”, “Def Comedy Jam 25 “and” BET Presents Love and Happiness: A Celebration of Obama “and the” Sunday Best “competition series.

Dionne Harmon

Dionne Harmon

Co-producer Dionne Harmon joins the Oscars production team for the first time. She is Executive Vice President of Content and Strategy at Jesse Collins Entertainment, where she oversees the development and production of unscripted and scripted content. Four-time NAACP Image Award winner, Harmon has produced tents and specials including “A Grammy Salute to the Sounds of Change”, “Super Bowl LV Halftime Show Starring The Weeknd”, “John Lewis: Celebrating a Hero”, “BET Awards”, “BET Hip Hop Awards”, “Soul Train Awards” and “BET Presents Love & Happiness: An Obama Celebration”, as well as the comedy specials “Leslie Jones: Time Machine” and “Amanda Seales: I Be Knowin ‘”and the contest shows“ Rhythm + Flow ”and“ Nashville Squares ”. On the script side, Harmon’s credits include the BET miniseries “The Bobby Brown Story” and the “American Soul” series.

Raj kapoor

Raj kapoor

Co-producer Raj kapoor joined the Oscars for the fifth year in a row, overseeing content and on-screen performance. Her recent credits include “The Wonderful World of Disney: The Little Mermaid Live!” “Mariah Carey Magical Christmas Special”, “Grammy Awards®”, “Primetime Emmy Awards”, “Academy of Country Music Awards”, “Latin Grammys”, “The E! People’s Choice Awards ”,“ Stand Up to Cancer ”and several“ The Disney Family Singalong ”specials. Kapoor has organized numerous large-scale international tours for Carrie Underwood, Faith Hill and Tim McGraw, One Republic, “American Idol”, “So You Think You Can Dance”, Backstreet Boys, Shania Twain, Juanes, Jonas Brothers and Demi Lovato .

Taryn hurd

Taryn hurd

Taryn hurd joined the Oscars for the eighth consecutive year as a talented producer. She has also been a talent producer at the last six Governors’ Awards ceremonies, as well as numerous television variety specials and awards shows.

Amberia Allen

Amberia Allen

Amberia Allen returns as a writer at the Oscars for the second year in a row. She has written for “The Daily Show with Trevor Noah” and “The Last OG” and has written for numerous live awards and variety specials including “Golden Globe Awards”, “Primetime Emmy Awards” and “The Mark Twain American Comedy Award In addition, Allen holds a PhD in Sociology from UCLA and is a co-author of UCLA’s annual report on Diversity in Hollywood.

Rodney Barnes

Rodney Barnes

Barnes returns to the Oscars production team as a screenwriter. Writer and producer, he is currently executive producer of an untitled HBO series about the 1980s Los Angeles Lakers, and showrunner, writer and creator of “Things That Make White People Uncomfortable” for HBO Max. Barnes wrote “The Falcon” by Marvel Comics, “Lando: Double or Nothing” by Marvel / Lucasfilm and “Quincredible” for the Lion Forge imprint. Other credits include “Wu-Tang: An American Saga”, “The Boondocks” and “Everybody Hates Chris”.

dream

dream

dream joins the Oscars production team as a screenwriter. Award-winning filmmaker and writer, his most recent works include the feature documentary “Treasure”, the HBO documentary “It’s a Hard Truth Ain’t It”, the BET documentary series “Finding Justice” and Lifetime’s Emmy’s nominated “Surviving R Kelly” , which broke audience records and won a Peabody Award. hampton was named to the 2019 TIME 100 list of the world’s most influential people.

Richard LaGravenese

Richard LaGravenese

Richard LaGravenese is a first-time writer for the Oscars show. Writer, director and film and television producer, he won an Oscar® nomination for his original screenplay of “The Fisher King”. Her other writing credits include “Unbroken”, “Water for Elephants”, “The Horse Whisperer”, “Beloved”, “The Mirror Has Two Faces”, “The Bridges of Madison County”, “A Little Princess” and ” The Ref. “He has written and directed films such as” The Last Five Years “,” Beautiful Creatures “,” PS I Love You “,” Freedom Writers “, the” Pigalle “segment in” Paris, Je T’Aime And “Living Out Fort.” His television credits include “Behind the Candelabra,” for which he received an Emmy nomination; the Emmy-nominated documentary “A Decade under the Influence” and the legal series “The Divide” .

Jon macks

Jon Macks (Photo: Matt Petit / AMPAS)

Editor-in-chief Jon macks returns for its 24th Oscar TV show. He was honored with eight Primetime Emmy Award nominations, including three for Oscar telecast. In addition to his Oscar work, Macks wrote for 22 years on “The Tonight Show with Jay Leno” and writes for Billy Crystal, Steve Martin, Chris Rock, Martin Short, Helen Mirren and Michael Douglas. Over the past year, he wrote for the 2020 Democratic National Convention, prepared the debate for President Biden, and was one of two editors for the “Celebrating America” ​​Inaugural Night special.

Mitchell Marchand

Mitchell Marchand (Photo: Jai Townsend)

Mitchell Marchand returns to the Oscars show as a writer. His credits as a comedy writer include award shows such as “BET Awards”, “Hip Hop Awards”, “UNCF Evening of Stars”, MTV Video Music Awards “,” NAACP Image Awards “and” Primetime Emmy Awards ” He wrote jokes for top talents like Jamie Foxx, Anthony Anderson, Mike Epps, Kevin Hart and Chris Rock, and created introductions for Oprah Winfrey, Tyler Perry, Quincy Jones and Kerry Washington. In 2021 , Marchand’s work can be seen on the Netflix series “The Upshaws” and on the second season of “Kids Say the Darndest Things” on CBS.

Questlove

Questlove

Drummer, DJ, producer, writer and founding member of hip hop group The Roots, Questlove joins the Oscars production team as the show’s musical director. He is the musical director of “The Tonight Show Starring Jimmy Fallon”, for which The Roots is the house group. Five-time Grammy Award® winner, Questlove has held musical leadership roles with artists such as D’Angelo, Eminem and Jay-Z. He produced through his production company Two One Five Entertainment the documentary series “Hip Hop: The Songs That Shook America” ​​and will then direct a documentary on Sly Stone. He made his directorial debut with the feature documentary “Summer of Soul (… Or, When the Revolution could not be televised),” which premiered at the 2021 Sundance Film Festival and received at the both the Grand Jury Prize and the Audience Prize for the best American documentary. . Questlove is a member of the Academy and has performed at the Oscars before.

David rockwell

David rockwell

Production designer David rockwell returns to the Oscars squad. He previously served as Production Designer for the 81st and 82nd Academy Awards, the latter earning him a Primetime Emmy Award. Rockwell is the founder and president of Rockwell Group, an interdisciplinary architecture and design firm with a focus on innovation. He has designed sets for over 60 theatrical productions, both on and off Broadway, including “She Loves Me”, for which he won a Tony Award®, “Kinky Boots” and “Hairspray”. Rockwell’s current work includes The Perelman, a new art center in New York (restaurant and lobby interior designer); Nobu hotels and restaurants around the world; 1 Toronto Hotel; Smithsonian “FUTURES,” an exhibit celebrating the Smithsonian’s 175th anniversary; and Drama, a new book exploring architecture and theater published by Phaidon in May. Honors include the Cooper Hewitt National Design Award, the Smithsonian National Design Museum, and the Presidential Design Award.

Robert dickinson

Robert dickinson

Lighting designer Robert dickinson returns for its 32nd Academy Awards. It won 18 Primetime Emmy Awards, including three for Oscar TV shows. In addition, Dickinson was honored with two Daytime Emmy Awards. His credits include “The Kennedy Center Honors”, “Grammy Awards”, “Primetime Emmy Awards”, “Tony Awards”, “Golden Globe Awards” and “Academy of Country Music Awards”; Olympic ceremonies in Atlanta, Salt Lake City, Athens and Vancouver; the ceremonies of the European Games in Baku; and the specials “Peter Pan Live! and “The sound of live music!” “

The 93rd Academy Awards will take place on Sunday, April 25, 2021 at Union Station Los Angeles and the Dolby® Theater at Hollywood & Highland Center® in Hollywood, and will be televised live on ABC at 8 p.m. ET / 5 p.m. PT. The Oscars will also be televised live in more than 225 countries and territories around the world.

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Oscars production team adds Questlove, Richard LaGravanese and Dream Hampton

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The Oscars producers revealed the production team for this year’s ceremony, including Questlove as the show’s musical director and Richard LaGravenese and Dream Hampton as writers.

Jesse Collins, Stacey Sher and Steven Soderbergh, the producers of this year’s Oscars, announced a total of 14 new cast members on Wednesday. This follows news that Glenn Weiss will return to direct the series with the intention of making it more cinematic than previous Oscar shows.

Members added to this year’s show are supervising producer Rob Paine, co-producers Jeannae Rouzan-Clay, Dionne Harmon and Raj Kapoor, talent producer Taryn Hurd, writers Amberia Allen, Rodney Barnes, Dream Hampton, Mitchell Marchand and Richard LaGravenese and the head writer. Jon Macks, music director Questlove, production designer David Rockwell and lighting designer Robert Dickinson.

The Roots Questlove crew chief previously served as music director for artists like D’Angelo, Eminem and Jay-Z, and he produced the documentary series ‘Hip Hop: The Songs That Shook America’ through his production company Two One Five Entertainment. He recently directed the Sundance-winning documentary “Summer of Soul” and will next direct a documentary on Sly Stone. He is also a member of the Academy and has already performed at the Oscars.

As Allen, Barnes and Marchand all return to the Oscars, it’s a first for LaGravenese and Hampton. Hampton is the producer of “Surviving R. Kelly” on Lifetime, and LaGravenese is the Oscar-nominated writer of “The Fisher King” and director of “Freedom Writers.”

Rouzan-Clay and Harmon are both first-time producers on the show. Kapoor is joining the Oscars for the fifth time and Paine has been with the Academy for over 20 years. Hurd returns for its eighth year.

The Oscars will air live on ABC on Sunday, April 25, 2021.

Oscars production team adds Questlove, Dream Hampton and David Rockwell

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Oscar producers Jesse Collins, Stacey Sher and Steven Soderbergh have announced 14 key members of the production team for the 93rd Academy Awards.

Rob Paine (“A West Wing Special To Enjoy When We All Vote”) will serve as supervising producer, while co-producer Raj Kapoor (“Grammy Awards”) joins the Oscars for the fifth consecutive year, overseeing content and screen performance. Taryn Hurd (Governors Awards) joins the Oscars for the eighth consecutive year as a talented producer, while lead writer Jon Macks (“The Tonight Show With Jay Leno”) returns for his 24th Oscarcast. Amberia Allen (“The Daily Show With Trevor Noah”), Rodney Barnes (“The Things That Make Whites Uncomfortable”) and Mitchell Marchand (“The Upshaws”) Return As Writers For The Oscars . Production designer David Rockwell (founder and president of Rockwell Group) returns after designing the 81st and 82nd Oscars, and lighting designer Robert Dickinson (“The Kennedy Center Honors”) is back for his 32nd Oscarcast.

Co-producers Jeannae Rouzan-Clay (“BET Awards”) and Dionne Harmon (“Super Bowl LV Halftime Show Starring the Weeknd”) join the Oscar production team for the first time. Writers Dream Hampton (HBO’s “Treasure”) and Richard LaGravenese (“The Fisher King”) also join the team, along with Questlove (founding member of The Roots), who will be the show’s musical director.

This year’s Oscar nominations, announced on March 15, were the most diverse and inclusive in the ceremony’s 93-year history. Two directors, Chloé Zhao of “Nomadland” and Emerald Fennell of “Promising Young Woman”, were nominated for best director. Nine of the 20 interim nominees are people of color, including Riz Ahmed (“Sound of Metal”), the late Chadwick Boseman and Viola Davis (“Ma Rainey’s Black Bottom”), Steven Yeun and Yuh-Jung Youn (“Minari”) , Andra Day (“United States vs. Billie Holiday”), Leslie Odom Jr. (“A Night in Miami”) and Daniel Kaluuya and Lakeith Stanfield (“Judas and the Black Messiah”).

Only guests and presenters will attend the ceremony this year, which will be broadcast live on ABC on April 25.

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Oscars 2021 production team ready for Pandemic Era telecast – Deadline

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With the 93rd Academy Awards forced to adapt and change, with the coronavirus pandemic still a major factor, the production crew for the April 25 ceremony announced on Wednesday reflects these conditions.

Producers Jesse Collins, Stacey Sher and Steven Soderbergh have unveiled 14 key members of their team for the show, which will air live on ABC from the Oscar’s usual home at Hollywood’s Dolby Theater and downtown Union Station. from Los Angeles. Returning veterans include newcomers including The Roots drummer and filmmaker Questlove, who previously performed on television but is now Music Director; Oscar nominated screenwriter Richard LaGravenese, who also wrote the film Liberace directed by Soderbergh Behind the candelabra, as a writer; and Dream Hampton, writer and executive producer of Survive R. Kelly, also as a writer.

All three are newbies to the world of the Oscars. Other newcomers include Jesse Collins Entertainment veterans Jeannae Rouzan-Clay (BET Awards, Super Bowl LV halftime show with The Weeknd) and Dionne Harmon (Grammy Awards Tribute to Sounds of Change, Super Bowl LV halftime show starring The Weeknd) as co-producers. They will be joined by veterans of the annual show, including supervising producer Rob Paine, who has been on the Oscars team for 20 years; co-producer Raj Kapoor, returning for a fifth consecutive year, overseeing content and on-screen performances; and Taryn Hurd who returns for the eighth consecutive year as a talented producer.

Longtime screenwriter Jon Macks head writer Tonight Show with Jay Leno scribe returning for his 24th Oscar TV show after recent gigs written for the 2020 Democratic National Convention and the Celebrate America inaugural special, will lead a team that includes Amberia Allen (second Oscars), Rodney Barnes (Wu-Tang: an American saga) and Mitchell Marchand (MTV Music Video Awards) with LaGravenese and Hampton.

Other returning veterans include production designer David Rockwell, who played the role for the 81st and 82nd Oscars and is a Tony winner with over 60 theatrical productions, including She loves me, naughty boots and Harispray (he also designs Nobu hotels and restaurants); and lighting designer Robert Dickinson, who returns for his 32nd Oscar show with 18 Primetime Emmy Awards to his name, including three for Oscar TV shows.

As Deadline unveiled this week, there is no single host planned for this year’s ceremony, with producers now having offers for talent who they hope will take turns introducing the categories.

Glenn Weiss is returning to lead the Oscars for a sixth consecutive year, but little is known about the makeup of the ceremony. The organizer, the Academy of Motion Picture Arts and Sciences, told the nominees there would be a ban on zooms, so popular with other shows of the Covid era, including the Golden Globes, Critics Choice and the next SAG Awards truncated.

“Our plan is that this year’s Oscars will look like a movie, not a TV show, and Glenn took that approach and came up with his own ideas on how to get there,” Collins, Sher and Soderbergh said. when Weiss came on board. Last week.

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The Oscars production team draws on a variety of talents including Questlove, dream hampton and Rodney Barnes – Black Girl Nerds

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Oscars® producers Jesse Collins, Stacey Sher and Steven Soderbergh today announced 14 key members of the production team for the 93rd Oscars®, which will air live on ABC on Sunday, April 25, 2021 .

Among its production team are notable black creators from the entertainment industry whose skills range from production to writing.

Co-producer Jeannae Rouzan-Argile joins the Oscars production team for the first time. She is a screenwriter and producer, and vice president of promotions for Jesse Collins Entertainment. For more than 15 years, Rouzan-Clay has been at the helm of several television shows for major networks and streaming platforms, including CBS, BET, VH1, Nickelodeon and Netflix. NAACP Image Award® winning producer, her work includes awards including “BET Awards”, “Black Girls Rock! “,” BET Honors “,” ABFF Honors “and” Soul Train Awards “; specials such as “Super Bowl LV Halftime Show Starring The Weeknd”, “The 14th Annual Stand Up for Heroes”, “The All-Star Nickmas Special”, “Leslie Jones: Time Machine”, “Dear Mama”, “Def Comedy Jam 25 “and” BET Presents Love and Happiness: A Celebration of Obama “and the” Sunday Best “competition series.

Co-producer Dionne Harmon joins the Oscars production team for the first time. She is Executive Vice President of Content and Strategy at Jesse Collins Entertainment, where she oversees the development and production of unscripted and scripted content. Four-time NAACP Image Award winner, Harmon has produced tents and specials including “A Grammy Salute to the Sounds of Change”, “Super Bowl LV Halftime Show Starring The Weeknd”, “John Lewis: Celebrating a Hero”, “BET Awards”, “BET Hip Hop Awards”, “Soul Train Awards” and “BET Presents Love & Happiness: An Obama Celebration”, as well as the comedy specials “Leslie Jones: Time Machine” and “Amanda Seales: I Be Knowin ‘”and the contest shows“ Rhythm + Flow ”and“ Nashville Squares ”. On the script side, Harmon’s credits include the BET miniseries “The Bobby Brown Story” and the “American Soul” series.

Amberia Allen returns as a writer at the Oscars for the second year in a row. She has written for “The Daily Show with Trevor Noah” and “The Last OG” and has written for numerous live awards and variety specials including “Golden Globe Awards”, “Primetime Emmy Awards” and “The Mark Twain American Comedy Award In addition, Allen holds a PhD in Sociology from UCLA and is a co-author of UCLA’s annual report on Diversity in Hollywood.

Rodney Barnes returns to the Oscars production team as a screenwriter. BGN spoke to Barnes earlier this year in a live Instagram chat about his comic book “Killadeplhia”. Writer and producer, he is currently executive producer of an untitled HBO series about the 1980s Los Angeles Lakers, and showrunner, writer and creator of “Things That Make White People Uncomfortable” for HBO Max. Barnes wrote “The Falcon” by Marvel Comics, “Lando: Double or Nothing” by Marvel / Lucasfilm and “Quincredible” for the Lion Forge imprint. Other credits include “Wu-Tang: An American Saga”, “The Boondocks” and “Everybody Hates Chris”.

dream joins the Oscars production team as a screenwriter. Award-winning filmmaker and writer, his most recent works include the feature documentary “Treasure”, the HBO documentary “It’s a Hard Truth Ain’t It”, the BET documentary series “Finding Justice” and Lifetime’s Emmy’s nominated “Surviving R Kelly” , which broke audience records and won a Peabody Award. hampton was named to the 2019 TIME 100 list of the world’s most influential people.

Mitchell Marchand returns to the Oscars show as a writer. His credits as a comedy writer include award shows such as “BET Awards”, “Hip Hop Awards”, “UNCF Evening of Stars”, MTV Video Music Awards “,” NAACP Image Awards “and” Primetime Emmy Awards ” “. He wrote jokes for big name talents like Jamie Foxx, Anthony Anderson, Mike Epps, Kevin Hart and Chris Rock, and created presentations for Oprah Winfrey, Tyler Perry, Quincy Jones and Kerry Washington. As of 2021, Marchand’s work can be seen on the Netflix series “The Upshaws” and the second season of “Kids Say the Darndest Things” on CBS.

Drummer, DJ, producer, writer and founding member of hip hop group The Roots, Questlove joins the Oscars production team as the show’s musical director. He is the musical director of “The Tonight Show Starring Jimmy Fallon”, for which The Roots is the house group. Five-time Grammy Award® winner, Questlove has held musical leadership roles with artists such as D’Angelo, Eminem and Jay-Z. He produced through his production company Two One Five Entertainment the documentary series “Hip Hop: The Songs That Shook America” ​​and will then direct a documentary on Sly Stone. He made his directorial debut with the feature documentary “Summer of Soul (… Or, When the Revolution Could Not Be Televised),” which premiered at the 2021 Sundance Film Festival and received both the Grand Jury Prize and Audience Prize for the best American documentary. . Questlove is a member of the Academy and has performed at the Oscars before.

The other members announced were: Raj Kapoor, Rob Paine, Taryn Hurd, Richard LaGravenese, Jon Macks, David Rockwell and Robert Dickinson.

The 93rd Academy Awards will take place on Sunday, April 25, 2021 at Union Station Los Angeles and the Dolby® Theater at Hollywood & Highland Center® in Hollywood, and will be televised live on ABC at 8 p.m. ET / 5 p.m. PT. The Oscars will also be televised live in more than 225 countries and territories around the world.

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Utah production team excel in new documentary Anchor Point, which premieres at the Cinequest Film Festival, about women forest firefighters rehabilitating work culture

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In 2018, speaking at a Wharton Leadership Conference, Kelly Martin, who was the chief fire and aviation management at Yosemite National Park, told attendees: Like for you as a female firefighter? What do you think are the things we could do better? ‘ She said. She added, “You don’t have to be really heavy with people during the initial communication to really create a conversational environment in your business.”

Like the new documentary film Anchor, directed by Holly Tuckett, demonstrates it beautifully in her nuanced and understated presentation, Martin carefully weighed how she approached to become a mentor and a voice of conscience to change, illuminate and improve the working culture of female firefighters. professional. And it goes far beyond rehabilitating a work environment poisoned by sexual and emotional harassment. While the number of women is relatively low (accounting for only 10%) in the profession, their presence and contributions nonetheless underscore how vital they can be, as firefighters face the increasingly complicated challenges of deploying firefighters. effective strategies for dealing with more frequent and intense situations. forest fires and changing public perceptions of fire, in general.

Anchor will host its premiere at the Cinequest Film Festival, which runs March 20-30, as reported during the festival site (scheduled to premiere at noon on March 20, with a virtual screening night later in the day at 7 p.m. MDT). The film will also be screened, courtesy of the American Documentary and Animation Film Festival and Film Fund (widely known as AmDocs), which facilitated the granting of a Simple DCP for the Anchor production team to complete post-production services. Anchor is a production starring some of Utah’s best-known creative professionals, including Tuckett; producer and editor Maddy Purves and screenwriter Jennifer Dobner; and Utah filmmakers Marissa Lila and Torben Bernhard. The film also features music by Los Angeles-based composer Nami Melumad. The film also received tax sponsorship from the Utah Film Center.

Tuckett cleverly adapts the character study approach in the documentary to show how Martin and his colleagues faced a culture of sexual harassment, misogyny, and intimidation in the wildfire world. Martin values ​​discretion and confidentiality, as she has clearly thought about when to speak about what she and her colleagues have been through. Early in her career, which would eventually last for 35 years, Martin caught a colleague spying on her while she was showering, but she decided not to press charges. Over the years, she discovered that such incidents as well as cases of harassment and discrimination against female firefighters were widespread. In 2016, as the #MeToo movement had become visible in many career fields, she prepared to testify about experiences before the United States House of Representatives Committee on Oversight and Government Reform in September 2016. In 2017, Time the magazine included her among The Silence Breakers by naming the person of the year.

Tuckett also offers the story of Lacey England, a generation younger than Martin, who like her mentor saw how women are so quickly disparaged by men, who believe themselves unable to cope with the arduous physical demands of their work. . Yet England, like their female colleagues, is proving that they meet the same training and certification requirements as rappelling to the ground. England also sees potential in diversifying the perspective of knowledge in its field. Indeed, wildland firefighters have recently experienced extended seasons of wildfires which have become more aggressive, but there are also questions about fire suppression and tactical strategies, many of which were based on outdated knowledge that has become more aggressive. little relevance to today’s conditions. And, England, like Martin, sees the importance of not demonizing fire as always bad, drawing on, for example, indigenous knowledge about the culture of fire. In fact, many scenes from Anchor present fire in a symbolic and miss-en-scene way, which clarify the epiphanies to be drawn from the film.

Tuckett also features scenes from the Women-in-Fire Training Exchange (WTREX) program, which Martin coordinated to pave the way for a new generation of leaders in the profession. The participants come not only from the United States, but also from Canada, Australia and Portugal and about 10 percent of the participants are men. The impact of WTREX is significant, especially for women firefighters who come from teams where they might be the only woman or among a handful. More generally, firefighters, men and women, also have to deal with driving problems during the off-season as well as the emotional challenges that accompany their work, which manifest themselves in various ways through isolation, suicide, trauma. and drug addiction. There is also an expanded knowledge base on fires, motivated by many practical, social, scientific and cultural considerations which have reinforced the relevance of many forest fires which have become major events in recent years.

With the final edited version of the film, viewers will be in awe of the straightforward yet understated franchise of the women. However, as Tuckett explains in an interview with The Utah Review, gaining the trust of the documentary’s subjects did not happen automatically. First, Martin and England didn’t want their stories to be sensational. “We talked about it at length because they didn’t want a piece of ‘trauma porn’,” Tuckett says. “When Lacey [England] went to a Ron Howard Sundance screening last year paradise [a film about the deadly wildfire in 2018 that devastated the eponymous California town], she said it was a lot of traumatized porn that also focused too much on portraying fire as the villain. ”

The clincher to pursue Anchor the filming took place during a humorous incident in Tallahassee when Tuckett and the production managers arrived after a red-eyed robbery and had only managed a few hours of sleep before meeting Martin, England, and others female firefighters to talk about how the film would be made. “We were going to fly away, but we also wanted them to tell us what they wanted the story to be,” she recalls. Prior to the trip, Tuckett and his team were advised to arrive at the meeting “fire-ready” which meant having fire-resistant boots and cotton underwear. As Tuckett wrote in a blog post, “In forest fires, cotton or wool underwear is the rule; the fabrics withstand the extreme temperatures of a fire and will not melt or stick to the skin.

This little detail was important. The firefighters had been skeptical of the journalists and other filmmakers they met because they feared they would be portrayed as victims. England, for example, served as the main PR contact for the group and the film shows how female firefighters have long thought about expressing their concerns and messages by telling their stories. Coming back to the Tallahassee meeting, “I was nervous because the atmosphere in the room was freezing and calm,” Tuckett explains. “When I asked if there were any questions, someone shouted, ‘Did you bring cotton panties? I pulled my pants down to show them that I actually did. Kelly [Martin] came over and said I was hilarious. She said, “It took guts and you’re going to fit in.” I was ready to be vulnerable.

Lacey England

Likewise, in the aftermath of the 2016 congressional hearings, Martin generally avoided one-on-one interviews, but welcomed Tuckett and the production team to Yosemite to continue the conversation. Even in the film’s final scene set on Martin’s property in Idaho, which was shot during the pandemic unlike other footage seen in the documentary, Tuckett accepted his wish not to show him his house. However, Martin did agree to a scene being shot in her kitchen and some footage outside in the aisle with her and England. The final scene was shot exclusively by Tuckett.

An intelligent, sympathetic, cleverly framed film, Anchor comes at a fortuitous moment. With Deb Haaland as the country’s first Native American cabinet secretary in the service of the US Department of the Interior and a new federal administration that appears to be precisely encouraging diverse and informed dialogue to reform and enhance the broader culture involved, it appears that the hopes of Martin, England and his colleagues could be turned into meaningful actions and policies.

This is Tuckett’s second feature-length documentary. His first, Church and State, debuted in 2018, winning a Special Jury Prize at AmDocs and Best Feature Documentary at the Nice International Film Festival in France. For more information on Anchor, To see the movie website.

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Stephen Curry’s Unanimous Media Strengthens Film and TV Production Team – The Hollywood Reporter

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Stephen Curry’s Unanimous Media has bolstered its film and television production team by promoting Jenelle Lindsay to executive vice president and hiring documentary maker Brian Tetsuro Ivie as creative producer.

Lindsay, who joined the production banner founded by Golden State Warriors star Stephen Curry and Erick Peyton in 2018 as vice president of development, has been the first hire at Unanimous. Ivie directed Emmanuel, a documentary about the 2015 attack by a white supremacist gunman on Emanuel AME Church in Charleston, South Carolina, which killed nine worshipers.

As a creative producer, Ivie will oversee a list of film, television and documentary projects while developing her own projects in-house. His films in development include Cancer aisle, a feature-length documentary about families living in what is considered the most contaminated place in America, and gentlemen, based on a true story set in the world of high school step dance.

After directing and producing films on religious and socio-political themes, Ivie will also direct a faith vertical for Unanimous in collaboration with Lindsay and co-founders Peyton and Curry. Unanimous Media and Curry have signed a film and television contract with Sony Pictures Entertainment.

“Jenelle has a fantastic taste and instinct for what will work under our tenure and she has been an integral part of our growth since our launch and we rely on her and her 22 years of experience to really push every aspect forward. of the business, “Peyton and Curry said in a statement.

“We’ve been huge fans of Brian since our partnership on Emmanuel and we are delighted that he is joining the team here at Unanimous. We believe his shared passion and perspective will amplify Unanimous’ mission to inspire and educate, ”they added.

Unanimous Media was nominated for Curry’s honor as the first NBA player to sweep the 131 Most Valuable Player Award votes in 2016.

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Mazda Toyota Manufacturing seeks to fill more production team member positions

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HUNTSVILLE, Ala. (WAFF) – Mazda Toyota Manufacturing is seeking to fill more places on its production line and is taking part in a major online job fair from 1 p.m. on Thursday.

This is Mazda Toyota’s third job fair of the year and there are still over 1,000 jobs for production team members up for grabs! The company plans to hire a total of 4,000 new employees. The goal is to build a team from the ground up with a view to starting production at its new factory in Huntsville later this year.

“We’re really excited to be able to participate in the Virtual Automotive Manufacturing Hiring Event,” said Toni Eberhart of Mazda Toyota Manufacturing’s corporate communications team. “It’s really an opportunity for interested candidates to ask questions!

The Huntsville Madison County Chamber of Commerce hosts the job fair. It is free for employers and job seekers.

Mazda Toyota hired in phases to ensure the onboarding process ran smoothly. So far, the company has hired about 1,400 employees in several different departments.

“These events have been so wonderful for our company to connect with job seekers who want to join Mazda Toyota Manufacturing and really learn more about the growing industry. There will also be other employers there” , Eberhart said.

At Mazda Toyota, pay starts at $17 an hour and employees are signed up for a benefits package from day one. You must be 18 or older at the time of application and have an interest in working on the production line.

“The kind of practical work is the nature of work!” said Eberhart.

The main purpose of the job fair is to give job seekers the opportunity to ask questions, learn about the company and find out how to apply for a place on the team.

“Overall, we’ve seen a really positive response,” Eberhart said. “The team members we’ve hired on board are so excited to be here and we’re so excited to have them. We’re really building a world-class team, so we’re always on the lookout for more people wanting to join us and find the best qualified candidates, but we are so excited to be able to connect with members of the community and welcome them to our team.

Some of Mazda’s suppliers are also hiring and will be present at the job fair. According to Eberhart, 17 companies make up the Mazda Toyota Manufacturing ecosystem, which operate to support the plant. The total number of jobs offered, including factory suppliers, is approximately 7,000.

Again, the event will begin at 1 p.m. and run until 2:30 p.m. CST. Eberhart recommends that job seekers register in advance, but it is not required. You can register for the job fair using this link:

https://cm.hsvchamber.org/events/details/2021-virtual-automotive-manufacturing-hiring-event-march-11-12290.

Copyright 2021 WAFF. All rights reserved.

Wheelhouse Strengthens Production Team with Trio of Creative Services Executives

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Brent Montgomery’s Wheelhouse is expanding its production and creative services capabilities with a trio of hires, including the appointment of former All3Media America executive vice president of production, Wally Parks.

Parks (pictured right) joins Wheelhouse Entertainment as executive vice president of production alongside Chelsey Trowbridge (left) as senior vice president of post production and Janell Coles-English as vice president Senior President of Commercial and Legal Affairs.

The in-house team will lead and execute the physical production of series and projects produced by Wheelhouse Entertainment (WHE) for linear and streaming platforms.

Parks comes to Wheelhouse with over 20 years of experience managing all aspects of producing scripted, unscripted and live-action programming in all formats and genres.

At All3Media America, Parks has overseen production, release, operations, casting and music, directing a number of Emmy-nominated shows. Prior to All3Media, he was Executive Vice President of Production at Lambert and Tijuana Entertainment.

Prior to Wheelhouse, Trowbridge was Vice President of Post-Production at Truly Original, overseeing all post-production work for over 40 series, encompassing programming, budgets and the post-production team for unscripted series. .

Previously, Trowbridge was Vice President of Production at Original Media, managing post-installation operations and post-production teams for series such as Storm Chasers, Ink master and the swamp people.

Coles-English (left), meanwhile, moves to Discovery Studios’ Wheelhouse where she serves as vice president of corporate and legal affairs, leading business and legal affairs for Discovery’s in-house studio.

She also led Discovery’s commercial and legal affairs teams based in New York and London. Previously, she led Animal Planet’s sales and legal teams for global network operations in London, New York and Washington, DC.

Eric Wattenberg, Creative Director of Wheelhouse and President of Wheelhouse Entertainment, said in a statement: Our own projects. We are delighted to welcome Wally, Janell and Chelsey, a collective force and the perfect team to lead production at Wheelhouse.

Montgomery launched Wheelhouse in 2018 in partnership with Jimmy Kimmel. WHE encompasses Kimmelot, Spoke Studios, Campfire, Portal A and a number of media partnerships with talent and companies including LOL by Kevin Hart, 222 Production by Adam Levine and influencers David Dobrik and Nikita Dragun.

The group consists of content and production company Wheelhouse Entertainment (WHE); Wheelhouse Labs internal brand marketing and creative innovation division; the recently launched digital media division Wheelhouse DNA; and the Wheelhouse Partners investment arm.

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Anthony’s Pier 9 to become a film production studio

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NEW WINDSOR – The Bonura Hospitality Group is selling its flagship wedding restaurant, Anthony’s Pier 9 in New Windsor and the buyer intends to convert the 70,000 square foot building on Route 9W into a film production studio. The sale is expected to close in mid-June.

The use will be “just like a Hollywood soundstage,” said Amanda Dana, director of tourism and cinema for Orange County.

The coronavirus has dealt a “heavy blow” to the restaurant industry, said Michael Bonura, who, along with his brother, Joseph Jr., is the director of the company. But, Joseph, Jr. has promised that “Bonura Hospitality is making a big comeback” this year.

COVID-19 has cost New York state caterers 95% of their business. With the Anthony’s sale, the family will be offering to move all weddings and other events planned for this venue after mid-June to one of their other facilities – The Grandview and Shadows on the Hudson, both on the Hudson River. in Poughkeepsie, as well as the Poughkeepsie Grand Hotel in the city center, as well as the West Hills Country Club in the town of Wallkill.

Those who do not wish to move to one of the company’s other facilities will receive a full refund.

The Bonuras, whose family started their catering business at Anthony’s Pier 9 in 1982, will move this event business to Newburgh’s waterfront with a large outdoor facility just north of their Blu Pointe restaurant. The outdoor tent style model will replicate those they operate in Wallkill and Poughkeepsie.

Brothers Joseph Jr. and Michael, who took over the business from their father, Joseph, Sr., also plan a $ 40 million expansion on three of the 190 acres they own in West Hills with construction. of 158 luxury apartments, as well as their development adjacent to the Poughkeepsie waterfront.

Due to the pandemic, parties inside their facilities were limited to less than 50 people. From March 22, indoor venues will be allowed to accommodate 100 people and outdoors, 200.

The brothers said selling Anthony’s Pier 9 was “bittersweet” as they grew up and learned the trade there. “We started doing the dishes there,” said Michael.

The brothers expect to increase their staff in the future by anticipating the hiring of an additional 400 people.

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Area College Partners with Emmy Award-Winning Video Production Studio | Business Observer

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TAMPA — The University of Tampa announced that it has partnered with a Tampa-based video production studio to provide its film students with hands-on experience in the industry.

The virtual production partnership with Diamond View Studios, an Emmy Award-winning video production company, is set to begin this spring. On-campus undergraduate courses will center on Vu de Diamond View, a state-of-the-art virtual production studio housing one of the largest volumes of LEDs in the world. The company recently invested around $7 million in the project.

The university and Diamond View say the technology, which includes motion control robotics and advanced motion capture systems, provides “an ideal venue for interns and students to gain the hands-on experience needed to prepare students to their career in the film industry”.

“In a field like virtual production, with ever-changing technology, a graduate student might not be ready to meet the needs of the industry,” says Gregg Perkins, Associate Professor of Film, Animation and New Media at the University of Tampa, in a statement.

“This new partnership aims to bridge this gap between academia and industry. This allows us to educate students in a way that currently many other schools and colleges cannot. It’s a big competitive advantage for us.

Perkins adds that many students at the university are studying animation, programming, coding, filmmaking and other disciplines that will increasingly rely on virtual and digital production.

“Most students outside of major centers like New York, LA and Atlanta don’t have the same opportunities to learn with virtual production,” Diamond View CEO Tim Moore said in the release.

“We’re really excited to be working with the University of Tampa to deliver these experiences.”

Diamond View, which was formed in 2007, “seeks to inspire audiences through high-quality, cinematic video.”

The University of Tampa has approximately 10,000 students from all 50 states and approximately 130 countries, the majority of whom reside on the school’s 110-acre riverside campus in Tampa.


Ali Fazal and Richa Chadha announce the production house, 1st film titled Girls Will Be Girls

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Ali Fazal and Richa Chadha have announced their production house, Pushing Buttons Studios. Their first film is called Girls Will Be Girls.

Ali Fazal and Richa Chadha announce the production house.

Ali Fazal and Richa Chadha have announced their own production house, Pushing Buttons Studios. The production house’s first film is called Girls Will Be Girls and will be directed by Brooklyn filmmaker Shuchi Talati. The film is the only Indian film invited to the Berlinale Script Station running this year and has also been invited by the prestigious Jerusalem Script Lab.

ALI FAZAL AND RICHA CHADHA PRODUCTION HOUSE

Ali Fazal took to Twitter and expressed his enthusiasm for his first film as a producer with Richa Chadha. He wrote: “Humble and eager to launch our first business. It’s a first feature film for us. Dir’s script #ShuchiTalati is the Indian entry to script station # Berlinale2021. Much more to come from us. I hope to defend all artists from the bottom up (sic). “

ABOUT GIRLS WILL BE GIRLS

The film will be an Indo-French co-production as Claire Chassagne of Dolce Vita Films will also be a co-producer of Girls Will Be Girls. The film defies taboos on sexuality and takes place in a boarding school in a small town in the Himalayas. It tells the story of a teenage girl named Mira and her relationship with her mother.

ALI FAZAL AND RICHA CHADHA TALK ABOUT THE FILM

Speaking about the film, Ali Fazal said: “This is the first time that Richa and I have collaborated on a film as producers and the experience so far has been very rewarding. This film being our first is very important to us. I’m also excited that our studio is entering the market with such a progressive, female-led story. We hope to be able to tell universal and stimulating stories with humor and love. “

Richa Chadha, speaking on the history of the film, said, “The world that Shuchi has created is relatable, often cruel but never hopeless or nihilistic. It’s an honest clumsiness that will make you laugh, not cry. It’s full of lived-in, relatable episodes that we find strangely satisfying – like popping a pimple. The mother in our story systematically dodges the self-sacrificing stereotype of the typical Indian mother – she is complicated, gray, and not a martyr. The dynamic between mother and daughter is so under-explored in Indian and world cinema that the possibilities of “Girls Will Be Girls” gifts are very exciting. “

READ ALSO | When Ali Fazal transformed Hulk for Mirzapur 2, thanks to Richa Chadha. Flashback Friday

READ ALSO | Ali Fazal improvised this scene from Mirzapur to show how Guddu lost control of his mind

Click here for IndiaToday.in’s full coverage of the coronavirus pandemic.

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Jon Stewart Defines The Production Team For The Apple Series – Deadline

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Jon Stewart, former host of The daily show, has trained his team for his next round of Apple news.

Former CBS Evening News producer Brinda Adhikari has been named as showrunner and executive producer. Adhikari was most recently the main producer of the broadcast of the CBS Evening News with Norah O’Donnell. She spent five years at CBS News and before that, spent 11 years at ABC News, working in roles such as overseeing the production of World news tonight with David Muir.

Chelsea Devantez, who has written on shows including Peacock’s Girls5Eva and Comedy Central’s The Opposition with Jordan Klepper, is editor-in-chief. She got her first break from television when Stewart read her package for her discontinued HBO series.

Finally, Lorrie Baranek, who worked on Netflix My Next Guest Needs No Introduction with David Letterman and The break with Michelle Wolf, is an executive in charge of production.

The untitled series, which currently has no air date, is hosted and produced by Stewart through his Busboy Productions, which has an initial contract with Apple, and produced by Richard Plepler through his Eden Productions, which has an agreement to global production with Apple. Stewart’s manager, James Dixon, will also be executive producer.

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Preymaker expands its production team and adds Zachary Fortin and Bridgette Doran

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Creative and technology studio Preymaker has added Zachary Fortin to production and Bridgette Doran to operations. Using an advanced custom cloud platform, Preymaker is one of the first 100% cloud-native creative studios that creates content entirely in the cloud. Fortin will focus on Preymaker clients and project management, while Doran will be responsible for resourcing and talent management.

Fortin, who most recently worked as a VFX producer at The Mill and before that at Imaginary Forces, said the decision to join Preymaker was largely down to his respect for the people there. The fully cloud-based pipeline and expanded capabilities that go beyond traditional visual effects were also a draw. Fortin said, “I think it’s obvious that the technology landscape is converging the games industry, the visual effects industry, and the immersive industry. With the way Preymaker has established its infrastructure, making us limitless in terms of scalability, and with the talent we’re looking for, I think it’s pretty safe to say you’ll see some genre projects.

Doran brings holistic production industry experience to Preymaker, having previously worked in the entertainment industry at Viacom and Marvel Entertainment on everything from large-scale live events to episodic and digital content. Joining Preymaker, Doran said, was an opportunity to create something new. “There are no hurdles to jump through or bureaucracy to cut,” she said. “If you have an idea, you are free to express it and empowered to implement it. I have learned so much in my short time at Preymaker; it is a true testament to the innovation of the work of this team.

“Zach and Bridgette excel at logistics, multitasking and creative collaboration, and they maintain their composure in the face of challenges that may arise at work or operationally. Their respective expertise and support will allow our team to do the best creative work possible,” said Verity Grantham, who serves as executive producer at Preymaker along with Melanie Wickham. The creative head of Preymaker is Angus Kneale.

The passion for football led by GCGBAC has grown into the production team of the Columbus Eagles

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On February 6, current Columbus Eagles CEO and Head Coach Mark Wise arrived at the Columbus’ Stars Indoor Complex with everything his team needed to step onto the pitch for the first time since 2019. Well, almost everything .

With 20 minutes left to kick off, and the Eagles warming up on the field, Wise chatted with the production team he brought in to broadcast home games online. From their conversation came a question that caused panic. “So, do you have a camera for me?” ”

It was at a family member’s house, an hour outside of town.

“He looked me with horror in the eye,” said David Foust, the cameraman of the match. “We thought he was joking.”

Lucky for Wise, they came prepared. Ahead of the start of the season, the production team, which is made up of members of the Columbus Crew fan group, the Golden Boys and Girls of Greater Columbus known as GCGBAG, trained with multiple cameras to provide different angles on goals. Moments before the game started, Foust sprinted across the field, set up one of the goal line cameras in the middle of the field, and began broadcasting the Eagles’ 6-6 draw against the Cincinnati Sirens. .

Without this preparation and quick thinking, fans would have missed an outstanding performance from goalie Lauren Demarchi, two assists and a goal from Alivia Milesky and three combined goals from rookies Deijah Swihart and Susan D’Isidoro.

Before the start of the season, Wise and Foust had a conversation about the Eagles’ need to produce games. In previous years, they’d been streaming their games, but Columbus was looking for a way to improve the game-day experience for those watching from home.

“I may or may not have offered to do the Eagles airing,” Foust said.

The production of football content has been a staple of GCGBAG since the group began in 2017. Although the members do not produce games, their marriage of football and humor has manifested itself in the form of video rankings, d video game previews of team matches, post-match parking. comments, podcasts and more. As the group jokes, they’ve always been known for pro-level production but questionable content.

From the perspective of those watching the feed – over 800 people in total and never less than 100 at a time – the quality was anything but questionable. On the call, Darren Van Paris as color commentator and Bart Logan of Massive Report Podcast called out all the action in the game. They see their work as a little way to help football grow in Columbus.

“We want to be able to help them and help the Eagles develop the game,” Logan said. “There’s a soft spot for a lot of us because the Eagles were such a big part of the Save the Crew movement.”

“You will get passionate fans who will get into women’s sport,” Van Paris added.

The Eagles’ involvement in the Save The Crew movement included supporting on social media and hosting their own Save the Crew party during their 2018 Women’s Premier Soccer League season. While the Eagles have been in the community since 2014, Foust and the production team have recognized the impact of Save the Crew on their football fandom.

“This whole Save the Crew saga that we’ve been through, I think it made them think about what the sport means to them in their community,” Foust said of Crew supporters. “If sport is so important in your community, you want to get involved and promote that community and share this passion for sport. “

Matches producer Tyler Kendall sees no difference between supporting the two Columbus black and gold teams.

“Male or female, it doesn’t matter to us,” he said. He hopes their shows can spread his love of the game to the people of Columbus.

As part of their production, the GCGBAG had on-screen graphics, commercial break graphics promoting the team, and a free live broadcast. This was just the start of their plans. While they are keeping some of them a secret, they have shared a few with Massive Report.

Future PASL matches will include more camera angles on the goals. Later in the season, perhaps during the WPSL summer season, they will be able to interview players and potentially comment before and after games.

The production level is a rarity in PASL and WPSL. It is often difficult to find information on teams in the league, let alone watch their games. The mission of the Columbus Eagles is to bring professional women’s football to Columbus, but to this day there have been amateur players on the team in hopes of rising through the professional ranks. A broadcast of their games, and Columbus’ focus on their players, can go a long way on that journey.

The GCGBAG sees their use of creative outlets as one of the many ways to help the Columbus football community grow, but there are also benefits for the group itself. Specifically, spending time together as friends. It was a theme throughout their interview with Massive Report. As Ohio’s COVID-19 cases are on the decline, they are finding joy in moving their hangouts away from virtual meetings and next to the field.

“For me it was so much fun being able to be behind the mic and doing it with three of my best friends,” Logan said. “It’s the closest I’ve been to the Nordecke in over a year.”

Fans can watch the Eagles’ home games, produced by GCGBAG, on the site of the Eagles of Columbus throughout 2021. The team returns to the PASL competition this weekend in Chicago against the Mustangs at 5 p.m. ET. Unfortunately, the Mustangs do not have a GCGBAG production team, so the away game will not be broadcast.

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Edelman targets advertising agencies with launch of Production Studio

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NEW YORK – Edelman is launching a production house that aims to help the company better compete with advertising agencies for digital content dollars.

Edelman Studios comes in after the company lost Samsung and HP last year to agencies more focused on advertising and digital content. Earlier this month, Richard Edelman told PROvoke Media the company would launch the content studio, “directly as a result of these losses.”

The new unit leverages existing creative capabilities as well as entertainment hires and global production and distribution partners, all overseen by Jarrod Moses, CEO of Edelman’s entertainment agency, United Entertainment Group.

CEO Richard Edelman said the company opens up the full range of possibilities for brands to reach customers through content, from real-time short films to episodic programming, backed by data and ideas. In particular, Edelman Studios also guarantees its customers the distribution of content, ranging from social channels and belonging to the brand to points of sale provided by the partners of the operation, including the French video company Brut.

“We want to take money from the advertising companies, and we’re going to be able to show specific ROI for clients,” Edelman said. “We think this is a unique moment.”

The studio will house three divisions. BlueRoom Studios will focus on creating first-earned content for clients that can be produced and distributed in real time through social and other channels. BlueRoom will be led by Katie Walmsley, who joins Edelman from Bloomberg’s Hawkfish and previously launched the European social platform Brut Media in the United States.

Edelman Productions is a global network of studios and production operations that will focus on content fueled by data and information and accelerated across social and digital channels. Pam Scheideler, head of Edelman’s US digital practice, will lead this group.

The third division, EdelmanBRUT, is a joint venture with the French company Brut, which will produce short content for brands. This content will be distributed through Millennium and Get Z focused channels, reaching Brut’s global audience of 2 billion people.

All of this, said Edelman, is a testament to his belief that Edelman Studios will be a major step in strengthening the ability of brands to communicate through required formats, at the rate at which people now consume information.

“And now we have a world-class production studio, and it’s going to be pretty darn exciting,” he said.

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“News of the World” director Paul Greengrass on his production team

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The “News of the World” awards season contender is a departure for director Paul Greengrass after high-adrenaline contemporary films like his trio Jason Bourne and “July 22”. He reunites with “Captain Phillips” star Tom Hanks in Universal’s Western about Captain Kidd, a man who broke the news in the cities of Texas, accompanied by orphan Johanna. Greengrass and his team behind the camera “shared the goal of honoring Western tradition and staying true to 1870, but also of making film contemporary and relevant.” He says the greatest pleasure was working with “people who are fearless artists who perform at a high level.”

Dariusz Wolski, Director of Photography

“He’s a great guy and a great artist. The start of our conversation was about my wish to make a new movie for myself: the trick was to do something different but still felt authentic to me. Can we find a visual language that does this? I was amazed at how quickly we slipped into it. We talked a lot about ambiance and ambiance. I wanted to juxtapose the immense expanse of the grounds and the dark, candlelit interiors. Dariusz is so brilliant; he pushed me the right way, and I think I pushed him too.

William Goldenberg, editor

“I wanted to slow down the tempo but not lose intensity. A sequence of action [when Kidd and young Johanna are chased by three baddies] was both a challenge and a lot of fun. It starts off as a chase, then turns into a rock shootout, then turns into the cat and mouse. Billy helped shape this. It’s about telling a story, choosing the moment, judging the tempo – when to let it go or when to hold it back. Billy’s pace is so exquisite, the way he edited this movie. It does what an editor should do, which is interrogate the dailies and seek to deliver what you are looking for, but it isn’t afraid to wonder if what you are looking for is actually what you are looking for. have.

James Newton Howard, composer

“The interesting thing was the privacy and the parsimony of the score. My idea was that it was a concert of players who went through the civil war; their instruments and their bodies were broken and reformed in the Reconstruction. Their music is a journey to find harmony. However, there are musical moments when you have to enter the “cinematographic space”; it’s a film, it must come and get you and transport you. It was about choosing those moments – on the road to Dallas there was one, another came face to face with the Kiowa tribe. James worked and reworked it until he delivered this magnificent score. It is so subtle and so dignified.

David Crank, production designer

“Fantastic, absolutely brilliant. We didn’t have huge resources and he put every dollar on the screen. We had run a ranch in New Mexico and cycled and recycled things in different ways; he gave us facades of buildings, extensions, even details inside a building. And its details were impeccable. We photographed the buildings one way, then the other; it is a bit of a question of the choice of angles. We also recycled the interiors in a clever way. We were shooting an interior, and then when we were shooting something else, David would come in and re-use the area, and it was transformed into a completely different space.

Mark Bridges, costume designer

“He’s extraordinarily talented. The character of Kidd – that’s what attracted me to the story. He’s a lonely news reader who wanders from town to town; he was not a flashy artist. Mark had to get Kidd’s reading suit perfectly, and he did. All the clothes seem very real, very real. It is the art of costume design, to tell the stories of each character. Mark gathered all of the stories from these characters and made some subtle choices, right down to the aunt and uncle at the end, who were perfectly dressed. The way Mark changed Kidd and the little girl’s clothes at the end, in an entirely organic way; there is a kind of happiness in clothes, but very subtle. When you see Mark on set looking at his clothes, he sometimes says, “I’m not sure” and then adds or subtracts a little detail. Making a movie is all about the right details.

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Movie production studio on Logan Square-Avondale border would bring needed jobs, say supporters, but some feel left out of process

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AVONDALE – The developer behind The Fields, a massive commercial/residential development on the Logan Square/Avondale border, is looking to open a film production studio, a project that could transform the area.

But the developer could face a hurdle in its quest to bring Hollywood to the Northwest: some community leaders, including state Rep. Will Guzzardi, are sounding the alarm over what they call a opaque community process. Executives said they feared the developer and Ald. Felix Cardona Jr. (31st), who represents the site, did not solicit enough comment from the community.

“A development of this magnitude … will have far-reaching implications” for area residents, said Guzzardi, who represents Logan Square, Avondale, Hermosa and Belmont Cragin, the neighborhoods around the site.

“The community needs to have a say in what happens there. If there’s a solid process engaging the community and they decide they want it there, then I’m all for it. It’s not yet clear what happened,” he said.

New York developer Knickpoint Ventures wants to convert part of The fields campus at 4000 W. Diversey Ave. into a film production studio as part of the redevelopment of the 22-acre property. The studio would be similar to Cinespace on the West Side in that TV shows and movies would be filmed and produced there, according to the Grandstandwho broke the news first.

The Northwest Side project has been “on the table” for several months now, but has recently been finalized, said Zain Koita, founder and managing partner of Knickpoint Ventures.

Koita said his team is working with city officials and Mayor Lori Lightfoot’s office to bring the project to life after months of collecting community feedback. He told the Grandstand they hired Los Angeles-based film industry consultant RoadTown Enterprises to conduct a feasibility study.

The mayor’s Chicago Recovery Task Forcewhich was formed in response to the coronavirus pandemic, wants to grow the film industry in Chicago.

In a report, the task force said that film and television production can “quickly create a variety of jobs that benefit our communities – a mix of high-paying and low-skilled jobs, including catering, security, building and more”.

“The ongoing redevelopment of The Fields is a great example of the repurposing of historic assets in the Chicago neighborhood for modern uses, and we look forward to ongoing discussions about new investments in the complex,” said the gate-keeper. Lightfoot’s word, Christine Carrino, in an emailed statement.

Koita and his team need zoning approval from the city before they can start renting the space to production companies.

Credit: Google Maps
The Fields, a 1.5 million square foot warehouse cluster located at 4000 W. Diversey Ave.

The project has the unequivocal support of Cardona, the alderman of the 31st district, who said it will create jobs in the area and improve existing restaurants and small businesses struggling during the pandemic. People who work at the studio will eat lunch at local restaurants and stop at family-run shops in the area, the alderman said.

“It will benefit everyone in the community,” Cardona said. “Economic development is essential, now more than ever.”

Cardona said he held a community meeting about the project last year and was holding another meeting Thursday at 6 p.m. “to jog people’s memories.” Meetings are restricted to residents who live near the property, not the wider community.

“They are the ones who are going to see this, live with this, so they are the ones who should be told,” Cardona said.

Cardona said the community feedback he received was overwhelmingly positive, but some residents said they felt they were left out of the process.

Neighbor Coleman Brice, a board member of the Logan Square Neighborhood Association and owner of Cole’s Bar, said he had no idea there were plans to open a film production studio on the campus of The Fields until very recently. He said other residents are also “in the dark” as the project moves forward.

“It makes me nervous to feel like big aspects of this development are going under the radar and without adequate community input,” Brice said.

“It could be a win for everyone”

The film production studio is the latest project designed to revitalize the cluster of former brick warehouses at Diversey Avenue and Pulaski Road, the former home of Olson Rug & Carpet and Marshall Field’s.

In recent years, Knickpoint Ventures and developers before it have relaunched the 1.5 million square foot property to include a mix of loft apartments, offices, a Cermak Fresh Market grocery store and more.

The Federal Savings Bank is expected to open an office in the building next month, Koita said.

Credit: Taylor Johnson Public Relations
The former Marshall Field warehouses at 4000 W. Diversey Ave. have been converted into 123 modern lofts.

Now Knickpoint Ventures, who bought the site from Merit Partners in 2018is looking to modify its development plan to redevelop other parts of the campus.

The amendment was introduced several months ago but was delayed by the pandemic. It is expected to be put to a vote at the Chicago Plan Commission’s next hearing on February 18.

As part of the amendment, the developer wants to construct a 50-foot-tall building on the northwest corner of campus near the Metra tracks.

Koita said the building will replace an existing structure that is “functionally obsolete” and needs to be redeveloped whether or not the film production studio comes to fruition.

The studio is just one of the intended uses for the site, Koita said. If the project doesn’t receive zoning approval, Koita said they could bring in manufacturers or more retailers and keep the building “as it is today.”

But the community stands to gain a lot of jobs and economic activity if the plan goes ahead, Koita said.

The Chicago Recovery Task Force found that Illinois has nearly 14,000 film production jobs, and more than half are held by women and minorities.

“What we’ve learned through this process, and from the city, is that cinema is a tremendous source of job creation, especially unionized jobs, jobs that aren’t white collar,” said Koita said. “We think that’s a very positive thing, given the unemployment and closed storefronts in the area.”

Brice and other residents said they supported the type of development that would generate lots of jobs, but wanted the developer to sign a community benefits agreement to ensure those jobs benefit people in the community.

“With the proper community oversight and benefits agreement in place, this could be a win for everyone,” Brice said.

But Koita said a community benefits agreement is not applicable to this situation because Knickpoint Ventures would only be the landlord and the production companies would be the tenants using the building on a day-to-day basis.

“The focus should be on the moment: can we get this project done so that we have these jobs to discuss?” says the developer.

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CBS Sports production team puts the finishing touches on innovations

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Tech Partners Help Keep Big Game Show On Track In COVID Era

The COVID pandemic has given new meaning to the term the best-designed plans, but CBS Sports and its technology partners who are central to the production of Super Bowl LV are proof that one of the world’s greatest televised sporting events can innovate, grow and evolve.

“Before the pandemic, we had a very different plan from the one where we landed”, explains Patty Power, Executive Vice President, Operations and Engineering, CBS Sports.

A Super Bowl compound is always great, but social distancing has made it even bigger. The CBS Domestic Complex houses 19 production trucks and trailers. According to Mike Francis, Vice President, Engineering and Remote Planning, CBS Sports, the compound is essentially double the size of what was expected.

“It’s definitely a big complex with a lot more facilities to connect,” he adds. “And then we have to make sure that everything is available everywhere. When it spread, we had a lot more to do on that side. “

The Super Bowl LV compound has ample room for social distancing.

NEP Supershooter SSCBS is the main exhibition and game truck; Supershooter 4 is the release of the strip.

“We have Game Creek Encore running our studio shows,” adds Francis. “Sprinkled around the compound for tech and social distancing, we’ve got F&F GTX19, GTX20, Game Creek B1 for robotics and all the support trucks that go with them. “

A large flypack deployment was also built by NEP Bexel for distribution, transmission, routing and monitoring. And THUMBWAR is on hand for media management and remote editing.

“We will also be performing remote editing in the cloud with Avid and Microsoft Azure,” says Francis. “CBS Vice President, Post-production, Ed Coleman will use it to provide a lot of the postproducts that we will be using.

As for the on-site sets, Filmwerks and Jack Morton Worldwide collaborated on the decor of the hall, which will be located in the opposite corner of the pirate ship.

“Jack Morton totally wowed him,” says Power. “It looks very nice.”

There will also be an outdoor setting at the south end of the stadium as well as several stand-up locations in the stadium and behind the outdoor setting.

Camera coverage in an almost empty stadium

Throughout the year, CBS took advantage of the lack of fans to bring a new take on camera angles and coverage. This look reaches new heights this Sunday with over 120 cameras deployed.

“I think we did a really good job integrating our environment and conditions with fewer fans in the stadium and with LED tape on the lower bowl,” says Jason Cohen, Vice President, Remote Technical Operations, CBS Sports. “We have mounted cameras to make the viewer look different from the game. Also, we are just trying to make the game bigger and more daring.

Many innovations will be presented. Most notably, the Trolley Cam point-to-point wired camera system will complement two Skycams and a Flycam.

The exterior of CBS Sports takes place at Super Bowl LV at Raymond James Stadium.

“It’s from JibTek,” Cohen explains. “Basically what he does is run the length of the field from one end of the touchline to the other, and it’s about 10 to 15 feet above the second or the third row of stands.

“The beauty of it is its speed,” he continues. “It can go up to 65 mph. I doubt even Tyreek Hill can outrun him. If we get the game right and someone walks down the sideline, we can stick with them stride after stride. I think it will be a pretty dynamic vision.

If there has been a technological history in NFL coverage this year, it’s the use of cameras capable of shooting shallow depth of field on the field during warm-ups and after key games.

“Everyone has talked about it and is thrilled with it,” Cohen says. “Obviously we’re going to continue what we’ve been doing since the start of the playoffs, which is to use the Sony Venice camera on a Steadicam. “

A potential late addition to the show will be the use of a Sony Alpha One camera on one of the MōVI portable platforms that captured the shallow depth of field shots that garnered a lot of attention on social media.

“The operator was blown away by the freshness and speed of the autofocus,” says Cohen. “He said it was amazing because he was literally touching a screen to select the subject he wanted him to focus on and be instantly locked in focus.”

The side-mounted Steadicam rigs will also be complemented by traditional HD cameras, three of which will have Canon’s CJ20ex5B wearable lens. These lenses are known for their 20X zoom and wide angle.

“It was a great success with our mobile operators,” adds Francis.

He’s also excited to see what kind of shots the two Sony HDC-8300 8K camera systems with Canon 7 × 10.7 lenses will capture for zoom analysis.

“They’ll shoot down the sidelines at a low angle against HDC-4800 4K systems,” he explains. “They’re shooting at 120 fps, and we’re hoping to get that 800% zoom to reveal something that couldn’t be seen from an HD angle. And we have a very robust deployment of high frame rate 4K cameras across all sidelines, goal lines and end lines. “

Francis also notes the Movie Bird, a 53-footer. Telescopic boom which will be located at the top of the south hall. “It will be above the main hall and give us great shots of the interior bowl and can easily point in the other direction and see everything that is going on outside the south side entrance. It will be a unique perspective that we haven’t been able to do before.

Cohen adds that the Movie Bird’s camera is one of 12 with enhanced capabilities. Both SMT and N-Cam will play pivotal roles in the open augmented reality show, which was put together with help from Silver Spoon.

“The specialty AR graphics generated in an Unreal Engine will be stunning this year,” he says, “as we enjoy the Super Bowl theme, which is sea, sand and siege.”

Francis adds, “With the Sony Venice cameras and the Movie Bird crane, we’re bringing a bit of Hollywood to the Super Bowl this year, and it’s awesome.”

Remote work flow

CBS PGA Coverage has defined a model for remote network workflows, intended to minimize on-site personnel. This continues this weekend with some of the team working remotely from the CBS Broadcast Center in New York.

“We have a lot of EVS, graphics, AD and BA, all contributing to the before, after and half time show from our broadcast center,” says Francis. “We have many paths between EVS and the media networks. “

A Nickelodeon production team will also operate remotely from All Mobile Video in New York City and create ‘Nick-ified’ pre-game and highlight packages that will be distributed via social media and integrated into the CBS broadcast. .

“It’s gonna be all the bells and whistles that people loved [in the Saints-Bears Wild Card game], like SpongeBob SquarePants between goalposts and mud cannons after touchdowns, ”Cohen explains. “We send them five signals: our show as well as a bunch of angles that have the augmented reality capabilities of slime. Their editors will recreate our show with their cameras dedicated to augmented reality to create highlights and more lively looks. “

Francis says the EVS network has been extended to AMV so that Nickelodeon can pull clips from the EVS servers at Raymond James Stadium.

CBS will work with NFL and NFL Films on the use of crowd mixing and prerecorded audio balancing with on-site fans (around 25,000). Plus, Francis says, COVID protocols have had an impact throughout the year (in almost every sport) when it comes to things like interviews or ceremonies.

“It was an extra challenge for the guys,” he adds, “but they did a great job. “

Since last March, there haven’t been many sporting events with multiple vendors on-site, and Power notes that they have all been supporting partners. “We’ve had so many last minute changes this year – not necessarily the Super Bowl but regular season schedule changes – and they rolled with it. We certainly rely on them, their focus and their expertise.

Check out all of SVG’s Super Bowl LV coverage:

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PRG expands its virtual production studio

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“PRG has responded to the demands of production during the pandemic by finding new ways to create and bring to life the vision of musicians, cinematographers and our corporate clients,” said Jeremy Harris, Chairman and Chief Executive Officer of PRG. “Virtual production is one of the most promising and important recent innovations, so we have expanded our flagship studio.”

PRG’s virtual production studio includes stage xR, designed to provide full control over lighting and scenes being filmed with real-time viewing and full broadcast capabilities. This state-of-the-art workflow and technology can be applied to everything from award shows to corporate events, music videos, live-streamed concerts or commercial shoots.

“One of the most significant features of our new studio is the stage floor which measures 992 square feet – over 70% larger than our previous stage,” said Jerome Hallaert, Vice President of Production Services at PRG. “The depth beyond the stage means the cameras can pull back for wide shots. Many virtual and xR productions have been done using close shots. Now we’re seeing clients wanting to go deeper and all the studios are not big enough to accommodate.”

The large space can accommodate bands and dancers and can easily handle the car process as the studio features flexible LED ceiling panels, floor and walls and a large entrance into which a car can be driven and can accommodate great decorations. Additionally, PRG offers four different camera tracking systems in the studio, including Ncam® (for low budget xR projects), Stype (for full xR), Optitrack (for motion capture capability) and BlackTrax ( for the follow-up of the artists).

The studio features fully equipped workstations, including monitored suites for directors, producers, technical directors, robotic cameramen and sound engineers. Modular and flexible workstations are available to accommodate plug-and-play configurations; shading, EVS, utilities or graphics, these stations are specially designed and pre-routed with infrastructure and video signal plugins.

“We have facilitated a variety of productions ranging from performances using interactive xR and 3D environments, pre-recorded and live-streamed television shows, commercials to product launches,” Hallaert said. “Beyond the most advanced equipment, we can provide technicians who have the expertise in content, lighting and technology to bring projects to fruition.”

In addition to the virtual production studio in Los Angeles, PRG has digital studios in Chicago, Vegas, Nashville, New York, and Orlando. Across the Atlantic, PRG has Digital Studios in birmingham, Brussels, dubai, London, and Madrid as well as virtual production studios in Hamburg and Paris. These environments were created similarly for pre-recorded and live digital event content and designed for safe and efficient production at any scale.

About the production resource group
PRG is the world’s leading provider of entertainment and event technology solutions and has the largest inventory of rental production equipment. PRG provides comprehensive, discreet services to a range of clients in the Live Music, TV/Movie, Broadway, Sports, Gaming, Corporate Experience and Live Events markets. Customers and partners depend on PRG’s innovation, experience and depth of experience in audio, video, lighting, rigging, staging, virtual and extended reality production, as well as set and automation systems to bring their stories to life. With 65 offices across North America, South America, Europe, Middle East, Asia, and Australia, PRG has the ability to provide services worldwide. PRG is owned by The Jordan Company and GSO Capital Partners and PRG Management. For more information, please visit https://www.prg.com/.

SOURCE Production Resource Group LLC

Related links

https://www.prg.com/fr

Folktellers in Royal Oak signs TV series production team

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“Folktellers: Extracts from a Series of Unknown Guides” will be turned into a television series. // Image courtesy of Folktellers

Film veterans Peter Mohan and Vanessa Shapiro have teamed up with author Josef Bastian, founder of Folktellers in Royal Oak, to present on television his award-winning and acclaimed fantasy book series for young adults, “Folktellers: Excerpts from a series of unknown guides “.

Mohan, an award-winning writer and producer whose credits include “Orphan Black” for BBC America, “The Hardy Boys” for Hulu, “The Listener” for FOX / ION / CTV and “Mutant X” for Tribune, will serve as executive producer and showrunner.

Former Gaumont executive Shapiro (El Presidente of Amazon Prime) will also serve as an executive producer and manage global distribution through her company, Nicely Entertainment, of which she is CEO. The duo will work with Bastian and Scott Paskoff – who is also an executive producer – to develop the eight-book story arc stories into a live-action series for children ages 8 to 12.

The first season of the series will be based on the first three books, “Phase of the Moon”, “Cave in the Rock” and “Shadows on the Silver Strings”. Each season will offer 10 episodes of 45 minutes.

The series “Excerpts from an Unknown Guide” tells the story of an unpretentious teenager, Aaron Anderson, who sees his world turned upside down as he learns that his destiny is to become a storyteller – a keeper and bearer of these. essential stories that constitute the hopes, fears and potential of humanity in all dimensions.

Anderson and a group of friends find themselves on a desperate mission to protect these tales of dark creatures whose goal is to suffocate all life and light wherever it might exist. And, along the way, Anderson will be forced to overcome his crippling lack of confidence and trust himself to use the primordial power of these stories to fight the darkness and bring order to the universe.

The Moonbeam Children’s Book Award ranks “Excerpts from an Unknown Guide” as one of the best fantasy series for young readers in 2020, with the second book, “Cave in the Rock”, winning a bronze medal in the Pre category. -Teen Fantasy Fiction. “Cave in the Rock” is also the recipient of a Mom’s Choice Gold Award; and “Phase of the Moon” is a finalist for the 2018 International Book Prize.

“I am delighted to have assembled this team of accomplished executives to bring to the screen” excerpts from an unknown guide, “says Bastian. “The fantasy and folk genres are extraordinarily popular due to their iconic characters, beautifully crafted worlds, and imperfect protagonists who strike a compelling balance between imagination and reality.

“Our series will offer action and adventure as our heroes travel from dimension to dimension trying to stop the Shadows from carrying out their destructive plans, and will offer humor, romance with the complicated interactions of our characters as they try to grow up, save their worlds and stay alive at the same time.

Shapiro says, “The adventure and moral complexity of ‘Extracts from an Unknown Guide’ offers multigenerational appeal. Younger viewers will tune in to the magic and adventure, while teens and older adults will be drawn to the complicated interaction between Aaron, his friends and family.

Mohan adds, “I’m excited about the storytelling possibilities set in the Folktellers franchise. This fantastic world offers opportunities to explore exciting adventures, captivating characters and important universal themes.

Paskoff, who spent 25 years in the domestic and international entertainment industry, where he developed and produced groundbreaking programs for major networks and cables. noted, “It is exciting to be part of the Folktellers team as we solidify key relationships and expand into new entertainment markets. The Guidebook Series is original and compelling intellectual property that embodies a rapidly growing global entertainment franchise. The addition of Vanessa and Peter strengthens the team and I look forward to working closely with them.

Folktellers was created to resuscitate regional folk tales and legends and share the power of stories across the world through transmedia entertainment. A network for the TV series and other details will be released at a later date.

For more information visit https://www.folktellers.com.

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Director Tim Godsall and EP Ian Webb launch Canadian production company Merchant

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Director Tim Godsall and executive producer Ian Webb have launched Canadian production company Merchant. Based in Toronto, Merchant will represent commercial, branded entertainment and music video producers in the Canadian market. Godsall will stay with Anonymous Content for representation in the US and UK and with Revolver for all Australian work.

Godsall, who is known for his visual storytelling for brands such as Squarespace, Ax, Old Spice, ESPN, Southern Comfort, FedEx, and Xbox, among others, and Webb, who most recently served as an executive producer at Suneeva, met at Originally when Webb worked as a producer at OPC several years ago. When Godsall decided to start a new business, he said, “the first person I spoke with was Ian, and we had a very similar vision for a company that is doing interesting work and has a strong culture.”

Webb added, “At the most basic level, we want to be a conduit for great work. Canada, and Toronto in particular, has a reputation for being a creative force, and if we do our job right, we will encourage, facilitate and continue to elevate work from Canada with the many great agencies, clients, creators and producers who call Toronto home.

As well as representing Godsall, whose notorious accolades include over two dozen Cannes Lion Awards, an assortment of Clio, Andy, AICP Show and British Arrow Awards, Merchant launches with a roster of directors including Alex Hulsey, Jun Diaz, Leilani Croucher. , Malcolm Venville, Michael Downing, Nadia Lee Cohen, Patrick Daughters, Stephen Carroll and Trevor Clarence.

Merchant has also partnered with US-based Anonymous Content to represent a selection of that store’s directors for Canadian works: Alejandro G Iñárritu, Alex Lill, Alfonso Cuarón, Armando Bo, Autumn de Wilde, Bardia Zeinali, Brett Morgen , Cara Stricker, Cary Fukunaga, Daniel Kaufman, Dee Rees, Edgar Wright, Frédéric Planchon, Grant Singer, Jovan Todorovic, Marco Prestini, Mark Romanek, Matthew Dillon Cohen, Olivia Wilde, Patty Jenkins, Sam Esmail, Terence Nance and Todd Phillips.

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Arch Audio Records: The South East’s premier recording studio and production house

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Arch Audio Records – Music Industry Weekly

It was no coincidence that when Sony Global was looking for a professional recording studio to record one of its artists, Arch Audio Records (“Arch Audio”) was their first choice. Arch Audio is not only known for the quality of its hardware. They are also known to be able to produce and record commercially viable projects of all genres in a relaxing and creative environment.

Whether it’s helping budding artists create the perfect demo or working on full projects with more established icons of the music industry such as Rock N ‘Roll Hall of Fame member Willie Kitchens, Arch Audio is no longer the best kept secret of a city that has rightly been dubbed “Scenic City”.

Willie Kitchens, Rock ‘n’ Roll Hall of Fame member at Arch Audio Records

Based in Chattanooga, Tennessee, Arch Audio has established itself as one of the premier recording studios in the Southeast. While cities like Chattanooga rarely have professional recording facilities of this caliber, Arch Audio’s vision was to provide artists with the ability to produce and record their records in a world-class recording studio without having to pay exorbitant prices.

At the center of the installation is the Neve Genesys Black which is one of the most coveted consoles for professional recording studios around the world. The quest to provide their customers with superior sound quality has catapulted Arch Audio into the same league as Capital Records and other leading recording studios around the world.

Arch Audio Records - Neve Genesys Recording Console
Arch Audio Records – Neve Genesys Recording Console

In addition to having a state-of-the-art recording console, Arch Audio has also put together one of the most comprehensive collections of pro mics in the United States, which can usually only be found in larger stores. prestigious studios in Nashville, Atlanta, New York and Los Angeles. With their arsenal of top-of-the-line equipment and an acoustically designed / tuned recording environment, Arch Audio checks all the boxes for the discretionary recording artist who seeks to produce and record the highest quality music possible.

At the helm of Arch Audio is owner / producer / engineer Mark Hutchinson. With over 33 years of audio engineering experience, he operates a highly organized and neat operation that consistently provides Arch Audio customers with the most creative, calming and quality atmosphere to fully express themselves musically. while capturing the highest possible commercially viable labor product. Mark expressed that the studio would not have achieved a high level of success without the Arch Audio dream team, which is made up of five of the most experienced audio engineers and producers he can find in the region.

Arch Audio Records owner / producer / engineer Mark Hutchinson in session

In addition to having top-notch recording equipment and staff, Arch Audio is equipped with the following rooms within its recording facility:

  • Monitoring room A – spacious follow-up room with a Yamaha C7 concert grand piano and several acoustic, electric and bass guitars for guest use
  • Monitoring room B – large room with a Hammond B3 organ
  • Monitoring room C – large live room used to practice vocals and drums
  • ISO cabin – specially designed for vocal recording and amp isolations
  • Control room – spacious centralized control room which houses the Neve Genesys Black console
  • Living room / Green bedroom – a private, creative and inviting atmosphere for clients to write and relax
Arch Audio Records - Monitoring Room A
Arch Audio Records – Monitoring Room A

By incorporating world-class equipment and exceeding industry standards for commercially viable recordings, Arch Audio has always served its customers by providing them with the best sound and experience available in a professional recording studio. It’s no wonder that Arch Audio has quickly become a big name in the music industry. In fact, Arch Audio’s “experience” is so compelling that the studio is featured in an upcoming documentary.

You can find out more about Arch Audio by visiting their website or social media by clicking on the links below:

Website: www.archaudio.net
Instagram: https://www.instagram.com/archaudiorecords/
Facebook: https://www.facebook.com/archaudiorecords

To inquire about production and recording services:
[email protected] / 423.333.0490

Arch Audio - Music Industry Weekly


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Tovino Thomas launches his production house

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The actor has previously co-produced the film “Kilometers and Kilometers” which was last shown on television in Onam.

Malayalam actor Tovino Thomas launched his own production house on his birthday, January 21. The actor broke the news on his social media.

Tovino wrote: “Thank you all for your wishes. A few years ago, I would not have imagined receiving so much love on my birthday. I take this opportunity to share something else that I would not have imagined doing a few years ago. Dear all, I present Tovino Thomas Productions. A humble effort to be a part of more films that matter and add value to our industry. I hope to make this great opportunity and responsibility matter, and create films that you will all love. Please keep the love and support coming … Nothing fuels me anymore … (sic). “

Read: Tovino turns 32, wishes pour in from Dulquer, Manju Warrier and more

Tovino has already co-produced the film Kilometers and Kilometers, which aired on last Onam television.

The actor recently completed the filming and dubbing of Kaanekkaane. The film is directed by Manu Ashokan and scripted by Bobby-Sanjay, the same team behind Uyare. While Tovino Thomas and Aishwarya Lekshmi play the leading pair in Kaanekkaane, the rest of the cast includes Prem Prakash, Sruthi Ramachandran and Rony David Raj.

by Tovino Minnal Murali, a superhero film directed by Basil Joseph and funded by Sophia Paul under the Weekend Blockbusters banner, is also awaiting release. The technical team of this film includes Baahubali the artistic director Manu Jagadh, Shaan Rahman for the musical composition of the lyrics by Manu Manjith and Livingston Mathew for the editing. Minnal Murali is written by Arun Anirudhan and Justin Mathew. Andrew D’crus is the VFX Supervisor and Sound Design is by Nixon George.

Other Tovino films include Kala, directed by Rohith VS, and Varav, to be produced by Rakesh Mantodi. The teaser of Kala was published on her birthday and showed previews of an action-packed and somewhat romantic movie. Tovino and Divya Pillai star with a foreign breed dog in a prominent role. Tovino plays the role of Shaji while Divya Pillai plays his wife Vidya. During the making of this film, Tovino suffered abdominal injuries and was admitted to the hospital forcing him to rest for three weeks to recover.

To concern: Kala teasing

His latest film in preparation Varav will be led by Rakesh Mantodi. It is co-written by Rakesh Mantodi in association with Saresh Malayankandi and Manu Manjith.

(Content provided by Digital Native)

Read also : Reading poems, playing his songs on Sitar: how fans celebrated Sushant’s 35th birthday


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ABP Network launches content and production house, ABP Studios

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In an effort to empower, enlighten and entertain today’s new viewer, ABP Studios is poised to add a host of new services to ABP Network’s rich portfolio. With countless awesome stories as well as unique content, it will add meaning to the lives of discerning and new-age viewers of this era.

ABP Studios is a Mumbai-based content and production company that combines a collective experience of knowledge about India with a team of experts in their own field. The studio offers a variety of services such as intellectual property creation, production, co-production of fiction and non-fiction content on various platforms, licensing and syndication services, branding solutions, second screen and interactive content.

Led by a team of multilingual and platform independent storytellers, the studio will deliver groundbreaking content, to help reimagine the nation’s stories through a vision that transcends “black and white”. He will deepen the gray areas of each story, with an emphasis on the Indian context. The studios will identify, curate and nurture stories from different regions that connect and unify a country as diverse as India. From mythological feats to historical feats, from popular fiction to cutting-edge and original stories of local heroes – the new content production branch is looking for all the untold stories from the depths of this diverse country and sharing them with an audience. global.

The creators of ABP Studios believe that stories with heart have no language. Their vision is that local Indian stories become stories of the world and do not remain limited in their appeal.

Aligned with the overall vision of the network, the content of the production company promises to have an “objective”. This will allow Indian and international audiences to engage rather than escape their realities. And above all, he will hold a mirror for today, to inspire a better future.

The new productions are already underway and will soon appear on various OTT platforms.

Speaking on the announcement, Mr. Avinash Pandey, CEO of ABP Network, said, “We are taking an important step towards engaging with consumers of new-age content in this era. With the introduction of a more focused segment on content production, we will be able to effectively leverage our competitive advantages to create greater value for our customers and stakeholders. I have no doubts that our new company is well positioned to take the ABP brand to the next phase of its development. “

Expressing her thoughts on this, Ms. Zulfia Waris, Business Manager, ABP Studios said: “ABP Studios is a very special division that offers something unique to today’s viewers. He goes beyond black and white, to find hidden perspectives and underlying meanings that lie in the “gray” areas. We have worked with dedication to make this dream come true and are absolutely delighted to announce that we will soon be sharing the many inspiring, thought-provoking and distinctive stories of our country with a diverse audience around the world.

Sharing his experience with the brand, Jacob Benbunan, co-founder and CEO of Saffron Brand Consultants, said: “We are delighted to be involved in this new venture with ABP Network, being part of the entrepreneurial dynamic that is so pervasive at ABP. Having worked closely with Avinash and his team on the evolution of the Network brand, we already had a good understanding of ABP Studios’ ambition. Our team rose to the challenge and built something that could only come from this organization, I truly believe that bold design characterizes ABP’s culture and motivation. It’s a brand that seeks to do things beyond convention and we’re happy to have played a part in it. We wish Zulfia and her team the best of luck in building this wonderful new business. “

Reflecting back, Sumanto Chattopadhyay, President and CEO of 82.5 Communications, said, “When you light up the grays of life, you are rewarded with stories of striking color, clarity and truth. It is with this in mind that ABP Studios was born today, with this new light in which the world will now be able to see India in a new light.

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America’s Cup production team upgrades data, augmented reality and camera coverage in New Zealand

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Handcrafted tracking up to 2cm, good sound quality, wide social distribution will help attract hardcore and casual fans

The 36th America’s Cup final begins on March 6 and the battle over who will face New Zealand begins this weekend with the first Prada Cup round robin race in Hauraki Gulf, New Zealand. -Zeeland. For the America’s Cup production team, the race ushers in a new era of technological innovation, new partnerships and a production with a beautiful Kiwi feel. At the heart of production is a new regatta management system.

“All the production is new for this America’s Cup”, says Stephen Nuttall, Managing Director, Media Rights and Production, America’s Cup.

The system was built by Igtimi, a sailing research and development company in Dunedin, New Zealand, and Riedel (who along with WEST4MEDIA has formed a joint venture named Circle-O which is the broadcast organizing entity). The system and other new developments will give producer Léon Safton, director Wayne Leonard, and a team of 75 people, half of them from New Zealand, new tools to create new looks.

“We have a lot of people who have a lot of America’s Cup experience,” says Nuttall. “Then we mixed it with innovations and people who don’t know the Cup. “

A media hub at the back of the America’s Cup yachts will transmit video, audio and data to the production team ashore.

One of these new companies is Riedel, who will take care of the operation of all on-board cameras, communication systems via Bolero and broadband microphones.

“They built the mesh network that crosses the port and allows us to connect with the boats and come back to the broadcast center,” says Nuttall.

The new regatta system improves America’s Cup production in several ways. First, it will allow the racing craft to be followed to within 2cm, allowing a virtual diamond to be drawn around the yacht to make it easier for the equivalent of a video referee to determine infractions and penalties.

“We can track how fast they are moving, how high they are above the water, how much they are tilted forward and backward,” says Nuttall. “This is going to be an essential part of the show.”

The system also allows security personnel to ensure that spectator boats are where they are supposed to be, that the course location is correct, etc.

The boats are the stars of the show, and this year’s yachts are arguably the fastest America’s Cup ever. Known as the AC75 (or America’s Cup 75), the 75 ft. Monohull hydrofoil sailboats have an eight-story mast. They can reach speeds of up to 50 knots (or around 60 mph). Says Nuttall, boats this big that move so fast are a sight to behold.

“Each AC75 has 10 cameras,” he explains, “one on the bowsprit, one on a media post aft used for powering yachts, two cameras on either side of the mast and the rest in the areas where the crews are. Three of them are nimble and the rest are PTZ cameras. We also have two helicopters, and the plan is for a drone later, then we have the camera boat. the body will be added later in the Prada Cup. “

It really is a New Zealand affair when it comes to some of the key technologies. Animation Research Ltd (or ARL, as it is more commonly known for its work in augmented reality graphics) will be at the center of AR graphics.

“ARL has an entirely new system for graphics,” explains Nuttall. “In the past, he used to draw borders using sensors on the water. Now it uses image processing and AI to set the borders and markers and draw the graphics accordingly. They don’t need data and don’t even need to be on site, but they are: with a crew of just 75, it makes sense to have everyone here.

As for the new look, Nuttall says it’s time for a refresh. Liveline technology had been around for some time and ARL has a long standing relationship with the Cup and had new ideas on how to derive charts based on some of the work the company has done in different sports.

“The data platform is new,” adds Nuttall. “Normally these would be done in separate silos, which made things a bit complicated, disconnected and therefore less good. So putting it in one system is a good thing.

Sea and air coverage

The America’s Cup camera boat is the fastest ever, capable of reaching 38 knots, and has a Shotover gyro-stabilized camera up front.

Shotover Systems, based in Queenstown, provides a gyro-stabilized camera system, which is located on the camera boat. Made from a recycled AC45 yacht, the boat can reach speeds of 38 knots and is the fastest camera boat in the world. Amis Productions, based in London, will handle the aerial and camera-boat shooting.

“It’s really impressive,” says Nuttall. “The camera boat is bouncing like crazy, and the cameraman can sit there and focus half a mile away and clearly see the faces on the boat. It’s incredible.”

On the audio side, the production will have wideband microphones from Sennheiser and systems from Riedel on the boats for signal management, allowing viewers to hear what the crew are saying to each other.

“We’ll get good sound on the boats and then the trick is to tell the stories of the races and not get overwhelmed by the details,” says Nuttall. “We’ve got enough details for dedicated fans to be happy with the coverage and then the global mainstream stream. “

The race is scheduled for this weekend and for the next three weekends to eliminate a team from the Challenger’s Selection series. The top two challengers will face off for the Prada Cup and have the chance to face the Kiwis in the America’s Cup final from March 6 for a best-of-13.

“We will add new features like more biometrics, body worn cameras will come and we will use the drone more,” Nuttall said. “We are holding back some things for the latter part of the event when the audience is most important.”

Major rights holders around the world include NBC Sports in the United States; TSN in Canada; the BBC and Sky UK in the United Kingdom; Canal + in France, Switzerland and French territories; TVNZ in New Zealand; TV12 and C More in Sweden; Servus TV in Germany, Austria and Switzerland; ESPN in Latin America and the Caribbean; and DAZN in Japan. Members of the European Broadcasting Union also have access to live, long and short highlights through the Eurovision News Exchange.

“We are looking to break viewing records with public broadcasters complemented by major pay-TV channels like Sky in Italy and the UK and Fox in Australia,” said Nuttall. “We have retained the digital rights throughout with live streaming to Americascup.com, YouTube and Facebook almost anywhere in the world. It is important to make the coverage open and accessible to everyone.

Streaming coverage includes three channels that will primarily appeal to sailing fans, he adds. “We have a data channel where they can consume whatever data they want, and then an onboard channel so you can sit in the back of the boat and see an entire race.”

The global feed, says Nuttall, will contain live race coverage as well as plenty of features about the tech, people and teams.

“We try to heat up the story as much as possible to engage as large an audience as possible. We also use digital and social media to tell these stories more calmly. “

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Teyana Taylor gets 5-acre compound for multi-production studio

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Teyana Taylor has announced her retirement from music, but that doesn’t mean the routine will end.

Teyana announced that she had secured 5 acres of land for her company Aunties 360 which will be used for production, dancing, recording, prop studio, gear and 360 green screen rooms.

She wrote: “Great morning world! Wow! I really can’t express in words the feeling of setting a goal and accomplishing it. Sometimes the goals we set for ourselves are scary, I am a firm believer that if your goals / dreams don’t scare you, they aren’t big enough! I stepped out of faith and let God do what He does best. Last night was not just a celebration in 2021 with some of the people I love the most, but a full time where actions and faith align.

The 30-year-old added, “Although I have closed some chapters in 2020, I am blessed with the book of opportunities. Going into my 30s with my husband giving me my own movie camera which is a hell of a way to crown the year, to bring the new year ending in my own complex with my partner in crime and co-founder by The Aunties Inc @coco_gilbert. We Aunts are proud to announce, Aunts 360, a 5 acre lot that includes production, dancing, recording, prop studios, gear and 360 green screen rooms for creatives. !

Teyana Taylor then gave a more detailed explanation of her production company’s mission. “The Aunties is more than just a fraternity, but we nurture artists like us, artists who visualize the unseen, touch the untouchable, and try out what most would consider unthinkable. We represent an opportunity, because the best of the best have had the opportunity to start. Good year!”

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Teyana Taylor to launch Aunties 360 production studio for creatives

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When Teyana Taylor announced her retirement from music, she assured supporters that she was not giving up on her job and her overall road to continued success. Its role in Coming 2 America has since been revealed along with her appointment as Creative Director of Pretty Little Thing. Now, at the peak of the New Year, the Harlem native is celebrating yet another accomplishment.

Over the weekend, the “Wake Up Love” singer – who won the Video Director of the Year at the 2020 BET Hip Hop Awards – explained that she had secured 5 acres of land to build a studio for. his production company The Aunties Inc ..

“Wow! I really can’t express in words the feeling of setting a goal and accomplishing it,” Taylor wrote on Instagram. “Sometimes the goals we set are scary; I firmly believe that if your goals / dreams don’t scare you they are not big enough! I stepped out of faith and let God do what He does best. Last night was not just a celebration in 2021 with some people I love the most, but a full time where actions and faith align … ”

The singer continued, “Although I have closed some chapters in 2020, I am blessed with the opportunity book. Entering my 30 sales with my husband gifting me my own movie camera … We, The Aunties , are proud to announce, Aunties 360, a 5 acre lot that includes production, dancing, recording, prop studios, equipment and 360 green screen rooms for creatives!

Taylor and The Aunties were the brains behind Queen Naija’s “Lie to Me” video with Lil Durk and Taylor’s visuals for “Still” and “Issues / Hold On”. According to the actress’ message, the production company “is more than just a fraternity”.

“We are raising artists like us, artists who visualize the invisible, touch the untouchable, and try out what most would consider unthinkable,” Taylor explained. “We represent an opportunity because the best of the best have had the opportunity to start. “

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Tampa production studio has ‘Mandalorian’ technology

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TAMPA — The area’s newest production studio is as rare as star wars‘little green Jedi.

Only three of these aliens are known to exist in this cinematic universe – Yoda the Jedi Master, the Yaddle Woman seen briefly in The Phantom Menaceand Grogu, the star of The Mandalorian series better known as pop culture sensation Baby Yoda.

There are also only three known production studios in North America with LED Volume wraparound screens measuring more than 100 feet long, Hillsborough County Film Commissioner Tyler Martinolich said.

HBO has one in Toronto. Lucasfilm has another in Southern California. It is used to create the worlds visited by Baby Yoda in The Mandalorian.

On Wednesday, the third was unveiled inside the former University Mall, now Rithm in Uptown, where commercial production company Diamond View Studios has built a new 10,000 square foot production studio named Vū.

“They’re extremely rare,” said Martinolich, who estimates there are another dozen Volume LED displays under 100 feet in North America.

Diamond View Studios CEO Tim Moore shows off one of the panels that make up the Volume LED display at Vu, a Rithm production studio in Uptown.

[ IVY CEBALLO | Times ]

Volume LED displays are a new way to create virtual locations.

An image streamed in real time on a wallpaper with a projector has a low resolution, so it looks dull and obviously fake on TV and on the big screen.

Thus, most studios place a blank screen – usually green in color – in the background of a shot. The editors then digitally remove the screen and replace it with a virtual backdrop.

Volume LED screens digitize the virtual image in high resolution in real time as the scene is shot, allowing cast and crew to interact with the environment as if it were authentic.

The background can also move with the camera rather than remaining static.

“Instead of going in and imagining what the background is, you create hyper-realistic, photorealistic backgrounds so that when you’re shooting with a camera, it looks like you’re there,” said said Diamond View CEO and Founder Tim Moore. “The backgrounds are fully immersive, fully interactive. What you see is what you get.”

Diamond View’s 100-foot curved display stands 20 feet tall, is made up of 360 panels and weighs 13,000 pounds, Moore said.

They add more. A ceiling screen is currently being installed, and Diamond View plans to extend the length of the wall to 240 feet, which could make it the tallest in North America, Moore said. There is no timeline on when it will be completed.

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Lucasfilm is 180 feet, Moore estimates. HBO hasn’t announced its screen size, but Moore has heard it’s about 200 feet.

Diamond View — whose clients include the Atlanta Braves and the University of Florida — is currently headquartered in a 10,000 square foot facility at 1616 E. Bearss Ave. in Lutz, but will move all operations to its Vū studio early next year.

Diamond View Studios CEO Tim Moore shows off the Volume LED display at Vu, a production studio opening at Rithm in Uptown.
Diamond View Studios CEO Tim Moore shows off the Volume LED display at Vu, a production studio opening at Rithm in Uptown.
[ IVY CEBALLO | Times ]

The Volume LED display is already in use. Last week, a Mercedes Benz spot was shot in the Vū studio.

Moore expects him to be used frequently for Super Bowl spots when the big game hits Tampa in February. It also plans big budget movies and episodic TV shows using it.

Martinolich agrees that the screen means big things for the Tampa Bay area productions scene.

Big-budget movies and commercials typically shoot in markets outside of Hollywood that offer the biggest tax incentives, like Georgia.

Hillsborough and Pinellas counties offer big enough incentives to attract productions with seven-figure budgets, but Florida doesn’t have a state program offering the big bucks.

“But, if a movie needs Volume LED screen technology, it has to go where it is” rather than where the incentives are, Martinolich said. “It’s so rare. This means that nothing is ruled out when it comes to potential projects, regardless of budget size.

Until the pandemic is over, the Volume LED screen also provides a safer way to shoot big productions.

“Instead of having a team of 100 people building sets and creating walls, we’re doing it all digitally,” said Moore, whose company also has a robotic camera operated by remote control from an adjacent room. there is therefore no team on the set with the actors. .

Moore predicts that even after people get vaccinated against COVID-19, some production companies will still prefer to use the Volume LED screen over creating background sets.

“It will be the new normal,” Moore said.

Vin Diesel has joined the Ark 2 production team as executive producer

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Vin Diesel is once again plunging his hand into the world of game development with Ark 2.

Here’s How To Apply For Production Team Member Jobs At Mazda Toyota Manufacturing In Northern Alabama

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Mazda Toyota Manufacturing (MTM), the auto plant of the joint venture between Mazda Motor Corporation and Toyota Motor Corporation, resumed hiring for production team member positions on December 7.

MTM Production Team Member positions are full-time direct hire positions within our team.

· The starting salary for production crew members is $ 17 / hour with a maximum salary increase of $ 23 / hour plus shift premium.

Members of the MTM production team enjoy benefits from their first day of employment, including paid time off, vehicle rebate program, and medical / dental / visual services.

Eligibility to participate in MTM’s 401K program with a 6% employer match begins just 60 days after employment, paving the way for retirement savings.

Interested candidates can apply on MazdaToyota.com and HERE.

“When you join the Mazda Toyota manufacturing team, you are part of something bigger. Our production team member positions are career opportunities within a world-class team of highly skilled and highly skilled colleagues, supported by leadership committed to the individual success of every employee on our team, ”said MTM vice president of production Janette Hostettler said in a press release. “We were eager to kick off this next phase of recruiting and encourage anyone interested in joining our team to log on to the Facebook Live event to find out more. “

“The partnership between the State of Alabama and Mazda Toyota Manufacturing has been tremendous not only for our state, but also for our citizens,” Ed Castile, Assistant Secretary of Commerce, said in a press release. “We are proud to support their hiring and training needs as they move to the next phase of their process and give more Alabamians the opportunity to jump-start their careers in manufacturing.

v4-MazdaToyota01082020END of AIDTCreative to Vimeo.

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Historic Sicilian West Tampa Club to be Restored to Become a Production Studio

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TAMPA – The Sicilian Club building at 2001 N. Howard Ave. once housed a “talking cinema”.

The historic structure, originally built as a social club for Sicilian immigrants, will later be used to produce talking films.

North Carolina-based Black Horse Studio bought the 14,000-square-foot building for $ 1.2 million from Pawan Rattan, according to the Hillsborough County Property Appraiser website.

“The building is this incredible gem,” said Jennifer Bostic, co-owner of Black Horse. “We couldn’t be more excited to make this our next home.

They will spend almost $ 2 million to turn it into a studio for photography and commercial productions, hopefully by summer 2021, Bostic said. It will include space for temporary sets and a functional kitchen for food photographs and advertisements.

The building of the Sicilian Club, formerly a social club for Sicilian immigrants, will be restored and transformed into a production studio. [ MARTHA ASENCIO RHINE | Times ]

According to Bostick, Black Horse has grown from a business only with clients in North Carolina to a business working with businesses across the country, including Lakeland-based Publix.

“We considered moving to New York or Chicago, California or even Atlanta,” she said. “But we chose Tampa because we’ve done a lot of work there over the years and think it’s this amazing, vibrant city.”

Related: Restoration of historic Tampa’s Jackson House underway

Black Horse’s current headquarters in North Carolina is also a historic building. Built in 1893, the red brick castle-like structure was originally used by Nissen Wagon Works.

“We couldn’t just move into a normal building,” Bostic said. “We wanted a place with character and a story to tell.

Related: In Tampa, a fountain is all that is left of a historic hospital. A developer wants to save it.

It will take work to restore the Sicilian club.

Missing pieces of the roof allow pigeons to roost in the rafters. It needs new windows and the second floor needs to be stabilized.

“But the bones are good and what he still has is special,” said Justin Czternastek, whose Onsite Construction is responsible for transforming the building.

The building of the Sicilian Club, formerly a social club for Sicilian immigrants, will be restored and transformed into a production studio.
The building of the Sicilian Club, formerly a social club for Sicilian immigrants, will be restored and transformed into a production studio. [ MARTHA ASENCIO RHINE | Times ]

The tiled floors are in good condition on the first floor, where a marble staircase leads up to the balcony on the second floor. The projection booth from the old movie theater is still there.

“These marble stairs would probably cost over $ 100,000 today,” Czternastek said.

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The entire building cost around $ 100,000 to build in 1928, according to news archives, and was hailed as one of the city’s new architectural wonders in 1929.

The social club for Sicilians – founded in 1914 and originally headquartered on the nearby main street – has organized dinners, dances, concerts and plays. Cinema technology was added in 1931.

“It will be called the Sicilian theater of Cazin”, Tampa Tribune reported that year, describing it as a “talking movie theater”. Public cinema was to bring financial stability to the Sicilian club.

The Tampa Tribune announced the construction of the Sicilian Club in 1928.
The Tampa Tribune announced the construction of the Sicilian Club in 1928. [ TImes (1928) ]

But the Sicilian club closed in the mid-1930s and members joined the Italian club in Ybor City.

“The Great Depression ended its run,” historian Gary Mormino said. “The Italian Club took over the structure and operated it as an auxiliary.

In 1947, the Westown Theater, which focused on “outstanding Italian production footage with English subtitles”, opened in the building and remained operational through the 1950s.

Related: Ybor City’s century-old clock tower will strike again soon

The Sicilian club was added to the National Register of Historic Places in 1983. But, it “was in bad shape” in 1990, Mormino said.

It was later restored by the West Tampa Community Boxing Club, which successfully lobbied the city to designate the building as a local historic landmark in 2001.

But it has fallen into disuse again.

In 2009, the Tampa Tribune reported that the city had declared the Sicilian club “unfit for human habitation due to risk of collapse”.

The structure was stabilized but remained vacant.

“We are eager to give it new life,” said Bostic. “He already has so much character and soul. It has a personality that will shine even brighter once it is fixed.

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Video production team creates home environment without fans

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COLUMBUS, Ohio – The No.3 Ohio State Buckeyes beat the No.9 Indiana Hoosiers 42-35 in a landslide victory until the last possession.


What would you like to know

  • Ohio State Athletics announced earlier this week that the players’ families will not be allowed inside Ohio Stadium for the game against Indiana
  • With no fans in the stands, that meant the video production team had to work even harder to create a home gaming environment.
  • Video production was tasked with pumping out crowd noise, spotting the band, and playing hyped videos on the scoreboard.
  • The team typically employs around 75 students, but due to budget cuts, they were unable to hire students this year.

In a year full of changes, the Buckeyes’ parents had to adjust this week after finding out they couldn’t attend the game this weekend, and no fan meant the video services team had to step up his game to create a home environment for the team.

It was a strange Saturday at Ohio Stadium. A clash among the top ten with zero fans in the stands, not even the families of the players.

“Inside the stadium, we were so separated that I felt very safe because there was hardly anyone there,” said Amanda Babb, Kamryn Babb’s mother-in-law.

These families were invited to watch the game from their homes this week, a sacrifice Babb said was well worth it.

“We were extremely disappointed,” she said. “Most, all parents have kind of made this pact that we won’t see any of our kids except from the bleachers. And so that’s really the only time we can see them is at the end of the game. football, they turn around and give us a big wave.

But now, without anyone cheering on the Buckeyes in person, that means even more work for the video services team who are now tasked with pumping up crowd noise and playing videos on the scoreboard to reinforce the team.

“These are things we don’t care about, or think about,” said Russ Hoeflich, director of video services for OSU Athletics. “Fan noise, band, a lot of those things are just things that naturally happen in a game. And so at the start of this year knowing that we’re not going to have the band, we’re not going to do cheerleaders. We’re not going to have a lot of fans in the stands, we had to find ways as a department to recreate that. “

Hoeflich has been part of the video services team for almost 20 years. He said they typically employ 75 students to help with content creation and production, but this year is anything but typical.

“Our budget did not allow students,” he said. “So what we’ve usually taught students how to make things work, we now make things work on our own.”

So now the small team is working really hard to make sure everything is planned at a T.

Time the chants, spot the group and learn as you go to make it the best possible experience for the team.

“It’s been a learning curve,” Hoeflich said. “And the first game there were holes. We learned a lot in the first game of the season. Like, ah, that’s normally when the crowd reacts.

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Texans Video Production Team Named ‘Best in Football’ | Daily infusion

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The Texans were also finalists for: Best Show Open, Best Mascot Video and Best Overall in Sports. The prestigious award was the seventh GMA for the Texans video team, more than any other NFL franchise. Led by Gavin Gehrt, executive producer and director of video production, Kenneth Perkins and Tom McGuigan who design and edit the motion graphics, and marketing director Jackie Maldonado all help create the Texans Gameday experience, seen on the 14,549-foot square high definition video screens at NRG Stadium. Special kudos also go to Andrew Johnson, Ryan Records, Casey Potter and Ashley Alspaugh who helped create a winning Gameday experience for Texans fans.

A GMA Best Overall Video Display Award will be presented to the top voter in each of IDEA’s seven subdivisions (baseball, basketball, soccer, hockey, minor league, soccer, college). These seven division winners will be selected during special sessions at IDEA’s annual conference. An overall winner in this category will then be selected from among the seven finalists by a vote of the whole membership.

The Texans’ video production team has won Best Overall Video Display in four of the past seven years (2013, 2015, 2016, 2019). In his 2019 acceptance speech, Gehrt dedicated the award to the late founder, president, and CEO Robert C. McNair (1937-2018).

Anthony Joshua Announces Launch of New Content Studio and Production House SBX Studios | Boxing News

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Anthony Joshua will offer new insight into his journey as a two-time heavyweight world champion after announcing the launch of a new content studio and production house, SBX Studios.

Joshua teamed up with Public relations, social media and content agency SoapBox London for the new venture, which will develop and produce a variety of projects, from long-running sports and entertainment documentaries to broadcast programming, branding campaigns , YouTube channels and podcasts.

SBX Studios will leverage the existing production experience of SoapBox London, which has produced content for Hugo Boss, Turkish Airlines, DAZN and Matchroom as well as managing YouTube channels for athletes like Joshua and Raheem Sterling, giving it access to a network of sports talents.

“It’s a natural step for me. I’ve worked with Andy, Rowan and the team for a long time and I’ve seen firsthand the quality of the production,” said Joshua.

Picture:
Joshua is the unified heavyweight world champion

“They have a great knowledge of the industry and I have no doubt that we will be able to make SBX Studios the largest and most respected production house in the industry. personal content, I’m really excited to follow the stories of other athletes and help them gain mass exposure. “

As part of the SBX Studios launch, the content studio will also house Joshua’s existing library of unseen behind-the-scenes content dating back to his professional beginnings in 2013.

Co-owner and Managing Partner, SBX Studios, Andy Bell said, “This is a huge time both personally and professionally. The opening of SBX studios is the next step for us. The core business of SoapBox London will always be profile management for athletes and as we move much more towards digital content production, so this is an evolution and not a revolution.

“We have amassed a network of incredible production specialists and already have several projects in development. Having Anthony as a partner is a great declaration of intent. We are collectively committed to creating award-winning work for our clients. “

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‘Game of Thrones’ VFX House Pixomondo builds virtual production studio in Toronto – The Hollywood Reporter

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Visual effects company Pixomondo, which has contributed award-winning visual effects to productions including The Mandalorian, Game of Thrones and the Oscar-winning film by Martin Scorsese Hugo, is building a new virtual production studio in Toronto, which is expected to be completed by the end of the year.

Virtual production, which generally refers to the visual effects work done in real time on set, is becoming more widespread as technology evolves. It accelerated amid the pandemic as Hollywood aimed to resume production safely, and these techniques offer the potential to reduce travel, work at social distances, and involve fewer crew members. on the tray.

Mayfair Equity Partners acquired a majority stake in Pixomondo, which has bases in eight cities in the United States, Canada, China and Germany, in 2018, and backs the new company with more than C $ 10 million (7 , US $ 5 million), according to the company.

Under the supervision of Pixomondo’s Toronto / Montreal studio director Mahmoud Rahnama, the new venture will offer a modular stage that will be available for filming, while providing equipment rental, on-set staff and creative services. 3D environment of Pixomondo.

Technology partners include Epic Games, which will provide its Unreal real-time game engine; Roe Visual LED manufacturer; and Nvidia, which develops graphics processing units. Initial physical space and other equipment will be provided by Canadian production equipment rental company William F. White International.

CEO Jonny Slow noted that Epic, Roe, Nvidia and William F. White have “been instrumental in supporting and facilitating our plan to bring a facility like this to one of the world’s largest hubs. production in the world “.

Recent Pixomondo Credits Include Disney + The Mandalorian, HBO Perry mason and HBO Max Raised by wolves. The company also contributed visual effects for upcoming films such as Ric Roman Waugh’s. Greenland, the first feature film by David Oyelowo Water man and Roland Emmerich Falling moon.

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New York Times buys ‘Serial’ production studio for $25 million – TechCrunch

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In an effort to expand further into the world of audio production, the Official Journal has acquired the only podcast (other than yours) that your parents have definitely heard of. The New York Times Company issued a press release last night noting that it has reached an agreement to buy Serial Productions, the podcasting house behind the hugely popular show of the same name.

the OK, whose later reported document is valued at about 25 million dollars, brings the podcast into the same department that has produced The Daily since early 2017. Serial creators Julie Synder and Sarah Koenig will become Times staffers as Serial Productions editor and executive producer, respectively.

The acquisition also finds PRX’s favorite show, This American Life, in “partnership” with The Times. The Ira Glass-hosted radio show served as the launch pad for the first Serial podcast, and like Serial, there is undoubtedly considerable overlap between the show’s audience and The Times’ readership. The Venn diagram isn’t a circle, but it’s probably as close as it gets. In terms of content and tone, honestly, there probably couldn’t have been a more fitting acquisition.

The deal also follows the acquisition of Audm by the NYT, a startup that creates audio content from long-form journalism. The company will go with Spotify, which has spent a lot of money to buy podcast exclusivity. Last year, the streaming service bought Gimlet and Anchor for a combined $340 million and recently acquired exclusive rights to the controversial Joe Rogan Experience.

Everything you need to know about Brad Pitt’s production house, Plan B Entertainment

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Brad Pitt is one of the most beloved actors and is loved by fans around the world. In 2001 he started his own production house Plan B Entertainment Holdings, LLC or more commonly known as Plan B. The three founders of this company were Brad Gray, Brad Pitt and Jennifer Aniston. But after the divorce of Brad Pitt and Jennifer Aniston in 2005, Gray became the CEO of Paramount Pictures and Brad Pitt became the sole owner of the company. Since then, Plan B Entertainment has made some fan-beloved films. Here’s everything you need to know about Brad Pitt’s Plan B Entertainment.

Read also | Brad Pitt and Jolie were in Pune during the filming of A Mighty Heart; Here are more anecdotes

Brad Pitt’s Plan B Entertainment

Plan B Entertainment has made films in collaboration with several other production houses over the years. Plan B currently has a production deal with Amazon Studios and has also signed a new deal with Warner Bros. after separating in 2005. From 2005 to 2013, Plan B directed films with Paramount Pictures. Plan B then partnered with RatPac Entertainment and New Regency to make films from 2014 to 2017. His last active deal was with Annapurna Pictures.

Read also | Brad Pitt’s “Fight Club”: Fascinating Anecdotes About The Movie You Probably Didn’t Know

In the early 2000s, Plan B Entertainment made around nine films among which several films were experienced by fans. For example, Troy Charlie and the Chocolate Factory and also made The dead which won the Oscar for Best Picture. Apart from that, the studio has made films like Running with scissors, year of the dog, and The assassination of Jesse James by the coward Robert Ford.

Read also | Brad Pitt can’t control his laughter in this silly “Moneyball” video; To concern

After 2010, Plan B Entertainment produced several fan-favorite films as well as critically acclaimed and award-winning films. Some of the award-winning films that were nominated for Best Picture from 2010 to 2020 are The Tree of Life, Moneyball, Selma, Le Grand Court and Vice. Movies like Moonlight and 12 years of slavery won the Oscar for Best Picture. Other than that, Plan B made fan favorite movies like Kick-Ass 1 & 2, Eat, Pray, Love, World War Z, The Lost City of Z, and The big court. Some upcoming projects from the production house are Kajillionaire and Minari.

Read also | Brad Pitt’s Golden Globe-nominated films to watch in a row; See the list

Besides movies, Plan B Entertainment has also directed several TV shows. This listing includes Pretty / Beautiful from 2008, Resurrection, Deadbeat, The OA and Bittersweet. In 2020 the production house is working on the realization of a Lego Masters and will also do shows like The third day and Americanah.

Get the latest entertainment news from India and around the world. Now follow your favorite TV celebrities and TV updates. Republic World is your one stop destination for trends Bollywood News. Log in today to stay up to date with all the latest news and headlines from the entertainment world.

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Al Roker’s Pandemic home production studio is all Apple

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The pandemic and lockdown are even forcing network TV stars (and their broadcast engineers) to find new ways to get on air, especially if they’re sheltering away from their usual studio haunts.

This can lead to complications in families like that of Al Roker, the longtime NBC Today’s show weather personality who branched out into numerous side productions, streaming projects, and initiatives

Roker and his family are sheltering about 130 miles north of New York, at their Hudson River Valley home in Columbia County “five minutes from the Massachusetts line,” Roker said. “It’s the anti-Hamptons. You can still go to the grocery store and get a liter of milk for less than $35.

Roker makes his daily appearances on the Today Show from home, helped immensely by a 1-gigabit-per-second internet line that a friend had recently installed while borrowing the house’s garage to edit a documentary. Before that, “we were on DSL”, the much slower version of broadband based on the telephone line.

Roker’s “broadcast” platform is pretty much an all-Apple affair. It includes an iPhone 11 to record the video, an iPad for the Today Show studio return video, and another iPad to function as a teleprompter. A MacBook Pro feeds weather and other graphics to what is by far the most expensive part of the setup, a Apple Pro Display XDR Monitorwho sells for $5,000 or $6,000, depending on the screen glass. A stand for the monitor costs an additional $1,000.

But the platform does what Roker needs to do for its daily segments, even though no one on a broadcast network would have dreamed of using cellphones for live broadcasts a few years ago.

“It’s been interesting with this pandemic,” Roker said. “In terms of timing, it happened when all this technology came in that allows us to do all of this. If this had happened only three or four years ago, print and radio would have been acceptable, but the television would be really paralyzed.

The real challenge, however, is finding places in the house where Roker can safely record. He has a contest for top sites from his own wife, Deborah Roberts, an ABC News correspondent who frequently appears on the contestants Hello America.

“There are other couples in the broadcast business, but few are on the same day,” Roker said. Although Roberts appears on every ABC news show, “We’re on multiple times at the same time, which is kind of weird.”

Worse still, Roker “accidentally photobombed one of his snaps. I thought I was off stage, but (GMA) Robin Roberts was calling me.

It made for a frosty rest of the day for Roker, although these days with warmer temperatures Roker was able to get out of the doghouse and into the garage for his segment tapings.

He also co-hosts an online cooking show with his teenage son, who has special needs. The show helped her son “become a bit of a rock star,” Roker said.

And he has a host of other opportunities on his hands. The Occasion of the Call is a documentary broadcasting Memorial Day that the Roker executive produced by Al Roker Entertainment with Northwell Health, a large healthcare company in the New York area.

The documentary, titled Side by Side: A Celebration of Servicespotlights healthcare workers speaking in their own words about handling the onslaught of Covid-19 cases that have flooded New York hospitals over the past two months.

The doc is largely comprised of self-shot videos by healthcare workers, with a “cover” video shot by a minimal crew to link the workers’ own clips, footage of those providing food and d other forms of support for frontline workers, and the city. regular demonstrations of support at 7:00 p.m.

Roker said he deliberately kept his own presence off-camera for the doc because the workers needed to be heard. It will air on NBC’s New York affiliate, WNBC, at 7 p.m. Monday. The following day, it will also be available online, at SideBySideNYC.com.

Separately, Roker is working on another healthcare-related documentary and digital vignettes starring John Wordin that will focus on mental health issues and treatment for veterans with post-traumatic stress disorder and injuries. traumatic brain. The digital thumbnails will be presented at LifeAidHope.org.

The mental health issues faced by vets and now faced by many healthcare workers are rapidly worsening amid the isolation and other stresses of the lockdown, Roker said. The doc is designed to explore treatments that can relieve certain symptoms.

“This pandemic has just exacerbated it and brought the issues to the fore,” Roker said. “Before, it was at a low boil. Now the situation has raised the temperature.

The program does not yet have a distribution point, but is aiming for a July launch.

Roker said his lifelong interest in health issues came in part from the relatively early deaths of both his parents and the fact that his two siblings worked in the industry, one as a nurse and the other as a as a frame.

His own health, long a source of on-air conversation due to his up-and-down battles with weight, has been solid despite coronavirus concerns.

“I got lucky,” Roker said. “I was hoping I could lose another 10 pounds during lockdown. I haven’t lost anything, but I haven’t gained anything either.

Inside the Overwatch League Remote Production Studio

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The third season of Surveillance League was always going to be a production challenge. After spending two years in the comfortable confines of Blizzard Arena in Los Angeles, where the league was able to perfect its broadcasts, OWL then transitioned to a home-and-away format in 2020 with teams based in 19 cities across three continents. . But that structure didn’t last long: just five weeks into the season, the league was forced to switch to an online format due to the pandemic.

That meant finding a way for everyone — from the actual players and coaches to the broadcast team — to work from home. In the case of the production team, the solution was to create a new cloud-based software system that allowed producers, casters and other staff to do their work from virtually any computer. “Our truck is now in the cloud,” says Corey Smith, director of live operations at Blizzard.

According to Pete Emminger, global vice president of broadcast at Blizzard, these tools were actually already in the works, but for a very different reason. OWL’s move to a global structure meant that there would be teams in multiple cities each weekend. On opening day, for example, there were games in New York and Dallas as well as a panel in Los Angeles. The team wanted to create a “master control” solution that staff could use wherever they were. To build it, Blizzard partnered with TV production company Grass Valley to create a cloud-based software platform called AMPP (short for Agile Media Processing Platform). The idea was to take all the tools you would find in a traditional broadcast booth, but reproduce them digitally. Once the league was forced to go online, software production really ramped up. “We had to speed up that timeline,” Smith says.

During last Thursday’s game between the Atlanta Reign and the Washington Justice, I had the chance to see a stream of the tool in action as well as listen to the OWL production team as they worked remotely. . The AMPP tool essentially looks like a virtual version of what you’d see in a broadcast studio: a big black machine with an intimidating array of sliders and knobs. Instead of a bank of television monitors, smaller windows display various elements of the production. You can see live streams for casters and gameplay, as well as queued videos for upcoming interviews, commercials, or anything else. The tool is also customizable, so depending on their purpose, staff can move the panels around to better suit their needs.

Apart from the new cloud software, the broadcast team also uses other more standard tools to keep the show running. Chief among them is the TeamSpeak VoIP application. This allows people to talk to each other individually but also sets up rooms where different departments can talk. During last week’s game, I was able to listen to a room full of “observers”, who are basically the Surveillance The League game cameramen. Five observers watched the match from different angles – some from the perspective of specific players, others from a more aerial perspective – and a single director chose which stream to show viewers at any given time. Their TeamSpeak room was full of people screaming about what they were seeing, while the AMPP view showed me every viewpoint the director had to choose from. In other venues, I heard producers queuing for commercials and graphic overlays or preparing for the halftime show to go live.

Photo: Blizzard Entertainment

There were of course some adjustments to the new systems. The lack of physical production equipment with all its knobs and sliders was a big change for some staff, for example. “They’re used to creature comforts,” Emminger says. “It’s those little tactile things that are a change for them.” Much of the staff also needed to be trained on the new tools, which Blizzard says is one of the reasons there was a gap between stopping in-person games and starting online play. “We had to really train them on the workflows,” says Ryan Cole, senior technical lead at Blizzard.

One thing that wasn’t a big deal was the hardware. According to Emminger, “most people already had pretty good setups at home”, so they were able to use their home computers for the shows. But there were a few exceptions. To give the casting talents a more professional setup, Blizzard shipped a number of streaming kits – which were originally intended for BlizzCon – and included things like light rings, 4K cameras, and backlights. OWL themed plans. This gave all commentators a uniform look during broadcasts. Similarly, some of the observers needed new desktop PCs because their work was very GPU intensive.

For the most part, OWL shows largely look like they always have. Viewers can watch matches live, hear commentary from commentators and watch a panel discuss the latest developments. The one thing missing, however, was the players themselves. Apart from a few post-match interviews, Surveillance the pros have not been seen in actual games. According to Emminger, there’s a very good reason for this: just like all of us, Blizzard has had trouble finding webcams. However, Facecams are expected to roll out soon and it is one of the most requested features by fans. “People really missed the sight of the players,” Emminger said.

Like other esports leagues, OWL has been forced to be nimble during the current crisis, developing new tools and processes just to keep competition going. “It’s definitely different,” Emminger says. With no other live events, competitive play proved to be a compelling option, although the behind-the-scenes action had to change drastically.

Hurray opens production house run by former Louis Vuitton producer

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Creative advertising agency based in Paris Hooray started his own production house, run by the former Louis Vuitton producer Varick Rent.

Hurray.studio was founded with the aim of “raising the standards of content production in esports and games”.

Photo credit: Hurray

RELATED: Louis Vuitton Partners with League of Legends World Championship

Rent is no stranger to the esports industry, having worked on the Riot Games and Louis Vuitton partnership ahead of the League of Legends World Championship last year.

Mathieu Lacrouts, CEO of Groupe Hurray, The company commented in a statement, “Going from one company to two after five years is crucial to continuing to create the best branded content possible, for esports fans and gamers. With Hurrah.studio, we don’t just bring top-notch content to Hurray.agency customers, we also intend to pave the way for luxury standards in other esports and gaming content.

RELATED: MonteCristo & Bryce Blum Launch Theorycraft Consulting Agency

Hurray has worked with many non-endemic brands, including Domino’s Pizza, Coca-Cola, Nestlé and Renault, and produced promotional material for the esports tournament platform Mogul. Hurray.studio will operate under Hurray Group as an independent company from Hurray.

Loyer spoke about his new venture: “Working on the League of Legends partnership between Louis Vuitton and Riot Games was a eureka moment for me. It opened my eyes to the value that luxury and esports experts can bring to the table for mutual benefit. Now is the best time to incorporate the forces of mainstream advertising storytelling into esports as entertainment standards rise. We want to create the kind of quality content that we know fans want and deserve. “

Esports Insider Says: With previous esports experience, the creation of the new studio has the potential to further raise the already high standards of content production in the industry. We’re excited to see what content is produced by the studio throughout the year.

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NBC News Launches New Production Studio – The Hollywood Reporter

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NBC News is launching a new in-house production studio, called NBC News Studios, which will produce documentary and scripted programs for “emerging platforms”.

The new studio will be led by Date line executive producer Liz Cole, who will add the title of chairman of NBC News Studios. It will be partnership-based, creating content for and in partnership with third parties, and teaming up with filmmakers who would benefit from NBC News resources.

The company has already entered into a handful of partnerships, including an agreement with Focus to develop “filmmaker-led” documentaries on “the most important people and events of our time”.

There is also an agreement to develop scripted tariffs with Jason Blum’s Blumhouse Television, which will be based on segments of the NBC news magazine. Date line.

The studio is also developing a docuseries for the NBCUniversal Peacock streaming service and will house NBC News’ daily production for Quibi.

Earlier this month, NBC shut down its existing in-house studio, Peacock Productions, which produced TV shows for NBCUniversal’s own networks, as well as other TV channels. The new studio is effectively replacing Peacock Productions, with a greater emphasis on streaming and a larger content roster including short and long shows, documentaries and scripted shows.

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Mazda Toyota Manufacturing set to hire production team

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MTMUS receives support from AIDTAlabama’s premier workforce development agency, in what is sure to become one of the biggest ongoing hiring events in state history.

Members of the production team make up the largest percentage of MTMUS’ workforce, which is expected to grow to 4,000 once full production is reached at the 3.7 million square foot facility.

Members of the production team will be responsible for the hands-on assembly of up to 300,000 Mazda and Toyota vehicles per year.

While the first phase of hiring MTMUS production crew members opens Monday, hiring will continue on a rolling basis through 2022, according to the AIDT.

FOUR-STEP PROCESS

Starting Monday, applicants can begin the process online at www.mazdatoyota.com, where they’ll provide basic contact information, work history, and answer a few questions. Candidates who meet the hiring criteria are then invited to take an online assessment, which includes a written part.

Candidates who progress beyond the online assessment will be invited to a “Job Assessment Day”, which will place the candidate in a simulated factory environment to assess their skills at various tasks. This will ensure that qualified candidates are matched with positions suited to their skills and abilities.

Job offers are dependent on a successful background check, drug screen, and physical exam.

AIDT said the high volume of applicants expected means the time from assessment to job offer could take up to three months.

Positions, duties and details outlining the application process for team members can all be found on the Mazda Toyota website.

AIDT, part of the Alabama Department of Commerce, provides a range of workforce development assistance to MTMUS, including training at the agency’s Alabama Robotics Technology Park near Decatur.

This week, MTMUS joined AIDT to launch the RTP 2.0 initiative prepare the training site for technological advances in robotics and automation technologies.

MTMUS announced its plans for the Alabama assembly plant in January 2018. Construction of the facility is well underway on a 2,500 acre site in the Limestone County portion of Huntsville.

Production of the first vehicles at MTMUS will begin next year.

Realscreen » Archive » Tony DiSanto’s Allyance Media Group Expands Production Team

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Tony DiSanto’s Allyance Media Group (AMG) has promoted Tommy Coriale to executive vice president of production and head of its DIGA studios as part of a larger expansion of its production team.

In her new role, Coriale (pictured, left) will oversee production across AMG and lead the day-to-day business and operations of DIGA Studios, corporate and show staff, IP options and ancillary businesses (books, podcasts, etc.). He was previously Managing Director of AMG-owned DIGA Studios, a content studio working across multiple formats, genres and platforms. He joined the studio in 2014.

Prior to joining DIGA, he served as executive manager at Eastern, where he managed all aspects of production, including love and hip hop franchise on VH1. Prior to that, he oversaw the production of Supernanny, The Real Housewives of NYC, Bethenny forever and basketball wives at Shed Media Group.

Meanwhile, Stacey Altman (right) has been named SVP of Unscripted and Andrew Portnoy as SVP of Production, both at DIGA.

Altman will be based at DIGA’s New York headquarters and will report to chief Nick Rigg, who is unscripted. She is responsible for running the pilots and day-to-day monitoring of the development list. She previously held positions at Nat Geo, The Economist Group, Embassy Row, Ish Entertainment, BBC Worldwide, Left/Right, WE tv, VH1 and MTV.

Portnoy will report to Coriale and oversee the day-to-day production of all scripted and unscripted shows. He was previously SVP in charge of strategic content operations for MTV, VH1 and Logo and held positions at Spike TV and Nickelodeon.

“Tommy Coriale has been integral to our success, with expertise in all aspects of content creation, from reality to scripts, films, books, series and documentaries. He is the bridge between creation and business, and we are fortunate to have her in this newly expanded role,” CEO DiSanto said in a statement. “Stacey Altman is a superstar that I have wanted to join our team for some time. She has a fantastic track record and impressive work as an executive and producer, with an unrelenting passion for excellence in every project.

“I feel so lucky to have Andy Portnoy back, the best of the best in production. He and I have worked together at MTV for years, and I know from experience that our creation is in good hands with him at the helm of all executions.

Pixvana creates the virtual reality production studio WunderVu

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Pixvana created its own in-house virtual reality production studio.

The Seattle startup announced today WunderVua new independent consulting firm for clients needing help with virtual and augmented reality storytelling projects.

Founded in 2015, Pixvana has developed a SaaS software platform called SPIN studio which helps VR filmmakers edit, process and stream video at 8K resolution.

The company was also already offering creative professional services to its existing clients. The creation of WunderVu makes this branch of Pixvana its own official company.

“This type of customer project-focused team is common for startups in emerging markets where customers need more than the software itself,” said Forest Key, CEO of Pixvana. “The team sits close to the engineers and goes back and forth with feature requests, ideas on production challenges, and shared discussions about what works for storytelling in the VR environment.”

WunderVu is led by Scott Squireswho co-founded Pixvana and is a Sci-Tech Academy Award winner known for his visual effects work and also a Lucasfilm veteran.

Pixvana now employs 25 people in total. The company raised $14 million last November led by Paul Allen’s Vulcan Capital, with participation from investors including Raine Ventures, Microsoft Ventures, Cisco Investments, Hearst Ventures and Madrona Venture Group.

What would the Fox TV network be without its own production studio?

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21st Century Fox’s decision to sell its TV and film production units in a $52.4 billion deal with Walt Disney Co. means Fox will be the only broadcast network without a studio to supply its scripted shows .

This has current and former Fox executives and their competitors wondering what the network — and whether it can have long-term viability — will look like in the next Murdoch-owned entity, dubbed “new Fox.” The remaining assets include 28 local television stations as well as cable channels Fox Sports 1, Fox News Channel, Fox Business Network and Big Ten Network.

Company insiders have heard that the broadcast network will become more reliant on sporting events, news programming and unscripted reality series. Such programming is widely watched live at the time of its broadcast, which means that viewers are more likely to see the advertisements.

“The new Fox will build on Fox’s powerful live news and sports businesses, as well as the strength of our broadcast network,” 21st Century Fox Executive Chairman Rupert Murdoch said in his statement. announcing the deal with Disney.

During an investor call Thursday, 21st Century Fox co-chairman Lachlan Murdoch called the Fox news “a homecoming.”

But a broadcast network built solely on those genres has not been tested, suggesting the Murdochs could strike a deal with a scripted program provider.

“Some people think there’s another shoe to drop,” said Preston Beckman, a media consultant who worked at Fox from 2000 to 2015.

Beckman and other TV executives say they can consider Fox partnering with a studio, such as Sony or Lionsgate, that doesn’t have a TV network to show its programs. Fox could also buy a studio or strike a deal with Disney to continue airing scripted programming on the network.

Separating the Fox network and the studio challenges the role broadcast networks have played within large media conglomerates in recent years. In an increasingly fragmented landscape, their prime-time lineups largely serve as marketing arms to launch the sitcoms and dramas that become revenue-generating assets on other media platforms.

The role has evolved out of necessity as prime-time ratings have eroded over the years to the point that the cost of first-run programming can no longer be supported solely by the advertising revenue generated by the programs .

The networks’ parent companies make money when series are sold to international broadcasters and online outlets such as Netflix, Amazon and Hulu. These dollars supplemented what they earned from sales to local television stations and cable networks.

Even with reduced ratings – Fox averaged around 3.5 million viewers during the 2017-18 TV season – all broadcast networks still reach nearly 100% nationwide and remain the most effective in giving mass exposure to a TV program.

But in the current state of the new Fox company, the network would have to allow sitcoms and dramas from outside studios. Unless he negotiates an equity stake in the programs he puts on his primetime schedule, he won’t see any financial benefit beyond what he gets from their first airings.

“It’s kind of like what’s old is new,” said Bill Hague, executive vice president of television consultancy Frank N. Magid Associates. “That’s what networks were like before these integrated media companies took over.”

A 1970 FCC rule largely barred the traditional Big Three broadcast networks — ABC, CBS and NBC — from owning their scripted programs to prevent them from excluding independent producers from their prime-time lineups. . After this rule was abolished in 1993, the three networks eventually merged with companies that owned production studios (Fox was part of 20th Century Fox when it launched in 1986).

In many cases since, senior network programming executives have also overseen their companies’ television production studios, as is the case with Fox Television co-presidents Dana Walden and Gary Newman.

The networks lobbied for the ownership rule to change in the early 1990s, as the competitive landscape had changed dramatically as more cable channel choices were introduced into viewers’ homes. Over time, revenue generated from program ownership is the difference between prime time profits and losses.

Murdoch said in an interview Thursday on Fox Business Network that scripted shows are increasingly being watched online and on-demand, which makes it “very difficult to monetize that with advertising.”

A Fox executive who was not authorized to discuss the issue publicly said the Murdoch family may be in the market to buy more local TV stations.

Local stations are still a high-margin business, especially with the subscription fees they receive from the cable and satellite companies that carry them. While the cord-cut cut some of that revenue, new money is coming from direct-to-consumer multi-channel video programming distributors like Hulu, Sling and YouTube TV, all of which now pay to carry Fox stations and affiliates.

Even without scripted programming, Fox’s stations and affiliates will be able to charge subscription fees because of its rights to Sunday games of the National Football League. While football ratings are down overall, advertising demand remains strong in local markets where matches far exceed all other broadcasts.

Many events that Fox owns the rights to on Fox Sports 1, such as Major League Baseball, college football, the Soccer World Cup and NASCAR, are likely to get more prime-time exposure on the network. of dissemination.

“As long as they have their NFL package and their baseball, they’re fine,” Beckman said.

The stations also have local news, another service not duplicated by streaming services.

But in the long run, an addiction to sports programming means Fox has less control over its destiny. Fox has its NFL package through 2022. When the broadcast rights return, the network is sure to face fierce competition from tech companies like Google and Amazon, who are expected to seek exclusive rights to stream the games online. line.

One area that is expected to remain unchanged is the hugely lucrative Fox News channel, which will end 2017 as the most-watched cable network for the second year in a row. Rupert Murdoch has become more deeply involved in the press operation since chief executive Roger Ailes left in disgrace in July 2016 amid a sexual harassment scandal.

Murdoch is said to spend four days a week at Fox News headquarters in Midtown Manhattan and was involved in programming and coverage decisions – giving him influence over President Trump, a big viewer of the channel.

“Rupert is a journalist through and through,” said a former Fox TV executive who spoke on condition of anonymity. “When I was working there, nothing made him happier than sitting behind his desk and writing the headlines for his papers.”

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Twitter: @SteveBataglio

ALSO

Disney buys large chunk of Rupert Murdoch’s 21st Century Fox in deal that will reshape Hollywood

How Fox’s top executives could fare after the sale to Disney

Disney’s deal to buy Fox studio could lead to major layoffs, analysts say


UPDATES:

4:05 p.m.: This article has been updated with commentary from Rupert Murdoch at Fox Business Network.

This article was originally published at 8:10 a.m.

How This Tiny Production Studio Turns Cheap Budgets Into Millions At The Box Office

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Blumhouse Productions has a secret sauce when it comes to making great horror films: Keep budgets low and give directors complete creative freedom. And with huge box office hits like get out and To divide, to name only his most recent films, Blumhouse may be onto something.

get out, the latest film produced by Blumhouse, has grossed more than $163 million domestically, according to Box Office Mojo. The film had a budget of just $4.5 million and received a rare 99% rating on Rotten Tomatoes. And with newly secured plans to expand into television, Blumhouse isn’t slowing down any time soon.

“One of the things that has been great about responding to get out, it recognizes that you can make interesting and thought-provoking films that happen to be horror thrillers,” says Couper Samuelson, 37, the company’s president of feature films. “It kind of emboldens us to make sure there are galvanic and interesting ideas in our horror films.”

With budgets, less is more

The Los Angeles-based company was founded by Jason Blum in 2000, but didn’t adopt the micro-budget model until 2009. A Blumhouse spokesperson declined to share company revenue figures, but the production house was behind some of the most popular horror series over the past 10 years, including the paranormal activity movies and Insidious chapters.

Blumhouse typically spends around $5 million or less for an original and up to around $10 million for a sequel, Samuelson says. These prices aren’t due to the production house trying to pinch some pennies; Samuelson notes that this helps promote creativity.

“Any time you limit someone, it always creates – in terms of resources – opportunities,” says Samuelson. “Our films have few visual effects. When you have someone made up like a prosthetic demon, it can feel more real than if you have the best computer visual effects artist.”

These small budgets create fear and big returns. The purge The series, centered on a fictional night where all crime is legal, was one of Blumhouse’s most notable film series. The first film, released in 2013, had a budget of just $3 million. It went on to gross $64 million domestically, according to Box Office Mojo. The second installment had a budget of $9 million and grossed over $71 million a year later. The third film got an extra $1 million for the budget and grossed over $79 million in 2016.

“If you’re not doing horror movies like Blumhouse right now, you’re doing it wrong,” says Jeff Bock, box office analyst at Exhibitor Relations Co., adding that Blum is the maestro of mic horror. -budget. “When you get that kind of return on that kind of budget, you do it well, perfectly, actually in terms of Hollywood structure.”

Horror hits are on the rise in Hollywood

Blumhouse isn’t the only production studio churning out appallingly good and cheap content. New Line Cinema, a competitor to Blumhouse, also operates the micro-budget business model. Last July, New Line launched Curfew, the story of a malevolent presence that lurks in the dark and has grossed $67.2 million domestically, according to Box Office Mojo. The film cost $4.9 million to make.

Directors of Blumhouse’s hit movies have returned to Blumhouse to make sequels or topical films, giving the production house repeat business with the hottest names in horror movies. One of the strategic ways Blumhouse builds relationships with filmmakers is by inviting them to screen their works in progress. Samuelson says it’s a great way to talk with the directors and bounce thoughts or ideas about the film.

“The way they build their movies in a think tank works. They basically print money into these think tanks,” Bock says, adding that typically a horror movie makes $100 million or more. per year. get out and To divide the two have earned over $100 million domestically. It’s a rare feat for the horror industry.

Blumhouse has more spooky plans in the works. On April 4, the company announced plans to launch an independent television studio with ITV Studios, acquiring a 45% stake. The investment values ​​Blumhouse at $80 million, according to Deadline. In addition, the TV studio will produce two new series: The purge (for USA and Syfy) and Securing and Holding: The Last Days of Roger Ailes (for Showtime). blum said The New York Times that Blumhouse TV will focus on “the things that scare us”, not just horror.

“Over the past few years, we’ve worked to make Blumhouse Television an independent studio so we can have the autonomy to work with the best storytellers and give them the freedom to create the best dark genre programming,” said Blum in a statement. “It’s a dream that this day is here.”

Univision to launch ‘Story House’ production studio

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Spanish-language broadcaster Univision is launching Univision Story House, a new unit that will produce original content for the company’s network portfolio as well as third parties. The studio will create content in English and Spanish and will be part of the company’s recently announced Fusion Media Group.

Story House has signed a production deal with HBO for two projects. “Outpost” is a ten-part series that combines experiential journalism and adventure. The series offers viewers a local perspective of faraway places through immersive stories about current affairs, subcultures, the environment, and adventure sports. “Hate in America” ​​will see Univision and Fusion anchor Jorge Ramos investigate why hate seems to be growing in this country.

Based in Los Angeles, Story House will be overseen by Camila Jimenez Villa, who will serve as president and chief content officer of Fusion Media Group, and creatively led by Juan Rendón. Christian Gabela will assume the role of Vice President and General Manager and will help lead strategy and partnerships as well as manage the day-to-day operations of the team. Rendón and Silvana Aguirre will serve as the company’s creative directors.

Rendón previously headed the documentary division of Univision and Fusion where he produced, directed and produced over 15 documentaries since 2012. Aguirre most recently served as Creative Director for UniMás.

The team will report to Isaac Lee, director of news and digital for Univision.

Opening of a film studio and production house in Court Square – Long Island City – New York

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The new Court Square Studios includes 3,500 square feet of rental space.
See the full legend

Court Square Studios

PLACE DE LA COUR – Action.

A film production house and studio rental space opened last month in rapidly developing Court Square.

Court Square Studios offers video production and post-production services and rental of studio space in a building located at 21-38 44th Rd., Near 23rd Street, which once housed a construction school, according to the director Mauricio Arenas.

“We didn’t target Long Island City – it just happened,” Arenas said. “I had a studio next door and it just so happens that this building has become available, and we jumped at the idea.”

Arenas started the operation with two longtime friends Jenny Bousquet and Hernan Guerrero from his home country, Chile. All of them have ten years of experience in the film industry.

Western Queens is home to two major film studios: Kaufman Astoria, further north, and Silvercup Studios, a few blocks away, putting them in good company.

“We realized that Long Island City is a great place to have a movie studio,” Bousquet said. “It’s one of New York’s most prolific neighborhoods for movies.”

The studio offers production services, including lighting, sound design and editing, and the space is also available for hire for other production companies to use independently.

It includes 3,500 square feet of raw studio space for filming, commercials, photos or music videos, which rents for $ 1,000 per day, plus four additional rooms that can be used for safekeeping. dress, makeup or classrooms.

“It could also be used as a rehearsal space,” Arenas said of the site. “Anything to do with the arts or entertainment.”

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The roles of the production team

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Did you know that student filmmakers can win Oscars? The winners who have become famous are Robert Zemeckis, Spike Lee, Trey Parker and John Lasseter.

They started by working with others in a production team. They also knew that to understand cinema as an art form, they had to take into account the tasks of the many people who work together to make the film a reality.

If you are an educator filming in class, consider teams of up to 5 students. All of the roles listed below can be shared by multiple students, making learning that much more complete. Or, if you’re directing a film on your own, think about how you can combine the following roles throughout the filmmaking process, and consider who can help you when you need help.

Producer

This person is basically the group leader and is responsible for managing the production from start to finish. The producer develops the project from the initial idea, ensures that the script is finalized, organizes the financing and manages the production team that makes the film.

The producer also coordinates the filmmaking process to ensure that everyone involved in the project stays on schedule and on budget. Without the producer at the helm, the films don’t get made.

Director

The director is primarily responsible for supervising the shooting and editing of a film. If the director can be compared to the author of a novel as the first visionary of a film, he could not make the film without the help of many other artists and technicians.

In fact, the notion of director as author is misleading because it assumes that the director, as author, does everything. A director works at the center of film production, but is inextricably linked to dozens of other people who do the work together.

Scriptwriter

While a film’s dialogue may feel natural to the viewer, a writer carefully crafts it; however, the screenwriter does much more than provide dialogue for the actors. He or she also shapes the sequence of events in a film to ensure that one scene flows into the next so that the story unfolds in a logical and interesting way.

Like the producer, the role of the screenwriter is generally unknown to the cinema-going public, whereas it is essential to the production of any film. If there is no script, there is no film.

production designer

Before an inch of film is shot, the production designer is the first artist to translate the script into visual form. He or she creates a series of storyboards that serve as the first draft of the film.

A storyboard is a series of sketches on panels that show the visual progression of the story from scene to scene. Creating this sketch of the film on storyboards also ensures the visual continuity of the film from start to finish. Storyboards serve as a visual guide for the director throughout production and will be a template to follow during the editing process.

Artistic director

The art director is responsible for the film’s sets: the buildings, landscapes and interiors that provide the physical context for the characters. This person is responsible for acquiring the props, decorating the sets and making the set believable.

Costume designer

The costumes say a lot about the period of the film and the characters who wear them, including their economic status, profession, and attitude towards themselves. Be sure to think about how costumes can visually show something about the character.

Director of Photography

The director of photography, or DP, is responsible for capturing the script on film or video. The DP must pay attention to the lighting and the technical capabilities of the camera.

When the director wants a shot to achieve certain visual or atmospheric qualities, the DP achieves this through his choice of lighting, film stock, and careful handling of the camera. This craft is called cinematography.

Editor

Shortly after filming begins, the editor begins to organize the sequences and organizes the individual shots into one continuous sequence. Even in a single scene, dozens of different shots must be chosen and assembled from hundreds of feet of film. The editor’s choices about which shots to use and the order in which to place them have a profound effect on how the final film looks.

Actors

In charge of representing the characters of a film, the actors work in close collaboration with the director and the director of photography. Considering an actor’s role in this larger context also suggests that their job is much more difficult than appearing on set and reciting lines.

music supervisor

Music has been an integral part of movies since the early days of cinema in the 1890s. A piano or organ player accompanied even the simplest silent movies. The silent film palaces of the 1920s were equipped with elaborate organs and orchestra pits to accommodate large groups of live musicians. Today, selecting the right music for the film will intensify the story for the audience.

filming in class

When everyone works together, the process of making a movie can be fun and simple. Using these real production team roles will make the act of creating a film all the more authentic.

Assign your roles at the beginning of the project, and above all make sure to respect the producer’s schedule. Depending on the length of the film, expect your project to last between 2 and 3 weeks. Reserve your last week for your editing and post-production.

For other helpful resources, check out the American Film Institute’s Screen Education series. The institute further breaks down the filmmaking process and guides new filmmakers with best practices and ideas.

About the Author: Jaclyn Bell is a Digital Media Trainer and Director of Community Content for OneSeventeen Media Inc. as well as Competition Director for the Young Minds Digital Times Student Film Competition.