Documentary filmmaker Sonya Pemberton and post production maven John Fleming are the latest recipients of the Film Victoria Screen Leader Awards.
The agency also announced the creation of two awards for a director and screenwriter in 2016, honouring Fred Schepisi and Jan Sardi.
The Film Victoria — Fred Schepisi Award for Achievement in Directing salutes the director, producer and screenwriter who made his name with The Devil.s Playground and The Chant of Jimmie Blacksmith.
Among his stellar credits are Iceman, Barbarosa, Plenty, Roxanne, Six Degrees of Separation, Iq, Evil Angels, Last Orders, The Eye of the Storm and Words and Pictures.
The Film Victoria — Jan Sardi Award for Achievement in Screenwriting recognises the achievements of the screenwriter whose first feature was Moving Out in 1983, followed by such works as the Academy Award-nominated screenplay for Shine, Love.s Brother, Mao.s Last Dancer and, most recently, the ABC miniseries The Secret River,...
The agency also announced the creation of two awards for a director and screenwriter in 2016, honouring Fred Schepisi and Jan Sardi.
The Film Victoria — Fred Schepisi Award for Achievement in Directing salutes the director, producer and screenwriter who made his name with The Devil.s Playground and The Chant of Jimmie Blacksmith.
Among his stellar credits are Iceman, Barbarosa, Plenty, Roxanne, Six Degrees of Separation, Iq, Evil Angels, Last Orders, The Eye of the Storm and Words and Pictures.
The Film Victoria — Jan Sardi Award for Achievement in Screenwriting recognises the achievements of the screenwriter whose first feature was Moving Out in 1983, followed by such works as the Academy Award-nominated screenplay for Shine, Love.s Brother, Mao.s Last Dancer and, most recently, the ABC miniseries The Secret River,...
- 10/5/2015
- by Don Groves
- IF.com.au
Network: NBC , CTV
Episodes: 65 (hour)
Seasons: Five
TV show dates: March 1, 2009 -- August 18, 2014 (CTV dates)
Series status: Cancelled by NBC after one season, Ended by CTV in Canada after five seasons
Performers include: Craig Olejnik, Lisa Marcos, Ennis Esmer, Mylene Robic, Arnold Pinnock, Anthony Lemke, Lara Jean Chorostecki, John Fleming, and Colm Feore.
TV show description:
Toby Logan (Craig Olejnik) is a young paramedic who has a secret. He's also a telepath who's managed to keep his extraordinary ability hidden. He explores its possibilities only with his long-time mentor and confidant, Dr. Ray Mercer (Colm Feore).
Responding to calls with his paramedic partner, energetic Osman "Oz" Bey (Ennis Esmer), Toby uses his ability to help people in crisis. In the process, he also tries to unravel the truth about his own...
Episodes: 65 (hour)
Seasons: Five
TV show dates: March 1, 2009 -- August 18, 2014 (CTV dates)
Series status: Cancelled by NBC after one season, Ended by CTV in Canada after five seasons
Performers include: Craig Olejnik, Lisa Marcos, Ennis Esmer, Mylene Robic, Arnold Pinnock, Anthony Lemke, Lara Jean Chorostecki, John Fleming, and Colm Feore.
TV show description:
Toby Logan (Craig Olejnik) is a young paramedic who has a secret. He's also a telepath who's managed to keep his extraordinary ability hidden. He explores its possibilities only with his long-time mentor and confidant, Dr. Ray Mercer (Colm Feore).
Responding to calls with his paramedic partner, energetic Osman "Oz" Bey (Ennis Esmer), Toby uses his ability to help people in crisis. In the process, he also tries to unravel the truth about his own...
- 8/7/2014
- by TVSeriesFinale.com
- TVSeriesFinale.com
Stars: Toni Benedetti, Jamie Evans, Jason Harvey, Tyne Roberts, John Fleming | Written and Directed by Adriana Polito
Adriana Polito, one of the producers of the superb body horror short Dysmorphia, turns her hand to writing and directing with the horror comedy She Wolf of the Woods, which follows forest ranger Amy as she goes about her day-to-day business in a small Scottish village – which just happens to include burying evidence of crimes in the woods and picking up strangers in local bars!
One such (un)lucky stranger is Ben, an American looking to trace his Scottish routes, who is picked up by Amy and taken back to her place for what he thinks will be a night of quick and easy sex. But what he doesn’t bargain on is Lucille, Amy’s room mate – who just happens to be a werewolf!
She Wolf of the Woods was originally intended...
Adriana Polito, one of the producers of the superb body horror short Dysmorphia, turns her hand to writing and directing with the horror comedy She Wolf of the Woods, which follows forest ranger Amy as she goes about her day-to-day business in a small Scottish village – which just happens to include burying evidence of crimes in the woods and picking up strangers in local bars!
One such (un)lucky stranger is Ben, an American looking to trace his Scottish routes, who is picked up by Amy and taken back to her place for what he thinks will be a night of quick and easy sex. But what he doesn’t bargain on is Lucille, Amy’s room mate – who just happens to be a werewolf!
She Wolf of the Woods was originally intended...
- 2/16/2014
- by Phil Wheat
- Nerdly
In issue #153 of If Magazine (June-July 2013), If launched an exclusive workflow series written by one of Australia's leading post-production and digital media practitioners, John Fleming. To be released in four instalments, the series will explore the different approaches to workflow associated with digital content production.
.
Introduction
Early attempts at workflow management systems were expensive, came largely from the print market and were hindered by the .closed. nature of post productions systems. The new generation of workflow management systems has evolved with the move to digital acquisition and the more .open. nature of the technologies being used across the content production pipeline. This article briefly explores the evolution of these technologies and options for content creators. . The Issues
Our industry is generating more content than ever before. It.s one thing to store the content but another to quickly find a specific asset when you need it. There is a genuine...
.
Introduction
Early attempts at workflow management systems were expensive, came largely from the print market and were hindered by the .closed. nature of post productions systems. The new generation of workflow management systems has evolved with the move to digital acquisition and the more .open. nature of the technologies being used across the content production pipeline. This article briefly explores the evolution of these technologies and options for content creators. . The Issues
Our industry is generating more content than ever before. It.s one thing to store the content but another to quickly find a specific asset when you need it. There is a genuine...
- 10/22/2013
- by John Fleming
- IF.com.au
In issue #153 of If Magazine (June-July 2013), If launched an exclusive workflow series written by one of Australia's leading post-production and digital media practitioners, John Fleming. To be released in four instalments, the series will explore the different approaches to workflow associated with digital content production.
.
Introduction
Early attempts at workflow management systems were expensive, came largely from the print market and were hindered by the .closed. nature of post productions systems. The new generation of workflow management systems has evolved with the move to digital acquisition and the more .open. nature of the technologies being used across the content production pipeline. This article briefly explores the evolution of these technologies and options for content creators. . The Issues
Our industry is generating more content than ever before. It.s one thing to store the content but another to quickly find a specific asset when you need it. There is a genuine...
.
Introduction
Early attempts at workflow management systems were expensive, came largely from the print market and were hindered by the .closed. nature of post productions systems. The new generation of workflow management systems has evolved with the move to digital acquisition and the more .open. nature of the technologies being used across the content production pipeline. This article briefly explores the evolution of these technologies and options for content creators. . The Issues
Our industry is generating more content than ever before. It.s one thing to store the content but another to quickly find a specific asset when you need it. There is a genuine...
- 10/22/2013
- by John Fleming
- IF.com.au
In issue #153 of If Magazine (June-July 2013), If launched an exclusive workflow series written by one of Australia's leading post-production and digital media practitioners, John Fleming. To be released in four instalments, the series will explore the different approaches to workflow associated with digital content production..
.
Introduction
Advertisers now have many options to reach consumers. Whilst traditional free to air television continues to be the mainstay, digital projection has moved cinema to a new level of accessibility, high resolution digital screens for .out of home. advertising are everywhere and there is significant growth in digital .channels. targeting niche audiences.
Along with this comes an increased focus on making content that people want to share. More than ever before, it seems the idea behind the campaign is all important, with advertisers often accepting only the minimum production values required to ensure the idea can engage an audience. From a workflow perspective, the...
.
Introduction
Advertisers now have many options to reach consumers. Whilst traditional free to air television continues to be the mainstay, digital projection has moved cinema to a new level of accessibility, high resolution digital screens for .out of home. advertising are everywhere and there is significant growth in digital .channels. targeting niche audiences.
Along with this comes an increased focus on making content that people want to share. More than ever before, it seems the idea behind the campaign is all important, with advertisers often accepting only the minimum production values required to ensure the idea can engage an audience. From a workflow perspective, the...
- 10/22/2013
- by John Fleming
- IF.com.au
In issue #153 of If Magazine (June-July 2013), If launched an exclusive workflow series written by one of Australia's leading post-production and digital media practitioners, John Fleming. To be released in four instalments, the series will explore the different approaches to workflow associated with digital content production. This first article looks at the main influences and identifies the building blocks for a future focussed digital workflow. Other articles will take a more detailed look at the workflows associated with specific genres. Find the second instalment of the series in If #154 (August-September), on sale now..
.
.
Feature Film Snapshots
In creating a finished feature film many hours of content must be carefully distilled into a hundred minute Master. From a creative perspective, allowing the ongoing evolution of the idea until the very last moment is seen by many Directors as highly desirable. The following .snapshots. provide insights into some key trends that look to support this ideal.
.
.
Feature Film Snapshots
In creating a finished feature film many hours of content must be carefully distilled into a hundred minute Master. From a creative perspective, allowing the ongoing evolution of the idea until the very last moment is seen by many Directors as highly desirable. The following .snapshots. provide insights into some key trends that look to support this ideal.
- 9/4/2013
- by John Fleming
- IF.com.au
In issue #153 of If Magazine (June-July 2013), If launched an exclusive workflow series written by one of Australia's leading post-production and digital media practitioners, John Fleming. To be released in four instalments, the series will explore the different approaches to workflow associated with digital content production. This first article looks at the main influences and identifies the building blocks for a future focussed digital workflow. Other articles will take a more detailed look at the workflows associated with specific genres. Find the second instalment of the series in If #154 (August-September), on sale now..
.
To consider a whole of production workflow we must first recognise the key phases of content production; pre-production, shoot, editorial, VFX, finishing and delivery. Each of these phases is considered a .vertical. that includes key elements like specialists, the technology they use, service providers and operational practices. The elements are largely common across the verticals and conceptually form...
.
To consider a whole of production workflow we must first recognise the key phases of content production; pre-production, shoot, editorial, VFX, finishing and delivery. Each of these phases is considered a .vertical. that includes key elements like specialists, the technology they use, service providers and operational practices. The elements are largely common across the verticals and conceptually form...
- 9/4/2013
- by John Fleming
- IF.com.au
In issue #153 of If Magazine (June-July 2013), If launched an exclusive workflow series written by one of Australia's leading post-production and digital media practitioners, John Fleming. To be released in four instalments, the series will explore the different approaches to workflow associated with digital content production. This first article looks at the main influences and identifies the building blocks for a future focussed digital workflow. Other articles will take a more detailed look at the workflows associated with specific genres. Find the second instalment of the series in If #154 (August-September), on sale now..
.
Introduction
As we have migrated from film to digital, discussions around feature and television drama workflows have been prominent, however,much of what is happening in other areas of television and the rapidly fragmenting advertising market is not only highly innovative, it is potentially realising a very different platform for audience engagement. Supporting the Creative Process
In 2009 the...
.
Introduction
As we have migrated from film to digital, discussions around feature and television drama workflows have been prominent, however,much of what is happening in other areas of television and the rapidly fragmenting advertising market is not only highly innovative, it is potentially realising a very different platform for audience engagement. Supporting the Creative Process
In 2009 the...
- 9/4/2013
- by John Fleming
- IF.com.au
Did you miss me? Because I brought presents, if I can just find time to prepare them for you guys. I have about 800 pictures, interviews with Travis Wall and Nick Lazzarini (they're huggers!), Alec Mapa, Bruce Vilanch and Dixie Longate. I have stories galore, from the over-the-top dance parties to just how filthy Idina Menzel's mouth is when she's not singing. I do want to thank Don and Rich at Atlantis Events for having me and Andrew Oldershaw of Fifteen Minutes for facilitating everything. That will all come later in the week, so let's get to our Meme. I hope you're ready for Meme Classic after all the tasty new writers you had last week!
Lifetime has cast the leads in their contemporary remake of The Blue Lagoon, and they went Down Under to grab Brenton Thwaites and Indiana Evans from Home and Away. But the big question is...
Lifetime has cast the leads in their contemporary remake of The Blue Lagoon, and they went Down Under to grab Brenton Thwaites and Indiana Evans from Home and Away. But the big question is...
- 2/7/2012
- by lostinmiami
- The Backlot
Digital Pictures Australia general manager John Fleming has appointed Sarah Cloutier as general manager for the company’s Melbourne office.
The Post production house is a part of OmniLab Media.
The press release said: “The ongoing opportunities brought on by digital technology and the ever-changing environment of the post production industry globally necessitates this change and will ensure the business continues to deliver innovative post production and digital solutions to the market.”
Cloutier will oversee operations and manage Melbourne’s technical pipeline and business development.
Cloutier was previously at BSkyB in London for three years as 3D post production supervisor and VFX executive producer where she managed the technology and operating structure to accommodate the HD expansion within Sky’s post production and VFX department as well as launching Sky’s 3D channel. Before that Cloutier was at The Mill, London, a VFX and post house.
The Post production house is a part of OmniLab Media.
The press release said: “The ongoing opportunities brought on by digital technology and the ever-changing environment of the post production industry globally necessitates this change and will ensure the business continues to deliver innovative post production and digital solutions to the market.”
Cloutier will oversee operations and manage Melbourne’s technical pipeline and business development.
Cloutier was previously at BSkyB in London for three years as 3D post production supervisor and VFX executive producer where she managed the technology and operating structure to accommodate the HD expansion within Sky’s post production and VFX department as well as launching Sky’s 3D channel. Before that Cloutier was at The Mill, London, a VFX and post house.
- 11/2/2011
- by Colin Delaney
- Encore Magazine
This evening on the Daily Show, Jon Stewart gently poked fun at Barack Obama's recent speech regarding taxes ("This is not class warfare. It's math.") by confirming that one can never go wrong appealing to Americans' love of math. Then, he poked slightly-than-gentle fun at Louisiana Sen. John Fleming's (R) recent comments about "only" having $600,000 with which to feed his family after taxes. And only $400,000 after feeding them! Those Flemings must be downright ravenous.
- 9/22/2011
- by Alex Alvarez
- Mediaite - TV
Republican Congressman John Fleming of Louisiana got himself caught out on an awkward limb this morning while talking class warfare with MSNBC's Chris Jansing. When asked about the profit his businesses (Subway and Ups Store franchises) brought him in the past year, he offered that much of the $6.3 million is whittled away by taxes and operational costs, and "So by the time I feed my family, I have maybe $400,000 left over to invest." Yes, barely enough to let themselves eat cake.
- 9/19/2011
- by Zara Golden
- Mediaite - TV
The board of the Independent Cinemas Association of Australia (Icaa) has unanimously supported chief executive Mark Sarfaty after conflict of interest issues were raised about his handling of virtual print fee negotiations as part of a Federal Court case. The issue was referred to by Justice Gordon last month when handing down judgement in the matter of Digital Cinemas Network versus Omnilab Media and Omnilab Media Cinema Services and Michael Smith. The judgement referred to internal Omnilab documents, in which Omnilab Media Melbourne.s general manager John Fleming wrote about paying Sarfaty a potential $50,000 success fee for choosing Omnilab as Icaa.s preferred digital cinema system integrator, as well as an annual fee of $20,000 for a board seat on its new digital...
- 6/6/2011
- by Brendan Swift
- IF.com.au
Encore spoke with the team from Digital Pictures, about their work on Sanctum.
How did you prepare for this project?
Rachel Knowles, head of post production: We met with Andrew Wight, line producer Brett Popplewell and post-production supervisor Marc Van Buuren back in early 2009. Our Gm John Fleming had 3D on his radar for a long time and we were ready to make the investment; Sanctumwas the perfect opportunity. Andrew knew he’d be bringing a lot of expertise to the table from Avatar and his relationship with James Cameron; our guys learnt a lot but they also assisted in perfecting and adapting the technologies and workflows as well – we managed to set up a 3D editorial workflow which they hadn’t had back in the earlier days of Avatar.
Nic Smith, technical director: Coming into Sanctum we’d spent a lot of time in R&D looking at what...
How did you prepare for this project?
Rachel Knowles, head of post production: We met with Andrew Wight, line producer Brett Popplewell and post-production supervisor Marc Van Buuren back in early 2009. Our Gm John Fleming had 3D on his radar for a long time and we were ready to make the investment; Sanctumwas the perfect opportunity. Andrew knew he’d be bringing a lot of expertise to the table from Avatar and his relationship with James Cameron; our guys learnt a lot but they also assisted in perfecting and adapting the technologies and workflows as well – we managed to set up a 3D editorial workflow which they hadn’t had back in the earlier days of Avatar.
Nic Smith, technical director: Coming into Sanctum we’d spent a lot of time in R&D looking at what...
- 2/3/2011
- by Miguel Gonzalez
- Encore Magazine
Alex Reid movie Killer Bitch must be resubmitted to the British Board of Film Classification (BBFC) after it was passed uncut with an 18 certificate under a different name. According to The Mirror, the controversial straight-to-dvd movie was submitted under the name Killer Babe because of fears it might not be stocked under its original title. A BBFC spokeswoman said: "The film has been approved for DVD release under the name by which it was submitted, Killer Babe. "If they wish to change the name they will have to resubmit it for classification." The film's financier John Fleming explained on his blog: "Our upcoming (more)...
- 3/25/2010
- by By Mayer Nissim
- Digital Spy
Los Angeles, California (X17online) - Would you wear the Miley Cyrus label? Wal-Mart Stores Inc. says it will launch a line of clothing for young women created by the Disney princess and fashion designer Max Azria, this August. The line will consist of reasonably priced knit tops, pants and graphic T-shirts that will reflect "her young woman rocker sensibility," said John Fleming, chief merchandise officer for Wal-Mart. Click Here to see all of X17online's Miley Cyrus photo galleries Click Here to see all of X17online's Miley Cyrus stories Click Here to see all of X17's Miley Cyrus videos...
- 6/5/2009
- x17online.com
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