Stockholm-based facility handles production and post of Scandinavian crime drama on Pablo
Swedish independent production company Filmlance has completed the production and post on seasons one and two of BAFTA-nominated Scandinavian crime drama Bron/Broen (The Bridge). Filmlance carried out the conform, online, and color grading of the series on its Quantel Pablo color and finishing system. The two 10-part series have been sold to more than 170 countries with successful remakes including The Tunnel (France/UK) and The Bridge (USA/Mexico). Bron/Broen season three is currently in production and is due to air in September 2015.
Filmlance, located on Stockholm’s northern docks, was founded in 1988 and is now one of Sweden’s longest established production companies and has since produced more than 100 major motion pictures, children’s films, high-end television series, feature films, short films and music videos.
Colorist at Filmlance, Per Sjökvist, said, “We’ve had a Pablo in the group for about seven years and it’s still going strong. Pablo is a very powerful, flexible and stable system. If your task is to make the best of every single image in a 10 hour drama, Pablo is perfect. There are so many tools in Pablo that make it so intuitive; however its shape tool is my favorite feature. It’s so flexible, fast and useful in so many ways. You can easily separate different objects in the image and grade and process them separately.”
Bron/Broen is a Scandinavian crime drama television series, co-produced by Sveriges Television, Danmarks Radio, ZDF and production companies Nimbus Film and Filmlance International. The series begins with the discovery of the body of a murdered woman on the Oresund Bridge–right on the border between Sweden and Denmark. The top half of the body is from a Swedish politician and the bottom from a Danish prostitute, leading Danish and Swedish police into an investigation to find the murderer.
“It’s not so easy to describe the look of Bron/Broen–it’s better to watch the series!.Overall we try to do it low contrast and never crush the blacks or push the gains. The color is quite desaturated and usually we try to go cooler without losing the warmness in the skin tones. Having a postproduction department in house that can complete the DIT duties, editing, grading and VFX etc makes us rather unique and gives us an extra level of creative freedom,” Sjökvist concluded.
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More