| Top Stories - April 1, 2016 |
| Cristina Clapp - Editor |
International Intrigue: Production on the BBC/AMC Miniseries "The Night Manager"
Directed by Susanne Bier, "The Night Manager" tells the story of former British soldier Jonathan Pine (Tom Hiddleston), now a night manager at luxury hotels, who is recruited by an intelligence operative (Olivia Colman) to infiltrate the inner circle of an international businessman (Hugh Laurie) and expose the alliance between the intelligence community and the arms trade. AMC debuts the six-part series April 19; before its AMC debut, the film aired on BBC One starting Feb. 21.
Cinematographer Michael Snyman, who worked with Bier in 2014 on the feature "A Second Chance," joined her again to shoot "The Night Manager."
Snyman says that when Bier called him about the six-part series, he worried a bit about what they were getting themselves into. But then he read the scripts. "I was immediately drawn to the huge ambition portrayed," he says. "The images going through my head were spectacular and I knew I had to do it."
One Week Left to Enter: NewBay's Best of Show Awards
Which new products will win the NewBay Media Best of Show Awards at the 2016 NAB Show?
Nominations are now being accepted for exhibiting companies to submit their new products for consideration in the third annual Best of Show program. Companies pay a fee to enter; winners are selected from among the nominees by panels of professional users and editors based on descriptions provided via the nomination form as well as on judges' inspection at the convention. The deadline has been extended to April 8.
"10 Cloverfield Lane" Cinematographer on Creating a Claustrophobic World
"10 Cloverfield Lane" cinematographer Jeff Cutter discusses the making of the film, which takes place in a bomb shelter after a catastrophic event has taken place. To aid in the claustrophobic feel of the movie, the filmmakers chose to build an almost full set of the bunker.
"The main room had a hard ceiling — there was no taking it off or on, so there were no overhead lights that were coming in — and I really wanted to treat it like a practical space," Cutter explains. "While we did have a removable ceiling in Michelle's bedroom and Howard's bedroom, I tried not to remove them to put in some light that I didn’t believe or that wasn’t motivated. As much as possible I wanted to light the sets with practicals so that the actors had the freedom and so that you could believe all those light sources. It was really important to [director Dan Trachtenberg] and I that everything feel grounded and real."
Spend a Day, See the Future of Video
A Free Educational Event to Examine the Next Generation of Video Production and Distribution
VideoEdge Live! will provide a 360-degree perspective on how to consider, create and deliver content for today's connected consumer. With technology exhibits from industry-leading manufacturers and developers, VideoEdge Live! provides a full schedule of in-depth discussions, gathering experts for conversations, case studies, viewpoints, and industry predictions.
The Roadmap to Live IP Video
The path along the transition to an IP video workflow is littered with confusing, and sometimes conflicting, mile markers:
- Which standards direction to take?
- Which compression route to drive?
- Which manufacturer alliance to follow?
With an abundance of equipment vendors, software developers, and trade organizations disseminating so many competing messages, it's easy to let all the flashing signals throw you off course. This guide will help you plot a route, navigate the roadblocks, and plan avenues around the many areas that are still under construction.
How Director David Farr Uses Space to Build Anxiety in Thriller "The Ones Below"
Tense British thriller "The Ones Below" tells the story of two upstairs/downstairs neighbors and couples, both expecting their first child until a tragedy makes everything take a turn. The film marks the directorial feature debut of screenwriter David Farr.
"We've used handheld photography in moments where it is really appropriate, where there are moments of terrific anxiety and a desire to get somewhere," Farr says. "Then there are a lot of other scenes that are quite withheld and quite restrained, where the camera is quite wide and we let the space do more of the work. It's a mixture in that sense...Often in film when you see a big space and then something really tight, it helps create that feeling of anxiety."
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