'Saw' Director to Helm Sci-Fi Action Project 'Apex' (Exclusive)

Darren Lynn Bousman will tackle the indie film, with Joe Di Maio and Aaron Ray to produce the project. 

Darren Lynn Bousman, who directed several of the Saw movies, is attached to helm Apex, an indie sci-fi action project from 2511 Productions.

Described as Predator meets Call of Duty, the plot tells of a Special Ops team sent to obtain a WMD from North Korea that is transported to another world. The team then finds themselves pitted against a dangerous alien race.

James E. Cavanaugh conceived the idea and wrote the screenplay with an eye on current scientific trends in physics and biology.

Apex is being produced by 2511 Productions in association with Ambiance Pictures. Producing are Joe Di Maio, whose credits include Kid Cannibis and The Last Call, and Aaron Ray, who was involved with the V/H/S anthology horror movies and whose credits include Big Momma's House and the Michael Douglas drama Beyond a Reasonable Doubt. Cavanaugh will also produce.

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The producers, who are looking at Apex as a transmedia property, hope to reveal key art and alien designs timed to this year's Comic-Con.

Bousman's trio of Saw movies (numbers II, III, and IV) grossed over $440 million worldwide, and the director is also behind the cult movies Repo! The Genetic Opera and The Devil's Carnival.

Bousman sees Apex as "a love letter to the sci-fi films I grew up watching with my dad, such as Alien,PredatorEnemy Mine, Tremors. But I also want it to have the more modern feel of some of the recent video games I am currently playing, like Halo and Call of Duty."

Bousman said he wants to meld 1980s movies-style action with the reality and details seen in such war films such as Lone Survivor.

"This can be a balls-to-the-walls action fantasy and it's franchisable outside of the movie universe," said Bousman. "There is a whole world to explore with Apex."

He is repped by Verve, Zero Gravity Management and Skrzyniarz and Mallean.

Source: http://www.hollywoodreporter.com/heat-visi...

Panama Canal IMAX 3D

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Radiant Images Provides Versatile 3D Rig with Twin F65 Cameras for 3D IMAX Documentary on Panama Canal

on 15 March 2013.

Michael Mansouri and Nick Lantz of Radiant Images to discuss custom 3D rig and Panama project at Giant Screen Cinema Association expo March 21 in Galveston, Texas


The talented film crew that recently finished shooting an IMAX 3D documentary about the Panama Canal utilized versatile 3D rigs provided by Radiant Images – featuring the CC3D Gen-2 rig and twin Sony F65 digital cameras – to capture some of the most challenging shots.

Even though Radiant Images customized the two 3D rigs with full-sized production cameras, they were light and well-balanced enough for Cinematographer Reed Smoot, ASC, to use them in a variety of ways during the Panama shoot, which wrapped in late February. The custom rigs were mounted on platforms in trees and on zip lines, hung in mid air, and placed on Steadicam, cranes and stabilized remote control heads.

Panama: A Land Divided, a World United 3D is scheduled to be released in 2014.

“We were able to think outside the box a little bit and come up with a solution that worked,” said Nick Lantz, the Head of Technical Services and R&D at Radiant Images. “You don’t always have the luxury of using a different rig for every set up. In this case, even with the difficulty in shooting in large format, we succeeded in creating a rig that did pretty much everything and could be quickly moved from one platform to another without compromising high quality.”
Radiant Images (www.radiantimages.com) worked closely on the project with Steadicam operator Scott Hoffman and Marty Mueller of Converging Concepts 3D, the designer and creator of the brainy CC3D Gen-2 rig. 

(Marty Mueller, Radiant Images Co-Founder Michael Mansouri and Nick Lantz will join Panama Director Keith Melton for a panel discussion next week in Galveston, Texas at the GSCA’s Film Expo and Digital Symposium. See details at bottom.) 

In addition to the two 3D rigs with F65s, Radiant Images, an L.A.-based rental house and digital cinema innovator, also provided the lenses, gear and accessories to outfit a production that will be the first documentary about the Panama Canal in IMAX 3D.
The Sony F65's captured crisp images in Sony RAW 4K to maximize the potential of the digital camera system and work more seamlessly with IMAX. The production was a huge undertaking as two movies – one in large format 3D and the other in 2D – were filmed simultaneously. Multiple cameras and camera systems were operated by three to four units each day. Smoot, well-known for his work in large format documentary filmmaking, shot with IMAX 15/70MM film.

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Keith Melton, a large format and 3D pioneer, is directing the 3D film and Abner Benaim is directing the 2D film. Craig Hosking, one of Hollywood’s top camera pilots with 150 feature film credits (FlightDark Knight Rises, Inception), coordinated the aerials.
The 48-mile Panama Canal, opened in 1914 connecting the Atlantic and Pacific oceans, is one of the great feats of engineering in the history of the world. In the early days, about 1,000 ships passed through each year, but today nearly 15,000 ships from around the world crowd the canal. The soon-to-be-completed $5.2 billion canal widening - the world’s largest civil works project – is creating a new lane of traffic that doubles the canal's capacity and permits cargo ships of up to 1,200 feet – four football fields long.

The documentary will capture the massive scale of the shipping vessels passing through the locks by matching the spectacle with the larger-than-life 3D IMAX format. Because the relatively-new Sony F65 offered the best image to convert to IMAX, Smoot (Justin Beiber: Never Say Never, Jonas Brothers: The 3D Concert Experience, Wild Ocean) enlisted the expertise of Radiant Images, who had created a stationary 3D rig using F65s for his recent IMAX documentary shot in Jerusalem. That film, Jerusalem 3D, is now in post-production and will premiere this fall.

In pre-production for the Panama project, Radiant technicians were able to troubleshoot and find workflow solutions for Smoot’s team to make the F65 less intimidating during the shoot and in post. 
But the most difficult pre-production challenge for Radiant involved creating a 3D rig with two full-size F65’s that could be mounted on a Steadicam without weighing down Hoffman, enabling him to capture fluid and natural shots in Panama when a crane wasn’t feasible.

Nick Lantz and Hoffman spent weeks on the prep floor at Radiant’s Los Angeles facility, painstakingly working on a solution. They chose to mount the F65’s on Mueller’s lightweight and revolutionary CC3D Gen-2 rig.

With Mueller’s help, they went to work to make modifications to trim the size and weight. Hoffman wasn’t expected to use the Steadicam for five-minute walk-and-talks or running up stairs, but he did need to be able to wear it comfortably to get the shots Smoot wanted.

Even a fraction of one pound would make a big difference. The twin F65s on the CC3D rig initially weighed in excess of 70 pounds – too heavy. Michael Mansouri, co-founder of Radiant Images, said his team shaved every ounce they could.
“We chiseled everything down to the bare minimum,” Mansouri said. “When you are thinking in terms of ounces, when you have that kind of approach, it adds up. We were determined to make this system work for Scott.”

By the time they were done, the rig weighed in at 59 pounds – nearly a 20 percent reduction.

Everything that could be removed without compromising function was stripped away. Existing cables were replaced with custom-made, ultra-slim, lightweight cables that were the exact length needed. Feather light brackets were made to replace heavier ones.

They also worked to redistribute weight of the modified 3D rig to create the right balance and stability. Once the twin F65’s were placed in the CC3D rig, Lantz and Hoffman determined the cameras needed to be lowered by a half an inch to maintain the appropriate center of gravity and center of mass. They took their request to Mueller, who machined a new plate to bring the camera down ever so slightly. 

Once finished, Smoot was able to utilize the two completed 3D rigs in a variety of ways on the shoot, from stabilized heads to stationary shots, saving time without compromising quality or his artistic vision. 
“I’m truly proud of our team at Radiant Images and the work they did and just as excited to be a part of this incredible 3D IMAX project,” Mansouri said. 

Mansouri and Lantz will share their experiences working on the Panama production next week when they join Mueller, Melton and others for a panel discussion, The Latest in Digital Capture: Capture Tools for the Giant Screen, at the Giant Screen Cinema Association’s Film Expo and Digital Symposium in Galveston, Texas. 

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Radiant’s twin F65 cameras on the CC3D rig will be on display and discussed at the Thursday, March 21 (8-10 a.m.) session, moderated by Daniel Ferguson, director ofJerusalem 3D. The presenters will provide the audience with a hands-on look at the latest digital capture tools used in films like Titans of the Ice Age Mysteries of the Unseen World, Flight of the Butterflies,Jerusalem, and Panama: A Land Divided, a World United.
The panel discussion with filmmakers, vendors, and post-production supervisors on the application of the newest tools (featuring behind-the-scenes footage from giant screen films), will be followed by three concurrent workshops where participants get a first-hand look at the Sony F65 on CC3D rig, plus RED Epics on the 3ality and Screenplane 3D rigs and the Nikon D800-E cameras on the camBLOCK motion control system. 

Mansouri and Lantz also will discuss key developments in the giant screen filmmaker toolkit, including new data wrangling solutions.

For more information about Radiant Images, visit online at www.radiantimages.com or call 323-737-1314. Find Radiant Images on Facebook and Twitter

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Images from custom F65 3D rig in action in Panama, and of Steadicam Operator Scott Hoffman and Radiant's Nick Lantz prepping rig in pre-production at Radiant Images in Los Angeles.
  
 

Source: http://www.radiantimages.com/index.php/blo...

GREENLAND SELECTS INUK FOR BEST FOREIGN LANGUAGE OSCAR

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Monday September 24, 2012 : Nuuk, Greenland

For the second time in its history, the nation of Greenland will submit a film to compete for Best Foreign Picture at the Academy Awards. Greenland has chosen INUK, a motion picture that spotlights the fragility of their indigenous culture in the face of modernity and climate change.

Based on true stories of those who actually live on the dangerously declining sea-ice, INUK tells the emotional journey of a 16 year-old boy, sent from his troubled family in Greenland’s capital, Nuuk, to a children’s home in the icy North. There he meets Ikuma, a legendary polar bear hunter who sees the environment he loves mysteriously disappearing. Taking Inuk on his dogsled for the annual hunting trip, they face much more than the unusually fragile sea-ice, when conflict and personal demons become as dangerous as the hostile wilderness.

Shot on the sea-ice in 30° below farenheit temperatures, INUK features an all-Greenlandic cast, including: the incredible performances of teenagers who actually live in the Uummannaq Children’s Home and legendary, local hunters. INUK is both an authentic story of Greenland today and a universal story about the quest for identity, self-confidence, and rebirth after the deepest of wounds.

The film caps ten years of friendship and filmmaking collaboration, including two documentaries, between producer, Ann Andreasen, director Mike Magidson, a french resident, and the film’s co-writers, Ole Jorgen Hammeken and Jean-Michel Huctin. Principal photography took place on location in Greenland, using one of the biggest crews of Inuit Greenlanders ever and over 300 sled dogs. In order to produce the film’s magnificent score, Andreasen invited classical composer, Justin Michael La Vallee, to Greenland for two months where he collaborated with local composers, Karina Moller and Robert ‘’Hivshu’’ Peary as well as dozens of local indigenous singers. The result is what many Greenlanders now herald as the first ever Greenlandic classical film score.

After winning 20 awards in film festivals across the globe, INUK began its 3 week theatrical run in Greenland in early May. The film was an instant hit with locals, selling more tickets than Men In Black, The Avengers and Hunger Games while becoming the most successful Greenlandic film ever.

Neue Visionen Filmverleih is set to release INUK in Germany in early 2013 with subsequent releases in  Switzerland, Austria, and South Korea. Negotiations are now ongoing for theatrical release in other major territories including : Canada, Australia, and the United States. The film is represented in all countries by TriCoast Worldwide.

Greenlanders are extremly proud of their local filmmakers and have high hopes for INUK’s chances as Best Foreign Picture. Greenland’s Minister of Culture, Mimi Karlsen, said, “I am proud that a film made in Greenland has received so much attention in the big world. All good filmmaking begins with a great story that is both interesting and engaging for the audience. INUK is just such a story.”

Kid Cannabis

EXCLUSIVE: Kenny Wormald and Jonathan Daniel Brown have been set to star in Kid Cannabis, a fact-based indie about two guys who smuggle pot between the borders of Idaho and British Columbia.

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Wormald got his break playing Ren (the Kevin Bacon role) in theFootloose remake while Brown starred in Project X. Stockwell wrote the script for Kid Cannabis, based on a Rolling Stone article. Stockwell’sCode Name Geronimo, a drama about the hunt for Osama Bin Laden, sold in a big Cannes deal to The Weinstein Company. TWC plans to release in early fall, putting the film before the Kathryn Bigelow-directed Zero Dark Thirty, a drama on the same subject which Sony Pictures will release December 19. Wormald is repped by UTA and Caliber Media, Brown by CAA and Black Box Management and Stockwell by ICM Partners.