For Arcade Fire’s new album release the Montreal band commissioned "Afterlife," a film directed by Emily Kai Bock and produced by The Creators Project (a partnership between Intel and VICE). The film is a captivating seven-minute plus journey through nightmares, lost lovers, and familial bonds and has been touted by Huffington Post as more captivating than many of this year’s feature films. The dreamy, moody and captivating film was shot on 65mm and 35mm by DP Evan Prosofsky and Cinelicious proudly contributed to this unique cinematic force by providing film scanning, color services and 4k mastering.
View it on Vimeo here: https://vimeo.com/79836732
According to DP Evan Prosofsky, “Emily and I wanted to make something that emphasized the narrative aspects of the music video by making the film look as cinematic as possible. For me, that meant shooting mainly on 35mm film motion picture film, and utilizing 65mm for certain moments. My hope was that giving the viewer the highest resolution imagery possible would ground the film in reality and avoid the cliche of grainy, sepia-toned dream imagery.”
“A huge part of us achieving that high quality,” he continues, “was working with Paul and his amazing team at Cinelicious. They have some of the highest quality film scanners in the world, and being able to scan our film in real time and color grade as we went was incredibly helpful for meeting our deadline, and a really fun way to work. I've always been inspired by people who haven't given up on film, and I sensed a genuine love of the medium and a dedication to high quality at Cinelicious.”
Paul Korver, Cinelicious founder and film fanatic adds, "Evan and Emily came to us and wanted to shoot a video on 35mm and 65mm. We love working with creatives that are just going for 'good enough' but are dedicated reaching for the stars with their images and there's no digital camera in the world that can touch a high resolution scan of 65mm viewed on a 4K display. It's really rare to see 65mm used in anything but huge budget features, so it was refreshing to try to make large format film work for a creative, short-form project."
The 35mm was scanned HDR on our Scanity and we supervised the 65mm selects scanning process with Andrew Oran at Fotokem, with final color by award winning colorist Robert Curreri in our 4K theater." A 4K master is yet-to-be released but Cinelicious has one available for 4K/UltraHD Television distribution.
For more on Cinelicious please visit www.cinelicious.tv
ScreenWork Credits
CAST
Father: Pablo Soriano
Oldest Son: Justice Lucero
Youngest Son: Cristian Guillen
Mother: Carolina De Athey
Laundry Worker: Jill Lachman
CREW
Writer/ Director – Emily Kai Bock
Production Company – ICONOCLAST
Executive Producers – Kathleen Heffernan
Director of Photography – Evan Prosofsky
Producer – Anne Johnson
Production Supervisor – Danielle Oexmann
Editor – Leo Scott, Emily Kai Bock
1st AD – Brandeaux Tourville
2nd AD – Trina Peterson
Steadicam – Ari Robbins
1st AC – Davie Carothers, Richard Garcia (Pick Up Day)
2nd AC – Andrew Porras
Production Coordinators – Kylie Ferguson, Brett Rohrbaugh
Production Assistants – Brady Heiser, Bret Rea,
Nathan Zasada, Tyler Miesch, Travis Cultreri, Andre Silverburg, Marcus Huerta
Production Designer – Hannah Hurney
Gaffer – Daniel McNutt
Best Boy Electric – Brice Bradley
Key Grips – Lev Abrahamian, Stuart Lock
BB Grip/Driver – Efrem Melik-Karamov
Makeup – Haley O’Neil (Day 1), Grace Pae (Day 2)
Stylist – Olivia Segerstrom, Jamie Catino
Sound – Luis Molguard
Location Scout – Jason Wisch
Studio Teacher – Jeff Raines
Principle Casting – Beth Holmes Casting Inc, Shane Casting
Background Casting – Mandi Gosling
Film Scanning & Final Color by CINELICIOUS
Final Color Grading – Robert Curreri
Telecine Assist – Tyler Fagerstrom
Large Format Supervision – Paul Korver
Special Thanks – Justin Benoliel at Ramble West
Jessie Nagel
Hype
310.839.9834
Contact Jessie via email
www.hypeworld.com
Simian Gets An Evolutionary Boost For Collaboration, Reveals “Teams”
Simian, the showreel-building, review & approval, and production asset management platform used globally by creative leaders, is kicking off this fall season with a substantial leap forward for collaboration and project management – with more updates on the way during the holidays!
The new feature, aptly dubbed “Teams”, makes it easier than ever for users to give project responsibilities to team members and clients alike. “You can never have too many options when it comes to permission levels,” says Jay Brooks, Simian’s Chief Technology Officer. “Teams provides a streamlined way to assign multiple users to a project at once.”
“Teams are very powerful, but creating one is effortless,” Brian Atton, Simian’s Chief Operating Officer explains. “Simply enter a Team name, add members, and then apply the newly made Team to any desired project. You can even invite temporary guests without changing settings for other projects or needing to create a new Team.”
“We love helping our clients by providing efficient tools to improve their workflow, and this has been a frequently requested feature as of late,” shares Kellie Atton, Head of Sales at Simian. “It feels great to get Teams out into the wild because I know it’s going to be tremendously helpful to everyone who uses it”.
Teams is now available exclusively to Simian’s enterprise clients. Simian plans to release more product upgrades and enhancements during Q4 2024 and 2025 for enterprise and non-enterprise users, continuing its ongoing evolution as the industry’s leading production asset management solution.
For more information on Simian upgrades and features, visit https://www.gosimian.com/
About Simian
Simian (