Topping individual artists is Modern Post editor William Town with five, followed by Company 3 colorist Tom Poole, 750MPH audio mixers Sam and Jake Ashwell with four apiece
AICP has released the Shortlist for the 2019 AICP Post Awards, which will be presented on May 16 at Navy Pier in Chicago. The competition, formerly the AICE Awards, honors excellence in a range of postproduction crafts including editing, color grading, audio mixing, sound design, visual effects, CGI, animation and design. New this year to the competition is a category honoring achievement in the postproduction of Vertical Video.
A full list of Shortlist categories, artists, companies and entries is attached. To view all the Shortlist entries, click here.
Leading the list of artists with the most items on the Shortlist is editor William Town of Modern Post, with five total entries. This included work in the categories of Editorial: Fashion/Beauty (for Tiffany & Co.), Editorial: Monologue/Spoken Word (for G-Star) and Editorial: Music Video (for A$AP Rocky). In addition, Town and Modern Post editor Graham Patterson were co-nominated twice for their work in the Editorial: National Campaign category (for Levi’s and Maison Margiela).
Colorist Tom Poole, a previous winner in this competition, scored four total Shortlist entries, being nominated twice in the category of Color Grading: Lengths :90 & Above (for National Lottery and Hennessy), in the category of Color Grading: Music Video (for The Carters) and in Best of East (again for National Lottery).
Also scoring four Shortlist nominations are audio mixers Sam and Jake Ashwell of 750 MPH, who were nominated twice in the category of Audio Mix (for Nike and Three Mobile) and twice in Sound Design with Composed Music (again for Nike and Three Mobile).
A number of artists were represented with three items on the Shortlist, among them editor Biff Butler of Rock Paper Scissors, editor Graham Chisholm of Arcade Edit, editor Chris Franklin of BIG SKY EDIT, colorist Billy Gabor of Company 3, colorist Mark Gethin of MPC, editor Paul Martinez of Arcade Edit, editor Stacy Peterson of Cut+Run and editor Peter Wiedensmith of Joint Editorial.
On a company level, Company 3 dominated the list, with its artists racking up a total of 15 items on the Shortlist, at times being nominated more than once within the same category. In the category of Color Grading: Music Video, for example, four of the category’s Shortlist nominations are from Company 3, with work from colorists Poole, Kath Raisch, Stefan Sonnenfeld and Bryan Smaller. Company 3 also has Shortlist entries in the Color Grading categories of Lengths :30 to :60, Lengths :60 to :90 and Lengths :90 & Above, as well as Best of East and Best of Southeast.
Cut+Run’s editors scored a total of 11 Shortlist entries in nine categories, including the Editorial categories for Automotive, Cause Marketing, Comedy, Docu-Style, Fashion / Beauty, Montage and Storytelling; in New Media: Vertical; and in Best of East. Arcade Edit’s editors placed a total of nine Shortlist entries in seven categories, including the Editorial categories for Comedy, Dialogue, Docu-Style, Montage and Music Video, as well as in Best of West.
Artists at the visual effects studio MPC were represented with eight items on the Shortlist, being nominated in all four Color Grading categories as well as CGI and Compositing & Visual Effects, while Rock Paper Scissors’ editors earned six Shortlist nominations in the Editorial categories for Automotive, Montage, Music Video, Storytelling and Monologue / Spoken Word (the latter shared with Joint Editorial).
Companies whose artists’ work resulted in five Shortlist mentions were Cutters, Exile, The Mill and the tandem of PSYOP and Sun Creative Studios. Posting four Shortlist entries for its artists’ and editors’ work were BIG SKY EDIT, Blacksmith, Electric Theatre Collective, Final Cut, Joint Editorial and 750 MPH.
On the advertising agency front, Wieden+Kennedy had 17 mentions on the Shortlist; Droga5 had nine mentions, while adam&eveDDB and BBDO each had six.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More