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basicshadowhuntersstuff · 6 years

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This week in Shadowhunters news, updates, sneak peeks, and behind the scenes. All the stuff you need to stay up to date.

Official Promotion

ShadowhuntersTV shared a video of Alberto (Simon) discussing Freeform’s Summer of Service.

ShadowhuntersTV tweeted: Maia behind the scenes of #ShadowhuntersSeason3.

ShadowhuntersTV tweeted: Bullseye, Magnus. #Shadowhunters

Freeform shared a video of Kat (Clary) discussing Freeform’s Summer of Service.

Freeform (article): 25 Reasons to Love Alec Lightwood Even More Than You Already Do

Freeform (video): OTF 3024 – What’s A Fashion Trend That You Love? | Freeform

ShadowhuntersTV tweeted: Luke's always looking out. #Shadowhunters

Shadowhunters In The News

HollyWire (interview): Hollywire interviews Kat (Clary) on the Teen Choice Awards pink carpet.

E!News (poll): Kat (Clary) was nominated as TV’s Top Leading Lady 2018

Just Jared Jr. (article): Katherine McNamara Debuts Gorgeous New Blonde Hair on Social Media

Digital Spy (article): Shadowhunters season 3b: Release date, episodes, spoilers and everything you need to know

Matt Carter (article): Shadowhunters season 3 progress report: The editing process

Tell-Tale TV (poll): Harry (Magnus) and Matt (Alec) are competing in Tell-Tale TV’s Battle of the Ships.

SpoilerTV (article): Shadowhunters - Episode 3.21 - 3.22 - Titles Revealed

HollyWire (interview): Shadowhunters Luke Baines Talks Season 3!

Fr Conventions (interview): [What About Conventions?] : Will Tudor

Fr Conventions (interview): [True or False] : Katherine McNamara

Twitter & Social Media Stuff

Brian Hui (makeup artist) tweeted some behind-the-scenes photos:

David Castro (Raphael) earlier in the season. [1]

Kimberly-Sue Murray (Seelie Queen #3) in all her Seelie Queen glory.

Todd Slavkin (showrunner) directing Kat (Clary) and Emeraude (Izzy).

Todd Slavkin (showrunner) tweeted: Having such a special time editing 321 & 322 aka a true love letter to the fans. If you enjoy watching it half as much as I've enjoyed making it, all is good #tearsofjoy #tearsofsadness #specialtimesintheshadowworld #shadowhunters

Bryan Q. Miller (writer) tweeted a list of “hints” about each episode of 3B.

Matt Hastings (director) shared some behind-the-scenes photos:

Working with this uncommonly talented fella was one of the highlights of 3B. Can’t wait for you to see what’s behind the shades. ⁦@LukeBaines⁩ #Shadowhunters

We’re starting an indie band. Wanna join? ⁦@Kat_McNamara⁩ ⁦@LukeBaines⁩ #Shadowhunters

Through the looking glass with ⁦@Kat_McNamara⁩. #ShadowhuntersSeason3

Always reaching for the best quality on #shadowhunters. Couldn’t have done it without these amazing humans. #PierreHenry & #DPRogerChingirian

These guys. Filmmakers to the core. Brothers forever. #chrishatcher #pierrehenry #ShadowhuntersSeason3

A quiet moment of reflection with this wildly talented and deeply decent fella. ⁦@HarryShumJr⁩ #MagnusBane #ShadowhuntersSeason3 #redballoon [2]

And this fella. The incomparable unstoppable Production Designer #DougMcCullough and his team made all of our dreams a reality. Actually, they made them better than we imagined. Committed professionals all. #Shadowhunters #Season3

Group shot! ⁦@HarryShumJr⁩ ⁦⁦@DomSherwood1⁩ ⁦@WainwrightAE⁩ ⁦@EmeraudeToubia⁩ ⁦@NoahDanby⁩ ⁦@Kat_McNamara⁩ ⁦@arosende⁩ ⁦@isaiahmustafa⁩ ⁦@MatthewDaddario⁩ ⁦@aleyordolis⁩ #Shadowhunters #bts #huntersmoon

Oz Comic-Con announced that Matt (Alec) is joining Dom (Jace) in Brisbane and Sydney.

Kat (Clary) wishes Clary a happy birthday and shares a behind-the-scenes picture.

Matt (Alec) shared baby photos and landscapes:

'sup.

The usual. Check out this newt.

Similar! Sunset yesterday.

In the mountains, duh.

Kat (Clary) shared her own baby photo: DIY mermaid... #fbf

Kimberly-Sue Murray shared photos of herself as the Seelie Queen on Instagram and complimented the costume department and makeup/hair/prosthetics department.

MCM Comic Con shared a video of Kat (Clary) and her excitement to attend MCM London Comic Con.

Todd Slavkin (showrunner) shared some pictures from 3B:

I know you’re starved for content. This is my mini-micro trailer for 3b #feedthefandom #theleasticando #shadowhunters

3b micro trailer continues #relax #playnice #everyonewillgettheirturn #shadowhunters [3]

Another piece of 3b #girls #shadowhunters [4]

Jack Yang (Asmodeus) shared a photo on Instagram: Clowning around on the last day of shooting. @harryshumjr was a wonder and joy to work with. You sir are a gift to the world 🌎 Thank you for letting me play in your sandbox. #TeamEdom

Nicola Correia-Damude (Maryse Lightwood) shared some fitspiration on Instagram.

John Rakich (Locations Manager) tweeted: I'm so proud to be a part of something that's meant so much to so many. Not just as something entertaining but something that grew to inspire such passion, dedication and positivity. #bestfansever #shadowfam #Shadowhunters #saveshadowhunters

Nuno De Salles (Cast Trainer) shared a throwback photo of Matt (Alec) during leg day.

Lisa Berry (Cleophas) tweeted: So much love to yah @toddzer1 you’ve made a kick ass show. You have us waiting with bated breathe. #Shadowhunters

Luke Baines (Jonathan Morgenstern) tweeted: Just saw scenes from 3021 and 3022... when @toddzer1 says it’s a love letter to the fans, he means it. It’s everything you could want and more. #ImNotCryingYouAre

Steve Byers (Underhill) tweeted: #Shadowhunters has illustrated for me how Fandoms have a very real influence on shows creatively. Ultimately economics will usurp wishes and fanfics but a passionate audience is a very beautiful thing.

Javier Munoz (Lorenzo Rey) shared a cast photo on Instagram: Hi friends. I miss you. A whole lot. @shadowhunterstv

Harry (Magnus) shared photos of an action figure given to him by a Korean Shadowhunters fan on Instagram

#SaveShadowhunters (continued)

On June 4th, it was announced that Freeform wouldn’t be continuing on with a fourth season of Shadowhunters. Here are a few major highlights. (Our full roundup for #SaveShadowhunters can be found here.)

Twitter & Social Media Stuff

VIP Outdoor Media shares an outstanding video created with footage of Jack Yang (Asmodeus) at San Diego Comic Con with the Save Shadowhunters pedicab and bike billboard.

Carl’s Jr. (Fast Food Chain) gets sassy about #SaveShadowhunters

Articles

Film Daily (article): Everything we want to see happen in ‘Shadowhunters’ S3B (and a possible S4)

ShumDario News (article): #SaveShadowhunters: the shows’ impact, and why we’re raising hell

Twitter (moment): The #SaveShadowhunters hashtag was featured in Twitter’s #HashtagDay moment.

Other News

Hollywood Reporter (article): 'Crazy Rich Asians' Sequel Moves Forward With Director Jon M. Chu (Exclusive) Harry (Magnus) will have a prominent role as Charlie Wu in the sequel.

PopSugar (article): Harry Shum Jr. Is Cool and All, but Just Wait Until You Meet His Wife, Shelby Rabara

#shadowhunters #bss news roundup

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falkenscreen · 3 years

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Film Festival Contradictions & COVID-Responses

There’s a strange contradiction to Film Festivals endemic to their very existence.

Intended to enliven a sense of community and appreciation of a form on as large a canvas as possible more so than any traditional cinema screening, they are also a celebration of a medium very suited and highly adaptable to home-centric, individualised experience and COVID-circumstance.

A boon of Festivals both in attendance and their own numeracy predictably followed the wider availability of streaming services and stratification of cinema offerings between mega-budget and indie fare. Film fans typically wanted a curated experience of competent, experimental small to mid-budget fare and Festivals remain the place to get them, as well as a space more open to audible applause and sharing thoughts before, after and better yet between screenings.

At the same time, cinema remains a form not best appreciated but highly accessible outside an orpheum, making it better suited than other cultural touchstones, ala White Night, Vivid, to enjoyment amidst a pandemic.

Some Festivals have chosen to go online, pursue hybrid models or otherwise postpone. Static Vision and the Taiwan Film Festival in light of their particular audiences and more experimental filmic fare, itself in cases a commentary on digital consumption, made the early decision to go online following the recent case rise across Australia, as the Festivals managed in 2020.

On the other side of the equation Cinema Reborn, dedicated to showcasing minute restorations of cinema classics on some of Sydney’s largest screens, were the first Festival to postpone for a full 12 months in 2020. Australia’s Silent Film Festival has similarly postponed recent events and repeatedly so until October when screenings can intendedly take place in the State Library. The St Kilda Film Festival, in addition to postponements of weeks past, have put off this Saturday’s regional Camperdown event and the Antenna Documentary Film Festival have delayed the impending October program until February.

In any assessment of whether to postpone, go online or pursue a mixed approach every current Festival has to balance two factors; to what extent is a cinema experience intrinsic to appreciation of the work(s) and does the existing sense of community once engendered and further anticipated by patrons necessitate either or both of an indeterminate (and at this stage it is indeterminate) future in-person event or more immediate digital offering?

These decisions aren’t just about maintaining artistic lifeblood but given these considerations’ impacts on both maximising and sustaining audience engagement they are also fairly of a related and necessarily commercial nature.

The Sydney Underground Film Festival, focused in part on commentary on digital forms, yesterday announced that the planned September 10-12 run will head online from September 9-26 with the third annual Take48 filmmaking weekend and competition to run entirely online. It will join the Irish Film Festival, likewise in its second annual digital-only run, which screens from September 1-12.

On Wednesday the Made in the West Film Festival ran an online networking event for filmmakers in Sydney’s west ahead of an in-person December 10-12 Festival. Hours before, the Adelaide Film Festival Youth (previously the Adelaide International Youth Film Festival), having postponed their in-person July 25-30 program announced that the Festival will run online and in-person from August 25 – September 8 and then September 15-16 respectively.

Cancelling an in-person pre-event scheduled for this Sunday past, Brisbane’s West End Film Festival, intended to run in-person from Wednesday through today, has instead pivoted to online for the first time and only a day later than its anticipated start; offering films online until now August 31.

Queensland’s Capricorn Film Festival, having postponed multiple physical events in the two years past while running a one-off online event in 2020, will champion a three-day virtual Festival commencing next Friday. The day prior the Indian Film Festival of Melbourne will commence a planned in-person run from August 12-21, overlapping with a virtual, Australia-wide Festival online from August 15-30.

The Melbourne Documentary Film Festival, previously postponing the planned Jul 21-31 in-person run set to tie in with a streaming program running the length of July, will now present a physical event from September 7-17.

More prominent still, the Melbourne International Film Festival, originally scheduled to commence an in-person run this week to be followed by and overlap with a streaming program, has pivoted to jump-start a nation-wide streaming schedule commencing 9AM today through August 22 following the digital premiere of Coda yesterday evening. An intended in-person run initially set to take place from August 13-22 will be subject to a flagged pending announcement from MIFF early next week in light of the lockdown implemented in Victoria commencing yesterday evening. Switching to a wholly online run in August of last year and seeing record attendance rates, MIFF in 2021, reflective of increased engagement, has too for the first time scheduled multiple events in new regional venues.

Occurring when it did last year, Melbourne audiences even beyond traditional Film and Festival fans were primed for a major Melbourne cultural event absent the ability to travel very far or at all, and MIFF provided. Irrespective of the impact of current or future COVID-related restrictions on the in-person program MIFF have championed and effectively utilised capacity to reach audiences digitally for the duration of the intended 2021 run.

This contrasts heavily with this week’s Sydney Film Festival announcement of the postponement of an in-person Festival until November 3-14. This follows the Festival’s physical cancellation in 2020, an online event in June of last year alongside participation in an international digital event, a brief physical run in January of 2021, the scheduling of this year’s physical Festival for August 18-29 rather than a traditional June run following a like shift in the scheduling of major international Festivals (and consequentially select titles’ availabilities) and the July postponement of a full program launch set to follow an already announced handful of titles.

Aside from the impact on SFF itself, this will directly affect the slew of Film Festivals which typically take place in early November including the Sydney Science Fiction Film Festival which is currently scheduled for November 4-13, with the previous June to August shift already impacting a number of Festivals who prioritise the August window. Notably advertising campaigns run in recent months have emphasised the Festival holding a physical event as a priority with Festival Director Nashen Moodley noting in 2020 that SFF “do not currently have plans for an online component in future years (and that) the Festival very much looks forward to seeing our audience in cinemas next year for a fully immersive and connected Sydney Film Festival.”

An assessment of this a sensible decision or not comes down to whether the near exclusive appeal of the Festival is in fact in-cinema offerings and the extent to which the SFF audience are seeking forthcoming over in-person engagement.

The response to last year’s online SFF program demonstrated a desire amongst its audience, more of whom than any other Australian Film Festival except perhaps MIFF are composed of such significant numbers of both dedicated and casual filmgoers, for not just engagement but consistent engagement whichever the form. SFF’s decision to host an online component last year followed months later by successful physical sessions bore scope for replication in the latter half of 2021 and moreover over one or more calendar windows.

Sydneysiders and film fans right now across the country are seeking a sense of community denied in forms by current COVID-related restrictions and SFF could have borne that same significance MIFF heralded when faced with such a similar circumstance in now successive years. MIFF, making the decision to go online last year and again in 2021 unlike SFF, continues to recognise the potential to grow its audience (as MIFF has done) and reach film fans in rural and regional areas and/or who are immunocompromised and might not have in months past or otherwise in the immediate future sought out a physical Festival. This is moreover the case in light of yesterday’s announcement impacting Victoria incidentally coinciding to the hour with the commencement of MIFF’s digital run.

SFF could too have run in June as traditional but as delayed permitted the attainment of select titles that make up a fraction of a typical program. The appeal of this particular Festival, ala MIFF, overly relates to its general curatorial breadth and sense of community as opposed to individual showcases and the platform’s decision-making has not prioritised the aforementioned with many creatives now too directly impacted. Rather than a few films and filmmakers it is a plethora thereof of both name and emerging talents that have continuously proven themselves both artistic and commercial life-bloods of the Festival. To the extent that there was such an overly marquee focus rather than artistic emphasis on the heft of talent and fixtures of the kind that overwhelmingly typify and further both SFF’s creative and commercial bona-fides the outlet has shown many filmmakers concerned and fans too no favour.

Yes some filmmakers prefer and demand as is their right films to premiere or otherwise screen in particular environments but the extent to which the Festival in the current environment did not account for this when negotiating titles or otherwise prioritise to a requisite degree fixtures which could screen wholly digitally in the immediate term represents an omission as it would for any Festival neglecting to fully anticipate audiences’ demand to go ahead in part or entirely online and avail itself where affordable of digital infrastructure as needed.

Following the Festival having gone online last year with works not ideal but adaptable to the form via willing filmmakers there remains evident desire and certainly scope for the platform to replicate something similar in 2021 with the announced titles alone representing a sizeable draw. Communication on this front has been notably lacking with the Festival previously indicating on their dedicated site that SFF had been postponed and withdrawing the statement once it was reported on. This was too days before any further public clarification which came at the outset via select media’s positive reporting of the Festival’s call.

Such calls in recent months engendering the lack of momentum for the Festival and sidelining thereof represents an absence affecting appended-filmmakers as well as dedicated and casual film fans alike seeking consistent and meaningful engagement who can and should, in addition to whenever the Festival screens and in any case, seek out other outlets who have taken the opportunity.

on Festevez

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pkstudiosindia · 4 years

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Gold Coast more than a mini Hollywood – Mirage News

The Gold Coast has lengthy been related to the filming of Hollywood blockbusters, and town’s display business has consequently been seen as a service business for movie and tv productions created by firms from elsewhere.

However, current analysis into Gold Coast-originated display manufacturing occurring unbiased of the Village Roadshow Studios reveals town is now a rising hub for native characteristic movie and on-line display content material manufacturing.

The research was performed by researchers from QUT’s Digital Media Research Centre and was supported by the City of Gold Coast.

Associate Professor Dr Mark Ryan, Distinguished Professor Stuart Cunningham, and Dr Phoebe Macrossan interviewed native producers, writers, administrators, and on-line content material creators creating movie, tv, documentary, and digital/on-line content material manufacturing.

Associate Professor Dr Mark Ryan

“Home to the Village Roadshow film and television production studios, the Gold Coast is an enormously popular location for large-scale US blockbusters and high-budget Australian feature film and television production,” mentioned Dr Ryan.

“This has been the case for more than 30 years, with the brand new Baz Luhrmann movie Elvis the newest excessive-profile profile challenge to reap the benefits of town’s world-class manufacturing amenities and huge workforce of expert technical display staff.

“The City of Gold Coast has contributed to fostering this manufacturing via its licencing and permits for capturing. It’s additionally the one council in Australia to have a movie attraction program and actively promotes the area as a excessive-worth location for filmmakers.

“Since the early 2000s, a small group of content material creators based mostly on the Gold Coast have produced native content material, largely characteristic movies and documentaries each in and outdoors the area.

“Yet till 2009, the variety of Gold Coast-based writers, administrators and producers creating mental property and creating initiatives was small, manufacturing was rare, and expertise-drain was frequent.

“A key discovering of the research is that there was robust development in Gold Coast-originated display manufacturing over the past decade, from the killer-shark film Bait (2010) and the alien invasion movie Occupation (2018), to the documentary Nothing on Earth (2013) and the online collection Stage Mums (2018).

“It’s now a productive hub for domestically produced low-finances indie characteristic movies, on-line content material and business company manufacturing. Scripted net collection and on-line content material exercise can also be rising and feeds the ever-hungry platforms of YouTube, different social media channels, subscription video on demand, and net-collection, in addition to quick type commercialised content material.”

Dr Ryan mentioned between 2009 and 2019, 35 unbiased movies had been filmed on the Gold Coast outdoors the Village Roadshow Studios. Gold Coast-based manufacturing firms produced 17 (49% of the full), 9 had been shot by Brisbane-based manufacturing firms and a additional 9 by largely Sydney-based manufacturing entities.

“Between 2015 and 2019, the number of active ABNs in the Gold Coast film and television industry grew from 608 to 921. Many of these companies employ dozens or even hundreds of people,” he mentioned.

“This development has been pushed by a robust improve within the variety of key content material creators similar to producers, administrators and writers dwelling and dealing within the metropolis.

“Other components embody the rising variety of freelance display staff working within the metropolis more usually; the reducing of manufacturing limitations as a result of filmmakers’ means to movie on low-price and excessive-definition digital video; and the expansion in on-line platforms stimulating better ranges of manufacturing in digital/social media content material and net collection.

“However, the business nonetheless faces appreciable limitations, particularly because the COVID-19 pandemic hit.

“There is a lack of established producers concerned within the formal display business and huge manufacturing firms with important and ongoing slates of core display content material. Indie productions can lack professionalism in monetary practices and business networks are weak.”

Dr Ryan mentioned the important thing suggestions of the report included the institution of a producer growth and mentorship program, in addition to a program to assist confirmed business company producers make the transition into inventive manufacturing.

“The Council’s Film Attraction program, while an excellent initiative, is not necessarily designed to support lower-budget Gold Coast-originated projects. We recommend the $1.5M threshold be lowered to support local low-budget and Indie production,” he mentioned.

The Report and its findings will likely be detailed and mentioned at an business occasion that will likely be held on Monday 21st September at HOTA on the Gold Coast. To register to attend the business occasion, please contact the Gold Coast Film Festival staff on [email protected].

The full report might be seen at: https://eprints.qut.edu.au/203607/.

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falcon-keys · 5 years

Video

vimeo

RED TALE from Natacha Thomas on Vimeo.

RED TALE is a dark fairy tale which opposed RED RIDING HOOD and BLUEBEARD in a dangerous and sensual tango of lights

Awards STYLISTIC AWARD au South African Horrorfest BEST ORIGINAL CONCEPT AWARD au Independent Horror Movie Award (best director nominee) BEST CINEMATOGRAPHY au Oniros Film Awards BEST PHOTOGRAPHY au Barcelona Fantastic Film Festival WAIHFF AWARD BEST FIRST TIME FILMMAKER au We Are Indie Horror Film Fest (Las Vegas - USA ) MUSIC VIDEO Honorable Mention au Wasteland Film Festival (USA)

Screenings 2017 � Short Filmfestival Roosendaal (Pays Bas) � Silencio Paris (France) � Festival Cinéma & Musique de Film de La Baule (France) � Frostbite International Film Festival (Etats Unis) � Pagárrenda (Portugal) � Wollongong Film Festival (Australie) � Sarajevo Fashion Film Festival (Bosnie Herzegovine) � Kraf Festival (Croatie) � Festival Courts d'un soir (Canada) � FICTV - Festival Internacional Cine Terror de Valparaíso (Chili) � El Dia Més Curt avec Galacticurt (Espagne) 2018 � Los Angeles CineFest (USA) semi finalist � Shelburne Falls Fabulous Fringe Fest (USA) � Insólito: Festival de Cine de Terror y Fantasía (Peru) � Cabin Fever Film Fest - (USA) � International Short Film Festival Music & Fashion PLZ V Edition Paris (France) � Taos Shortz Film Fest (USA) � Tallahassee Film Festival (Florida - USA ) � Harrogate Film Festival (UK) � Bute Street Film Festival (UK) � Tlanchana Fest, Festival de Cine y Arte Digital (Mexique) � Art Lab Film Festival 2018 (Espagne) � Festival les Toutes Premières Fois festival du film Grasse (France) � Brisbane Backyard Film Festival (Australia) � Porto Femme - International Film Festival (Portugal) � Tremplin des courts métrages (France) � Le petit cannes (France) � Erotic Bizarre Art Film Festival (Espagne) � SAGA: Adelaide International Women's Film Festival (Australie) � Negative Fest (USA) � Fantastic Film Festival - Galacticat (Spain) � Das Phantastische Trashfilm Festival in Kassel (Allemagne) � MigrArti Caltabellotta Film fest (Italie) � Projection en plein air à Strasbourg (France) � Festival Internacional de Cine de Hidalgo (Mexique) � Queen Palm International Film Festival (USA) � Shortz! Film Festival (USA) � Macabro Film Festival (Mexique) � Chelsea Fashion & Film Festival (NY- USA) � Cefalù film festival (Italie) � Best cinematography nomination UNDO Divergent Film Awards (USA) � Fargo Fantastic Film Festival (USA) � Women in Horror Film Festival (USA) � Requiem FearFest / Festival Requiem (Canada) � finaliste Europa Film Festival (Barcelone ESPAGNE) � Sick Chick Flicks Film Festival (USA) � International Gullah Film Festival - semi finalist (USA) � 9 Ladies Film Festival (UK) � Birmingham Film Festival (UK) � Lucid Dream Fantastic Film Festival (Italie) � Ottawa Spookshow and Fantastic Film Festival (Canada) � finalist at Canada Shorts - Canadian & International Short Film Festival (Canada) � Midnight Film Festival (USA) � 23em Cine-Maniacs Filmfest (Allemagne)

Directed By: Natacha Thomas Production : Poison Communication

Red Riding Hood: Sarah Bonrepaux Blue Beard : Ivan Gonzalez

Director Of Photography: Nicholas Kent First AC Camera : Pv Ferdani Gaffer: Julien Brumauld Electrician : Julien Laville Key Grip: Vincent Campanella

First AD : Clément Meynié

Production Designer : Anne Dallu Huet

Hair & Makeup: Johanna Vasilakis

Unit production manager : Brice Fourny

Editor : Matthilde Carlier Color: Kim Marc Huynh Visual effect : Olivier Gabriel Legrais

Original Soundtrack : Alexis Maingaud

Stills Photographer : Claude Pocobene Poster : Vianney Griffon

Special Thanks : Laura Fajnberg // Cédric Maugis