Framestore, the VFX studio behind blockbusters including “Elvis” and “Doctor Strange In The Multiverse Of Madness,” has made two internal promotions.
Lucy Killick, until recently the managing director of film, will take up the role of chief operating officer for film and episodic in the U.K. while James Whitlam has been upped from managing director of episodic to EVP of film and episodic in L.A. He will relocate from London to the west coast.
Killick, who has been at Framestore since 2011, has worked on projects including “Prometheus,” “Children of Men” and “Hellboy II.” Her new role will include overseeing global production and resourcing. Whitlam spent six years in London working on projects including “Paddington 2,” “Guardians of the Galaxy 2” and “His Dark Materials.” In L.A. he will now become the point-person for U.S. clients as well as overseeing the west coast office’s LED, visdev,...
Lucy Killick, until recently the managing director of film, will take up the role of chief operating officer for film and episodic in the U.K. while James Whitlam has been upped from managing director of episodic to EVP of film and episodic in L.A. He will relocate from London to the west coast.
Killick, who has been at Framestore since 2011, has worked on projects including “Prometheus,” “Children of Men” and “Hellboy II.” Her new role will include overseeing global production and resourcing. Whitlam spent six years in London working on projects including “Paddington 2,” “Guardians of the Galaxy 2” and “His Dark Materials.” In L.A. he will now become the point-person for U.S. clients as well as overseeing the west coast office’s LED, visdev,...
- 5/24/2022
- by K.J. Yossman
- Variety Film + TV
Covid has accelerated the technology-led transition towards virtual production in media.
The Covid-19 pandemic has acclerated the technology-led transition towards virtual production in film and television and can help create more jobs and and better sustainability, said a panel of experts at the BFI London Film Festival (Lff) this weekend.
James Whitlam, managing director — episodic at creative studio Framestore, which helped design, create and operate Europe’s largest LED volume, spoke on his experience working on the latest series of German Netflix crime drama Dark.
“Doing the entire thing through Covid times has allowed us to create an eight-part series...
The Covid-19 pandemic has acclerated the technology-led transition towards virtual production in film and television and can help create more jobs and and better sustainability, said a panel of experts at the BFI London Film Festival (Lff) this weekend.
James Whitlam, managing director — episodic at creative studio Framestore, which helped design, create and operate Europe’s largest LED volume, spoke on his experience working on the latest series of German Netflix crime drama Dark.
“Doing the entire thing through Covid times has allowed us to create an eight-part series...
- 10/11/2021
- by ¬Alexandria Slater
- ScreenDaily
Covid has accelerated the technology-led transition towards virtual production in media.
The pandemic has highlighted the significance of virtual production (VP) in film and television, and according to a panel of VP experts at BFI London Film Festival (Lff) it can be beneficial for creating more jobs and better sustainability.
Covid has accelerated the technology-led transition towards virtual production in media. Techniques like motion capture have enabled production teams to use actors in different locations, placing them in responsive virtual worlds where live images can be transplanted into computer-generated environments on one screen.
Merging different industry methods, such as combining...
The pandemic has highlighted the significance of virtual production (VP) in film and television, and according to a panel of VP experts at BFI London Film Festival (Lff) it can be beneficial for creating more jobs and better sustainability.
Covid has accelerated the technology-led transition towards virtual production in media. Techniques like motion capture have enabled production teams to use actors in different locations, placing them in responsive virtual worlds where live images can be transplanted into computer-generated environments on one screen.
Merging different industry methods, such as combining...
- 10/11/2021
- by ¬Alexandria Slater
- ScreenDaily
The festival will also host a connects session with British Vogue editor Edward Enninful.
Edward Enninful, editor-in-chief of British Vogue and European editorial director of Vogue, will open the industry programme of the BFI London Film Festival (Lff) on Thursday October 7 in an in-conversation event as part of the Lff Connects strand, which looks to explore the intersection between film and other creative industries.
There will also be Spotlight conversations with Element Pictures producer and co-founder Ed Guiney and Doc Society chief executive Jess Search.
Guiney’s most recent feature, Joanna Hogg’s The Souvenir Part II, is playing as the festival’s Londoner Gala.
Edward Enninful, editor-in-chief of British Vogue and European editorial director of Vogue, will open the industry programme of the BFI London Film Festival (Lff) on Thursday October 7 in an in-conversation event as part of the Lff Connects strand, which looks to explore the intersection between film and other creative industries.
There will also be Spotlight conversations with Element Pictures producer and co-founder Ed Guiney and Doc Society chief executive Jess Search.
Guiney’s most recent feature, Joanna Hogg’s The Souvenir Part II, is playing as the festival’s Londoner Gala.
- 9/27/2021
- by Ben Dalton
- ScreenDaily
Exclusive: Oscar and BAFTA-winning VFX firm Framestore is consolidating its film and TV divisions in line with growing demand for episodic content.
Both departments at the UK firm will be brought under one banner, one pipeline and a new leadership structure. The company’s episodic work is being headed by recent BAFTA winner James Whitlam (His Dark Materials).
Whitlam is working alongside Michelle Martin, Head of Business Development, Episodic, and reports to Fiona Walkinshaw, Framestore’s Global Managing Director, Film. As they expand Framestore’s episodic offer, Whitlam and Martin will work closely with the company’s studios in London, Montreal, the U.S. and India, in a bid to give clients access to Framestore’s global talent pool as well as a range of national and regional tax incentives.
Framestore has made two hires to its episodic division. VFX Supervisor Sean Mathiesen joins from Double Negative, where he oversaw...
Both departments at the UK firm will be brought under one banner, one pipeline and a new leadership structure. The company’s episodic work is being headed by recent BAFTA winner James Whitlam (His Dark Materials).
Whitlam is working alongside Michelle Martin, Head of Business Development, Episodic, and reports to Fiona Walkinshaw, Framestore’s Global Managing Director, Film. As they expand Framestore’s episodic offer, Whitlam and Martin will work closely with the company’s studios in London, Montreal, the U.S. and India, in a bid to give clients access to Framestore’s global talent pool as well as a range of national and regional tax incentives.
Framestore has made two hires to its episodic division. VFX Supervisor Sean Mathiesen joins from Double Negative, where he oversaw...
- 6/18/2021
- by Andreas Wiseman
- Deadline Film + TV
Michaela Coel’s “I May Destroy You” and Steve McQueen’s “Small Axe” were the big winners at the British Academy of Film and Television Arts’ (BAFTA) TV Craft Awards on Monday.
BBC/HBO’s “I May Destroy You” won the key awards of director, fiction, editing, fiction and writer, drama. BBC/Amazon’s “Small Axe” had the most wins with five BAFTAs, including for make up and hair design, costume design, production design, photography and lighting, fiction and for scripted casting.
The BBC’s “Lee Miller – A Life on the Front Line” and “His Dark Materials” won two BAFTAs each.
“Small Axe” had nine nominations, while “I May Destroy You” had five. Netflix’s popular Royal drama “The Crown” was shut out, despite having six nominations going in.
The ceremony was broadcast live on BAFTA’s social channels and hosted by actor and writer Gbemisola Ikumelo (“Famalam”).
The Television...
BBC/HBO’s “I May Destroy You” won the key awards of director, fiction, editing, fiction and writer, drama. BBC/Amazon’s “Small Axe” had the most wins with five BAFTAs, including for make up and hair design, costume design, production design, photography and lighting, fiction and for scripted casting.
The BBC’s “Lee Miller – A Life on the Front Line” and “His Dark Materials” won two BAFTAs each.
“Small Axe” had nine nominations, while “I May Destroy You” had five. Netflix’s popular Royal drama “The Crown” was shut out, despite having six nominations going in.
The ceremony was broadcast live on BAFTA’s social channels and hosted by actor and writer Gbemisola Ikumelo (“Famalam”).
The Television...
- 5/24/2021
- by Naman Ramachandran
- Variety Film + TV
Disney dominated the 18th annual Ves Awards with five nominations apiece for Jon Favreau’s frontrunner “The Lion King” and Robert Rodriguez’s surprising “Alita: Battle Angel” (acquired from Fox). Joining them for the top photo-real prize were the Disney-led “Avengers: Endgame” and “Star Wars: The Rise of Skywalker,” along with Ang Lee’s “Gemini Man”. The Ves Awards will be held January 29th at the Beverly Hilton Hotel.
Competing for supporting VFX were Martin Scorsese’s “The Irishman”, Sam Mendes’ “1917,” (which stitched together the World War I thriller as one continuous shot and offered various enhancements), James Mangold’s “Ford v Ferrari,” Todd Phillips’ “Joker,” and “The Aeronauts.”
In animation, Disney also fared well, with Pixar’s “Toy Story 4” (which grabbed five nominations) and “Frozen 2.” They were joined by Golden Globe nominee “Missing Link” from Laika, surprise nominee “Klaus” (the innovative 2D feature from Netflix and Spanish director Sergio Pablos), and,...
Competing for supporting VFX were Martin Scorsese’s “The Irishman”, Sam Mendes’ “1917,” (which stitched together the World War I thriller as one continuous shot and offered various enhancements), James Mangold’s “Ford v Ferrari,” Todd Phillips’ “Joker,” and “The Aeronauts.”
In animation, Disney also fared well, with Pixar’s “Toy Story 4” (which grabbed five nominations) and “Frozen 2.” They were joined by Golden Globe nominee “Missing Link” from Laika, surprise nominee “Klaus” (the innovative 2D feature from Netflix and Spanish director Sergio Pablos), and,...
- 1/7/2020
- by Bill Desowitz
- Indiewire
The Visual Effects Society has unveiled nominations for its 18th annual Ves Awards, which honor VFX work in film, animation, TV, commercials and video games. Winners will be revealed at a ceremony January 29 at the Beverly Hilton.
Disney’s CG redo of the The Lion King and 20th Century Fox’s Alita: Battle Angel lead all film nominees with five apiece, joining the top animated nominee Toy Story 4. In TV, Disney+’s Star Wars spinoff The Mandalorian and the final season of HBO’s epic Game of Thrones lead the field with six nominations each.
Along with naming winners in 25 categories, the group’s ceremony later this month includes honoring Martin Scorsese with the Ves Lifetime Achievement Award. The Ves Visionary Award will be given to Roland Emmerich, and the Ves Award for Creative Excellence will be presented to VFX supervisor Sheena Duggal.
Here’s the list of noms:...
Disney’s CG redo of the The Lion King and 20th Century Fox’s Alita: Battle Angel lead all film nominees with five apiece, joining the top animated nominee Toy Story 4. In TV, Disney+’s Star Wars spinoff The Mandalorian and the final season of HBO’s epic Game of Thrones lead the field with six nominations each.
Along with naming winners in 25 categories, the group’s ceremony later this month includes honoring Martin Scorsese with the Ves Lifetime Achievement Award. The Ves Visionary Award will be given to Roland Emmerich, and the Ves Award for Creative Excellence will be presented to VFX supervisor Sheena Duggal.
Here’s the list of noms:...
- 1/7/2020
- by Patrick Hipes
- Deadline Film + TV
A musical from Red Dog director Kriv Stenders, a feature about the choir of hard knocks directed by Jonathan Teplitzky and an untitled project from Joel and Nash Edgerton are three of 16 features that have received a share of $400,000 in development support from Screen Australia. Of these 16 projects, ten are new additions to the development slate, while the remaining six have been receiving ongoing assistance. Screen Australia.s head of development Martha Coleman said in a statement that the calibre of features was outstanding. .There.s a general acknowledgement from the marketplace that our filmmakers have raised the bar and I think the next wave of films in the coming years will be really interesting..
Synchronicity, which is written by Marissa Goodhill,. produced by Leesa Kahn and Catriona Hughes and has Kriv Stenders attached as director, is a musical set to the songs of Kylie Minogue. It follows 17-year-old Kylie...
Synchronicity, which is written by Marissa Goodhill,. produced by Leesa Kahn and Catriona Hughes and has Kriv Stenders attached as director, is a musical set to the songs of Kylie Minogue. It follows 17-year-old Kylie...
- 5/15/2012
- by Amanda Diaz
- IF.com.au
Some of Australia’s biggest names in film-making have received funding for new projects in the latest round of Screen Australia’s single-project feature development.
The funding round for script development has supported 16 projects totalling $400,000, ten new projects and six which receive continued support.
Martha Coleman, Screen Australia’s head of development said: “The calibre of feature projects coming to the Development Department is outstanding. There’s a general acknowledgement from the marketplace that our film-makers have raised the bar and I think the next wave of films in the coming years will be really interesting.”
Film-makers include Julia Leigh, the Edgerton brothers, Abe Forsythe and Kriv Stenders.
Julia Leigh is to direct her second film, Disquiet following on from Sleeping Beauty, which won best direction in a feature film at the Australian Director’s Guild Awards on Friday night. The psychological horror will be adapted by Leigh from her book of the same name.
The funding round for script development has supported 16 projects totalling $400,000, ten new projects and six which receive continued support.
Martha Coleman, Screen Australia’s head of development said: “The calibre of feature projects coming to the Development Department is outstanding. There’s a general acknowledgement from the marketplace that our film-makers have raised the bar and I think the next wave of films in the coming years will be really interesting.”
Film-makers include Julia Leigh, the Edgerton brothers, Abe Forsythe and Kriv Stenders.
Julia Leigh is to direct her second film, Disquiet following on from Sleeping Beauty, which won best direction in a feature film at the Australian Director’s Guild Awards on Friday night. The psychological horror will be adapted by Leigh from her book of the same name.
- 5/14/2012
- by Colin Delaney
- Encore Magazine
The wheels have been turning in South Australia to bring the state’s film industry to the forefront of the entire nation. Micah Chua reports on the state’s progress and finds out just how this ambitious goal is being acted out.
The vision for the South Australian Film Corporation (Safc) as stated in their Strategic Plan for 2012 is to have Sa ‘recognised globally as the most dynamic screen industry in Australia’, with measurable targets such as doubling the state’s feature production by 2014 and increasing the number of credited producers and writers in the state.
This year has seen the features Swerve (dir. Craig Lahiff, prod. Helen Leake), The Place Between (dir. Beck Cole, prod. Kath Shelper) and Red Dog (dir. Kriv Stenders, prod. Nelson Woss and Julie Ryan – a South Australia/Western Australia collaboration) shot in the state, and the past year has seen a slew of new...
The vision for the South Australian Film Corporation (Safc) as stated in their Strategic Plan for 2012 is to have Sa ‘recognised globally as the most dynamic screen industry in Australia’, with measurable targets such as doubling the state’s feature production by 2014 and increasing the number of credited producers and writers in the state.
This year has seen the features Swerve (dir. Craig Lahiff, prod. Helen Leake), The Place Between (dir. Beck Cole, prod. Kath Shelper) and Red Dog (dir. Kriv Stenders, prod. Nelson Woss and Julie Ryan – a South Australia/Western Australia collaboration) shot in the state, and the past year has seen a slew of new...
- 7/27/2010
- by Miguel Gonzalez
- Encore Magazine
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