A couple of two-time Camp Kuleshov “Lev” winners have welcomed a newcomer to the fold, as the 2017 top winners in the International Camp Kuleshov competition have been announced. Taking The Lev Award in Editorial is assistant Alex Heisterkamp of Lucky Post in Dallas, who won for his reworking of the 1962 musical hit “The Music Man” as a foreboding dystopian drama.
Joining Heisterkamp in the winner’s circle are two assistants for whom winning has become familiar. Particle Audio’s Jordan Stalling won The Lev Award in Audio for the second year running with his jarring sound design treatment for the experimental 1929 silent film, “Man with a Movie Camera.”
And in Graphic Design, The Lev Award went again to jumP’s Thom Reimerink, who took the same film, “Man with a Movie Camera,” and converted it into a science fiction film, using a mix of design and effects techniques.
Both Stalling and Reimerink won The Lev Awards in their respective categories in the 2016 Camp Kuleshov competition.
CK is AICE’s annual contest in which assistants accept the challenge of creating compelling and persuasive film trailers and turn them into showcases for their problem-solving capabilities and their skill in the postproduction crafts. This year, CK contests in Editorial, Audio and Graphic Design were held in six AICE Chapters: Chicago, Detroit, Los Angeles, New York, Toronto and Texas. A new contest was also held, dubbed ‘@ Large,’ for those assistants working either at AICE member companies not based within a specific chapter or whose chapters have a low enrollment.
In addition to being presented with The Lev Award (named for Lev Kuleshov, the Russian film theorist and the patron saint of Camp Kuleshov), Heisterkamp, Reimerink and Stalling will also receive $1,000 gift cards courtesy of Camp Kuleshov sponsor Key Code Media, and their winning entries will be saluted at the 2018 AICE Awards, coming up in May of next year in Los Angeles.
The 2017 CK Lev Award jury reviewed all the winners in the Editorial, Audio and Graphic Design categories from the various chapter and ‘@Large’ competitions that took place in October. Serving on the jury this year were editors Tom Brassil of Cutters in Chicago, Keith James of Republic Editorial in Dallas, Chris Franklin of Big Sky in New York, Patrick Griffin of jumP in Los Angeles and Lauren Horn of School Editing in Toronto. Also taking part were VFX artist Frank Marra of Hudson Edit in Detroit and audio mixer Joaby Deal of One Union Recording in San Francisco.
Commenting on the judging process for the Lev winners, Horn says she enjoyed being involved in this next level of the competition, having already judged CK events in the Toronto chapter. “And being able to meet and judge alongside some amazing peers in the industry was a definite bonus.”
“In general my reaction to the different entries was just bring remarkably impressed,” Horn noted. “Each was incredibly strong, to the point that it made judging very difficult. In the end it was only a few small details that would elevate one over another. Alex’s entry in Editorial was a clear front runner for me, due to the incredible level of craftsmanship and polish it presented. Not only was his pacing engaging and on-point, the entire flow worked together seamlessly to deliver a strong storyline with interesting visuals. Had I not known any better, it would be hard to imagine this wasn’t an incredibly strong short film of its own.”
Horn’s take on the Audio and Graphic Design winners was equally as impressive. “Jordan’s entry blew me away, as well as the rest of the jury, too,” she offered. “While every entry in this category was really strong, Jordan created something remarkable. His entire piece was like a song of its own, with a rhythm and flow that swept you away as a viewer.”
Regarding the Graphic Design winner, Horn noted that “one of the most impressive things was that it was hard to tell what Thom had added and what was original. He did a really great job of integrating his work with the style and feel of the film itself. Overall, he shows great promise in compositing, and his piece was well put-together. He created what seemed like a really interesting excerpt of a creepy, post-apocalyptic sci-fi film, all from a movie that was quite the opposite.”
For a full rundown on CK winners across all chapters and the ‘@Large’ winners, check out the Camp Kuleshov Facebook page here. To view all the 2017 CK winners, click here.
Camp Kuleshov organizers again thanked the local and international supporters and volunteers who helped make the events possible. In addition to Key Code Media, this list includes Avid, which donated a Media Composer for the First Place winners in Editing and a ProTools system for the First Place winners in Audio.
As An Exec Producer and Actor, Sterling K. Brown Finds “Paradise”
As an executive producer and star of the new Hulu series "Paradise," Sterling K. Brown put the hours of TV he watches to good use and cast actors he admires.
"I got a chance to hire people that I am a fan of," said Brown in a recent interview. "I remember meeting Julianne Nicholson at the Emmys the year that she won for 'Mare of Easttown.' I was so geeked out that I got a chance to be in the same room with her ... Now I get to be on a show with her."
Brown is known for his role as Randall in the series "This Is Us," which ended in 2022. He was nominated for an Oscar for his supporting role in "American Fiction." In "Paradise," Brown is a Secret Service agent to James Marsden's president of the United States. A shocking murder is revealed shortly into the first episode which unspools a deeper mystery beyond just whodunit.
"When James became available, I was like, 'please.' I had just finished watching 'Jury Duty' and this dude is so funny." "Paradise," said Brown, is an opportunity for Marsden "to show something that a lot of people haven't had a chance to see him do."
Marsden says Brown is one of Hollywood's good guys.
"He's one of the most graceful, generous, good human beings that I've been fortunate to meet in this business. He's so humble and cares so much about not only his work, but the people around him. He wants everybody to be great. When I think of people I need to be more like, it's this man."
"Paradise" has themes of climate change, privilege and the pecking order of who in society gets saved during an emergency. There's a relevance to the series which Brown says is coincidental because Dan Fogelman — creator and writer of "This is Us" — conceived "Paradise" 10 years ago. It makes sense to him though why it... Read More