Co-director Glenn Holsten chose DIVE for DI, Visual Effects, Sound Mix and Editorial Hosting to complete “OC87,” which premiered at the Philadelphia Film Festival, opened in New York City on May 25, and opens in Los Angeles on June 8.nnOC87: The Obsessive Compulsive, Major Depression, Bipolar, Asperger’s Movie is a critically-acclaimed documentary about Bud Clayman and his struggle with “harm OCD,” which is marked by intense anger and violent feelings toward others. The title of the film refers to the year in which Clayman was at his worst: almost completely paralyzed by depression and at the height of his disorder, he withdrew from society. The documentary captures Clayman’s attempts to explain the disorders he deals with every day, and how he learns to manage them in order to improve his life.nnOC87‘s Holsten wanted a team who could guide the filmmakers through the technical process of editing a film shot on multiple formats while still putting Clayman at ease. Enter DIVE. The directors set up editorial within DIVE and had firsthand access to its technical staff, bringing them in for creative consultation especially where VFX work was concerned. nn”We wanted the film to be real but artfully portrayed with the polish that only DIVE could give us,” says Holsten. nnDIVE’s main focus was on effects for a sequence based on an old “Lost in Space” episode. The scene, composed of 21 shots, features Clayman as a character from the vintage TV series who is tortured by his evil counterpart. The collaboration between Clayman, Holsten and the team at DIVE resulted in a perfectly matched example of the genre. nn”Kevin created the world,” says Holsten. “And DIVE’s input was crucial: [DIVE VFX Supervisor] Mark Forker looked at our storyboard and guided us. His experience with visual effects led us to do as much in-camera work as possibleโlike using a real dirt floor for the Lost In Space sceneโ giving us the look we wanted while heading off any potential editing difficulties.”nnDIVE 3D Artist Kevin Fanning designed the look of the foreign planet, and Ed Mendez managed the team of artists to complete the sequence with the look and feel of the era. nn”‘Lost in Space’ had that campy 1960s theatrical look and the practical set pieces replicated that vibe,” says Fanning. “We shot in studio on greenscreen with a 15-foot section of dirt and a paper rock, so we needed to blend the practical with the digital in an over-the-top look.” nnUsing Lightwave 3D, Fanning created the rock terrain to fit with the set and match the practical rock, blending it all with 3D work. The wide shot was complicated because DIVE needed to combine the practical environment with a digital environment that included matching practical lightning flashes in a flickering pattern throughout the digital scene. DIVE also generated the sky backgrounds behind Clayman including stars and nebulous space bodies.nn”Glenn and Buddy really did their homework on the look they wanted, so it was a great scene to work on,” says Fanning. “They were so clear with their idea that executing a look similar to ‘Lost In Space’ was straightforward and fun.”nnClayman was an aspiring filmmaker in his teens and early twenties, studying film production at Temple University when his symptoms came to the fore. The film is a labor of love for him and his team, taking four years to complete.nn”The team at DIVE provided a strong guiding hand and was so unfailingly positive that it gave our project a family feel and provided a safe environment for Buddy,” says Holsten. “[DIVE Executive Producer] Andy Williams was extraordinary. He not only anticipated our needs throughout but also assembled a team that approached our subject with sensitivity.”nn”OC87: The Obsessive Compulsive, Major Depression, Bipolar, Asperger’s Movie” opens in Los Angeles on Friday, June 8.nn
nView “OC87” Trailer online here.nnCREDITSnTITLE: OC87: The Obsessive Compulsive, Major Depression, Bipolar, Asperger’s MovienDIRECTORS Bud Clayman, Glenn Holsten, Scott Johnston; DIRECTOR OF PHOTOGRAPHY Daniel Traub; EXECUTIVE PRODUCER Bud Clayman; CO-PRODUCER Chayne Gregg Cohen; LINE PRODUCER Missy Moyer; EDITOR Kathleen Soulliere; ORIGINAL MUSIC Michael Aharon; TITLE DESIGN/GRAPHIC SEQUENCES Flux, Jon and Prilla RohrernnVISUAL EFFECTS DIVEnSUPERVISING PRODUCER Andy Williams; PRODUCER John-Michael Trojan; SOUND MIXER Bob Schachner; DIGITAL IMAGING CONSULTANT M.O. Forker; COMPOSITING SUPERVISOR Ed Mendez; MATTE PAINTER Kevin FanningnnEQUIPMENTndaVinci 2k Plus, Final Cut Pro HD, Sony HDW-F500, Pro Tools HD 8, Lightwave 3D, Adobe After Effects, Nuke, SmokennAbout DIVE nBased in Philadelphia, PA, DIVE (www.divevisual.com), is the visual effects, DI and film finishing division of ShootersINC (www.shootersinc.com), led by veteran Visual Effects Supervisor Mark O. Forker. As one of the east coast’s premier postproduction facilities for film finishing services, DIVE offers filmmakers the opportunity to complete Visual Effects, Digital Intermediates and Titles by coupling creative continuity with an integrated workflow. For more information, contact DIVE VP Business Development Bob Lowery via email./a> or Executive Producer Andy Williams at 267.514.7700 or via email.Bob Lowery, VP Business Development DIVE 267.514.7700 Contact Bob via email./a>
Contact:Andy Williams, Executive Producer DIVE 267.514.7700 Contact Andy via email./a>
Quirky New Campaign For The 2025 AMP Awards For Music & Sound From TiNY Promotes Call For Entries
A new creative campaign supporting entries for the 2025 AMP Awards for Music & Sound, created by TiNY, the boutique creative agency known for bold ideas and sharp execution, has launched, and itโs turning up everyoneโs ears. Thatโs because the campaignโs quirky social videos feature talking ears (among other body parts), hilariously highlighting the often overlooked role that sound and music play in media storytelling. The first round of creative includes the spots โDemo Loveโ and โSexy Ear.โ (Watch Below) The first round of creative dropped recently on social media, with additional spots set to roll out over the next few months, all leading up to the AMP Awards ceremony scheduled for May 21, 2025, at Sony Hall in New York City. Sponsored by the Association of Music Producers, the deadline for submitting entries to the AMP Awards is March 7, 2025. AMP members entering before the early bird deadline of January 31, 2025, will qualify for a 30 percent discount on all entries. For full details on entry fees, category descriptions, and rules, visit the AMP Awards entry portal here. Despite the obstacle of having virtually no budget, TiNY delivered a laugh-out-loud campaign for the ad industryโs only non-profit, juried competition for music and sound that captures attention thanks to its clever humor and creativity -- one that bills itself, tongue in cheek, as โthe loudest show in the industry.โ "The AMP Awards have always celebrated creativity in its... Read More