Cobra Kai’s score pays tribute to original Karate Kid

By Jennifer Walden

In the YouTube Red comedy series Cobra Kai, Daniel LaRusso (Ralph Macchio), the young hero of the Karate Kid movies, grows up to be a prosperous car salesman, while his nemesis Johnny Lawrence (William Zabka) just can’t seem to shake that loser label he earned so long ago. Continue reading

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Netflix’s Lost in Space: mastering for Dolby Vision HDR, Rec.709

There is a world of difference between Netflix’s ambitious science-fiction series Lost in Space (recently renewed for another 10 episodes) and the beloved but rather low-tech, tongue-in-cheek 1960s show most fondly remembered for the repartee between persnickety Dr. Smith and the rather tinny-looking Robot. This series, starring Molly Parker, Toby Stevens and Parker Posey (in a very different take on Dr. Continue reading

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Netflix’s Lost in Space: mastering for Dolby Vision HDR, Rec.709

There is a world of difference between Netflix’s ambitious science-fiction series Lost in Space (recently renewed for another 10 episodes) and the beloved but rather low-tech, tongue-in-cheek 1960s show most fondly remembered for the repartee between persnickety Dr. Smith and the rather tinny-looking Robot. This series, starring Molly Parker, Toby Stevens and Parker Posey (in a very different take on Dr. Continue reading

The post Netflix’s <i>Lost in Space</i>: mastering for Dolby Vision HDR, Rec.709 appeared first on Randi Altman's postPerspective.

Creator/Showrunner Justin Simien talks Netflix’s Dear White People

By Iain Blair

The TV graveyard is bursting at the seams with failed adaptations of hit movies. But there is that rare exception, such as Netflix’s acclaimed hit comedy Dear White People, which creator and showrunner Justin Simien adapted from his 2014 indie movie of the same name. The film premiered at the Sundance Film Festival, Continue reading

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The Orville VFX supervisor on mixing practical and visual effects

By Barry Goch

What do you get when you mix Family Guy and Ted creator Seth MacFarlane with science fiction? The most dysfunctional spaceship in the galaxy, that’s what. What is the Fox series The Orville? Well, it’s more Galaxy Quest/Space Balls than it is Star Trek/Star Wars. Continue reading

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Rachel Matchett brought on to lead Technicolor Visual Effects

Technicolor has hired on Rachel Matchett to head the post production group’s newly formed VFX brand, Technicolor Visual Effects. Working side-by-side within the same facilities where post services are offered, Technicolor Visual Effects is expanding to a global offering with an integrated pipeline. Technicolor is growing its namesake VFX team apart from the company’s other visual effects brands: MPC, Continue reading

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Showrunner Lesli Linka Glatter: Showtime’s Homeland

By Iain Blair

Since it first premiered back in 2011, the timely, provocative, twisty and edgy spy thriller Homeland has been a huge hit with audiences and critics alike. It has also racked up dozens of awards, including Primetime Emmys and Golden Globes.

The show features an impressive cast, Continue reading

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Luke Scott to run newly created Ridley Scott Creative Group

Filmmaker Ridley Scott has brought together all of his RSA Films-affiliated companies together in a multi-business restructure to form the Ridley Scott Creative Group. The Ridley Scott Creative Group aims to strengthen the network across the related companies to take advantage of emerging opportunities across all entertainment genres as well as their existing work in film, Continue reading

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Netflix’s Lost in Space: New sounds for a classic series

By Jennifer Walden

Netflix’s Lost in Space series — a remake of the 1965 television show — is a playground for sound. In the first two episodes alone, the series introduces at least five unique environments, including an alien planet, a whole world of new tech from wristband communication systems to medical analysis devices, Continue reading

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Color and audio post for Hulu’s The Looming Tower

Hulu’s limited series, The Looming Tower, explores the rivalries and missed opportunities that beset US law enforcement and intelligence communities in the lead-up to the 9/11 attacks. Based on the Pulitzer Prize-winning book by Lawrence Wright, who also shares credit as executive producer with Dan Futterman and Alex Gibney, the show’s 10 episodes paint an absorbing, Continue reading

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