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
June 26, 2018
The post Netflix’s <i>Lost in Space</i>: mastering for Dolby Vision HDR, Rec.709 appeared first on Randi Altman's postPerspective.
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
June 22, 2018
The post Creator/Showrunner Justin Simien talks Netflix’s <i>Dear White People</i> appeared first on Randi Altman's postPerspective.
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
June 21, 2018
The post <i>The Orville</i> VFX supervisor on mixing practical and visual effects appeared first on Randi Altman's postPerspective.
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
June 20, 2018
The post Rachel Matchett brought on to lead Technicolor Visual Effects appeared first on Randi Altman's postPerspective.
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
June 18, 2018
The post Showrunner Lesli Linka Glatter: Showtime’s <i>Homeland</i> appeared first on Randi Altman's postPerspective.
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
June 15, 2018
The post Luke Scott to run newly created Ridley Scott Creative Group appeared first on Randi Altman's postPerspective.
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
June 13, 2018
The post Netflix’s <i>Lost in Space</i>: New sounds for a classic series appeared first on Randi Altman's postPerspective.
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
June 7, 2018
The post Color and audio post for Hulu’s <i>The Looming Tower</i> appeared first on Randi Altman's postPerspective.
By Iain Blair
How big a deal is Amazon Prime’s Emmy-nominated detective show Bosch? So big that the streaming service ordered up Season 5 before Season 4 even debuted in April. This critically acclaimed hour-long series is Amazon’s longest-running Prime Original.
Based on the best-selling novels by Michael Connelly, Continue reading
June 4, 2018
The post Showrunner Dan Pyne — Amazon’s <i>Bosch</i> appeared first on Randi Altman's postPerspective.
By Jennifer Walden
One of the great storytelling advantages of streaming services like Netflix is that strict program lengths don’t encumber content creators. The total number of episodes in a show’s season could be 13 or 10 or less. An episode can run 15 minutes over the traditional hour or it could be 33 minutes in length. Continue reading
May 22, 2018
The post Netflix’s <i>Godless</i> offers big skies and big sounds appeared first on Randi Altman's postPerspective.