Two experts from the International Cinematographers Guild (ICG, IATSE Local 600) will be on hand at the Academy of Motion Picture Arts and Sciences NAB Show booth (C9132) on Tuesday morning, April 14, at 9:30 a.m., as education partners with the Academy’s ACES program (the Academy Color Encoding System). DP Theo Van de Sande, ASC, and digital imaging technician and DI colorist Bobby Maruvada will be explaining how the system works.
Van de Sande was recently nominated for a ASC Award for Outstanding Achievement in Cinematography for John Amiel’s Deliverance Creek, which was produced entirely with an ACES workflow. After working on more than 25 features in his native Holland, he moved to Los Angeles and has worked on more than 30 features since then.
Maruvada has spent the last three decades bridging the worlds of production and post-production. After many years as an underwater photographer, he began work as a telecine colorist on feature films and soon expanded his palette to include DI work. He has worked with DPs Peter Schusitsky, Seamus McGarvey and Vilmos Zsigmond.
The ICG will also be conducting a tour of selected NAB Show booths on Monday, April 13 at 2:45 p.m., under the guidance of camera technologist Andy Romanoff in concert with Stephen Lighthill, ASC. The theme of the tour is “Innovations in Acquisition.”
As part of NAB Show’s Keynote Creative Master Series, Tom Stern, ASC, AFC, the cinematographer of Oscar®-winning film American Sniper, will discuss “Heroes, Legends and American Sniper” with moderator David Geffner, Executive Editor of ICG Magazine in South Hall, Room 220 on April 14 from 1:45 p.m. to 2:45 p.m.
ICG’s cocktail reception, co-hosted by Band Pro, will be held between their adjacent booths (C10306 and C10408) on April 13, starting at 5 p.m.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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