By Theresa Piti
SHORT CUTS
Jay Tilin of The Anx, New York, manned a Quantel Henry to perform the online finishing for a pair of :30s for Quizno’s and agency Cliff Freeman and Partners, New York. "Focus/Generic" and "Focus/Chicken Carbonara" both feature Chef Jimmy, who is so preoccupied with his work at Quizno’s that he has little time to think about anything else-including wearing pants. The spots began airing during the most recent Super Bowl. Tilin used the Henry to conform the creative edit by Owen Plotkin of The Now Corporation, New York. Tilin performed additional color correction, added lens flares to Chef Jimmy’s car and crafted signs for the kitchen from Quizno’s logos, compositing and integrating them into the live action footage directed by Jeff Gorman of Hollywood-based JGF. Joey Borges was assistant editor for The Anx.
Hollywood-based yU + co created the opening title sequence for NBC’s recently-aired drama series, Kingpin. Credits go to designer/creative director Garson Yu, executive producer Jennifer Fong, designer Synderela Peng, animator Wayland Vida, Inferno artist Todd Mesher and editors Emmy Leung and Philip Shtoll.
Belief, a broadcast and design studio in Santa Monica, completed a graphics package promoting the Oxygen Movie programming block on the new cable network. Belief’s creative team used Adobe Photoshop, After Effects and Illustrator, as well as Maxon Cinema 4D, Maya, Media 100 and Apple G4 workstations to complete the project. For Belief, Mike Goedecke was executive creative director, Gregory Stacy was executive producer, and Jake Portman was designer/animator.
MUSIC NOTES
New York-headquartered audioEngine provided sound post on a package of Chrysler ads featuring singer Celine Dion. Directed by Peter Arnell of Sweet Pea Productions, New York, and created by The Arnell Group, New York, and BBDO Detroit, Southfield, Mich., the black-and-white ads show Dion in a variety of Chrysler cars, including the Pacifica, Crossfire, Town & Country and Sebring Convertible. AudioEngine’s Bob Giammarco was the mixer, with Hillary Kew assisting.
Deep Diner Music, New York, created a musical underscore for RadioShack’s "Get Along Little Doggie," a :30 via Fort Worth, Texas agency Circle R Group. The spot featured actress/singer Vanessa Williams and actor Ving Rhames, and promotes RCA’s digital satellite system. Deep Diner’s Bob Mann and Allan Schwartzberg composed the score and completed the assignment with Digidesign’s Pro Tools.
ABC Sports recently enlisted Dallas-based cuppa joe music to help provide sound design and final audio mix for the network’s promotional openings used during the airing of State Farm’s Men & Women’s U.S. Figure Skating Final Championships on ABC. The sound design and mix were completed by Joe Macre on one of cuppa joe’s Solid State Logic Axiom Consoles and Fairlight Audio Editors.
IN GEAR
Madrid-based post facility Video Mercury has installed a da Vinci 2K Plus color correction system for film-to-tape transfers and DVD mastering. The acquisition, secured via systems integrator Cintel srl/Italy, upgrades Video Mercury and allows the company to offer SD and HD color-grading as well as enhanced color isolation and manipulation. Da Vinci Systems, an Acterna Corporation company, provides SDTV, HDTV, data and digital film color enhancement technology and film restoration products to the worldwide postproduction marketplace. The company is headquartered in Coral Springs, Fla., and has offices in Los Angeles, New York, London, Paris, Germany and Singapore.
Betelgeuse Productions, a New York production/post/visual effects facility, added five Symphony nonlinear edit rooms to its headquarters.
Camera Service Center (CSC), an equipment rental company based in New York, has expanded to the Fort Lauderdale, Fla., area. The company will use the new facility–headed by GM Ed Stamm–as the base for its Southeast operations. CSC provides high-end cameras, lenses, support gear and services to the production community.
Carrie Coon Relishes Being Part Of An Ensemble–From “The Gilded Age” To “His Three Daughters”
It can be hard to catch Carrie Coon on her own.
She is far more likely to be found in the thick of an ensemble. That could be on TV, in "The Gilded Age," for which she was just Emmy nominated, or in the upcoming season of "The White Lotus," which she recently shot in Thailand. Or it could be in films, most relevantly, Azazel Jacobs' new drama, "His Three Daughters," in which Coon stars alongside Natasha Lyonne and Elizabeth Olsen as sisters caring for their dying father.
But on a recent, bright late-summer morning, Coon is sitting on a bench in the bucolic northeast Westchester town of Pound Ridge. A few years back, she and her husband, the playwright Tracy Letts, moved near here with their two young children, drawn by the long rows of stone walls and a particularly good BLT from a nearby cafe that Letts, after biting into, declared must be within 15 miles of where they lived.
In a few days, they would both fly to Los Angeles for the Emmys (Letts was nominated for his performance in "Winning Time" ). But Coon, 43, was then largely enmeshed in the day-to-day life of raising a family, along with their nightly movie viewings, which Letts pulls from his extensive DVD collection. The previous night's choice: "Once Around," with Holly Hunter and Richard Dreyfus.
Coon met Letts during her breakthrough performance in "Who's Afraid of Virginia Wolfe?" on Broadway in 2012. She played the heavy-drinking housewife Honey. It was the first role that Coon read and knew, viscerally, she had to play. Immediately after saying this, Coon sighs.
"It sounds like something some diva would say in a movie from the '50s," Coon says. "I just walked around in my apartment in my slip and I had pearls and a little brandy. I made a grocery list and I just did... Read More