Cinematographer Jaron Presant has joined Innovative Artists for representation in commercials, television, and features. Presant has worked on such films as Looper and Brothers Bloom, and recently completed 2013 Sundance film Don Jon’s Addiction, directed by Joseph Gordon-Levitt. Presant also shoots commercials for such clients as American Express, Nissan, and McDonald’s and music videos spanning artists who include Justin Bieber and Carrie Underwood…Additionally, cinematographer Mark Dektor is now with Innovative Artists for representation in commercials, theatrical features, and television. He has worked on a variety of commercial campaigns including American Express, American Apparel, Dove, and Disney…And cinematographer Yon Thomas has returned to the U.S. after completing principal photography on an international television series and is now available for commercials and music videos via Innovative Artists. Presant, Dektor and Thomas are all handled by Innovative Artists’ Robbyn Foxx….Cinematographer Anthony Wolberg has completed principal photography on ABC’s Zero Hour and is again available for commercials and feature films through The Skouras Agency, Santa Monica….MediaSilo, a provider of cloud-based media workflow and collaboration solutions, has named Matt Thomas as the company’s head of sales. In this newly created position, Thomas is responsible for building and managing the MediaSilo sales team, as well as for account management for the western U.S. Thomas most recently served as corporate account manager at Signiant, where he was pivotal in expanding the company’s footprint in the western U.S. and in managing relationships with many leading media brands…..
Craig Henighan Sounds Off On “Deadpool & Wolverine”
Hollywood lore has it that character actor Edmund Gwenn--while on his deathbed--quipped, “Dying is easy, comedy is hard.”
The second part of that darkly witty utterance remains all too true today as Craig Henighan--a Best Achievement in Sound Mixing Oscar nominee in 2019 for Roma--can attest in that he had to grapple with the sonic of being comic for this year’s box office hit, Deadpool & Wolverine (20th Century Studios/Marvel Studios).
The degree of inherent difficulty was ramped up even further because Deadpool & Wolverine had to seamlessly bring together high action-adventure exploits with moments and dialogue that tickled the funny bone. There’s a mesh of humorous banter--a staple of the franchise--along with major spectacle replete with explosions, fights, an impactful score and off-the-wall musical numbers.
Henighan explained that among the prime challenges for him from a sound perspective was having to make sure every joke landed within the construct of a superhero film. The tendency for a tentpole movie of this variety, he noted, is to gravitate towards big, loud audio spanning music, dialogue and sound effects. But the unique comedic element of Deadpool & Wolverine necessitated that re-recording mixer and supervising sound editor Henighan strike a delicate balance. “You need to get out of the way for the comedy,” he related. The jokes in a superhero film become “a real dance” as Henighan had to establish a rhythm that did justice to both the comedy and the action as the narrative moves back and forth between them--and sometimes the funny and the high energy, high decibel superhero dynamic unfold simultaneously in a scene or sequence. The “sonic fabric” has to... Read More