Director Chris Folkens and producer Nathan Brown recently completed a 2-minute PSA for the charity World Vision entitled “I Run.” nnThe piece explores the personal reasons people run and poses a question at the end, empowering people to become involved with World Vision through organized athletic events.nnThe project was originally conceived by Team World Vision national director Michael Chitwood in late 2007. Over three years later, the project received a boost when an animatic was produced, showing the strength of the idea and motivating Team World Vision to get the project into production.nnThe project was shot over a 4-day period in the Los Angeles area, including the rain-soaked LA Marathon in March. The team chose Los Angeles for its incredibly diverse geographic options including a beach in Malibu, the desert near Palmdale, Mount Baldy, Lake Arrowhead and Malibu Canyon. nnThe project was shot on a Red MX by Joe Farris of Visions of Light. Folkens chose to shoot on Panavision Anamorphic Lenses to capture the beautiful scenic shots that the storyboards called for. Folkens remarked, “The anamorphic format offered us the best combination of epic vistas, juxtaposed with the beautiful and painterly soft focus aesthetic which really draws you into the close-up. Because of the long-form nature of the spot, Nate and I agreed this needed to be a very cinematic piece in order to garner the audience attention and keep the piece engaging through to the emotional ending of the spot. The spot needed to motivate people to join this noble cause, and everything from the lensing, to the locations, to the music, needed to support that end goal.”nnThe project was edited by Josh Bodnar with Whitehouse LA. Original music was composed by composer David Buckley of Firefly Music. Buckley composed for films such as “The Town”, “The Forbidden Kingdom”, as well as additional music for “Gone Baby Gone” and the hit TV-show “The Good Wife.” Audio was handled by Stephen Wilke of Open Sky Sound and Music. Graphics and VFX by Brian Bullock of Re:Think Post, color by Tyler Roth at Filmworker’s Club and finishing by Brian Higgins at Sol Design.nnTeam World Vision empowers groups and individuals to dedicate their sports and fitness goals to helping World Vision‘s work in Africa. nnWorld Vision is a Christian relief and development organization dedicated to helping children and their communities worldwide reach their full potential by tackling the causes of poverty. For more than 50 years, World Vision has built strong relationships with more than one million donors, thousands of churches, and hundreds of businesses, foundations, organizations, and governments to work collaboratively to break the cycle of poverty. nnFolkens is a Chicago native and now lives in Los Angeles. He is a former producer at Leo Burnett Chicago and now works as a director/editor. Brown is a Chicago agency producer at Ruth, the creative marketing division of Edelman PR.nn
nThe final piece can be found online here. http://youtu.be/JRzY8oFX75In nTeam World Vision: www.teamworldvision.orgnWorld Vision: www.worldvision.orgnChris Folkens: www.mystic-films.comnNathan Brown: www.nathanpbrown.comn nCreditsnDirector: Chris FolkensnProducer: Nathan BrownnWritten by: Michael Chitwood and Nathan BrownnDirector of Photography: Joe Farris, Visions of LightnCamera Operator: Dave WightmannProduction Coordinator: Sam CarmichaelnProduction Assistant: Michael BarrynnEditor: Josh Bodnar, Whitehouse LAnOriginal Music: David Buckley, Firefly MusicnMusic Mastering: Scott JohnsonnAudio Recording, Sound Design and Mix: Stephen Wilke, Open Sky Sound and MusicnColor Grading: Tyler Roth, Filmworker’s Club ChicagonPost-Producer: Derek De Board, Filmworker’s Club ChicagonVFX: Brian Bullock, Re:Think PostnGraphics: Michelle Timpone, RE:Think PostnFinishing: Brian Higgins, Sol DesignNathan Brown Producer 773-368-9357 Contact Nathan via email
Contact:Chris Folkens Director 630-939-1156 Contact Chris via email
Pioneering The Visual Narrative: Bobola Oniwura’s Impact on Nollywood’s Cinematic Evolution
Nollywood is in the middle of a visual revolution, and at its core is Bobola Oniwura, the mastermind behind some of the industry’s most striking cinematic transformations. Oniwura is a pioneering colorist whose unique approach to film aesthetics has set new standards for how Nigerian stories are told on screen. From the gritty realism of King of Boys: The Return of the King to the vibrant energy of A Tribe Called Judah, Oniwura’s work has become synonymous with a new era of cinematic excellence, one where color grading is no longer an afterthought but a defining narrative tool. The film industry in Nigeria known as Nollywood has grown into one of the most prolific cinematic powerhouses in the world. Producing thousands of films annually, it ranks alongside Hollywood and Bollywood in terms of output. Once characterized by rapid, low-budget productions, Nollywood has undergone a remarkable transformation, embracing higher production values, diverse storytelling, and international recognition. The industry’s films now command global audiences, made possible by platforms like Netflix and Amazon Prime, and receiving acclaim at major festivals. This evolution has been fueled by creatives like Oniwura, who are redefining the post-production technical standards of Nigerian films. His impact extends beyond the color suite. Drawing on his background in Architecture and user experience research, Oniwura approaches color grading with an acute understanding of audience perception, crafting visual experiences that enhance storytelling, evoke emotion, and immerse viewers in the rich textures of Nigerian culture. His ability to merge technical precision with artistic intuition has positioned him as one of the most sought-after colorists in Nollywood... Read More