Special thanks to Anna Lockwood for hosting Interlock’s Board of Directors Summer Summit on the banks of the Merrimack in Newburyport.
Lockwood’s lovely home shouldn’t fool you. For years she slept in tents, for months at a time, making blue-chip natural history films on tigers and monsoons prior to her post as Senior Manager, Professional Services Consulting, for the Americas at Avid.
In other recent news, Faith in the Big House had it’s first pre-release screening at a high tech cinema in Orlando. The feedback was invaluable; we’ve been in the cutting room since.
The piece is tantalizingly close to “ picture lock”, and the final soundtrack for Big House is being prepared by Frank Cunningham, a master PBS-WGBH re-mixer,and we’re moving into the very last scene tweaks and engineering. Many thanks to Board Members Peter Reilly and the Dumonds for their special help and encouragement.
The astounding, and intertwined paths of nineteenth century critic/ feminist Margaret Fuller and abolitionist/ author Thomas Wentworth Higginson are coming to life as a script/ treatment. It’s the brain child of former Interlock Treasurer Peter Reilly and shows promise as a dramatic narrative.
We’ve been demoing high-end color correction and visual fxs hardware, including the two systems considered the best in the world. This is to explore the possibility of becoming the first long-form feature-only finishing house in New England. The business concept is built mainly on providing theatrical quality color matching and mastering, some of it taking place during the shooting itself, for a better Indy film outcome.
The idea was inspired in part by conversations with Board Members Vinca Jarrett and David Kleiler; and of course, by the Massachusetts film tax credit incentive system. The first feature film we tackled, Oxymorons underwent a miraculous theatrical grade second pass color correction in our facility. It’s a mean streets biopic starring and produced by Johnny Hickey.
Set in Charlestown , it deconstructs the Oxycontin trade, an opioid more available and often more devastating than Heroin. Hydraulix (Avatar, 2012) is finishing the special fxs work with Bolden and Buhl who are now on site, and Finish and Heart Punch provided the rest of the post-production support. It has been an adventure.
The scenes that comprise The Extraordinary Passage of the Great White Hunter have been shaped. This impressive work remains in need of narration, segment integration, graphics and polish. It has been our longest project to complete and next to wrap on the heels of Faith in the Big House’s completion. It has attracted a measure of controversy before its release, with its frank portrayal of post- WWI racialism, eugenics and the
Just released, El Pilar chronicles the work of Archaeologist Anabel Ford in protecting the culture and livelihood of the Maya in Guatemala and Belize. Most early excavated Mayan structures, stripped of their underbrush and the canopy above them, now bake -- and decay -- in the sun. Acid dissolves the limestone and turns the ancient monuments to dust. Ford works alongside local Maya to preserve their century old cities and the traditional rain forest gardening that sustained the Maya.
Mifigash: How a group encounter with self-identity can transforms Jewish culture is currently being on-lined at Interlock’s studios.
Lockwood’s lovely home shouldn’t fool you. For years she slept in tents, for months at a time, making blue-chip natural history films on tigers and monsoons prior to her post as Senior Manager, Professional Services Consulting, for the Americas at Avid.
In other recent news, Faith in the Big House had it’s first pre-release screening at a high tech cinema in Orlando. The feedback was invaluable; we’ve been in the cutting room since.
The piece is tantalizingly close to “ picture lock”, and the final soundtrack for Big House is being prepared by Frank Cunningham, a master PBS-WGBH re-mixer,and we’re moving into the very last scene tweaks and engineering. Many thanks to Board Members Peter Reilly and the Dumonds for their special help and encouragement.
The astounding, and intertwined paths of nineteenth century critic/ feminist Margaret Fuller and abolitionist/ author Thomas Wentworth Higginson are coming to life as a script/ treatment. It’s the brain child of former Interlock Treasurer Peter Reilly and shows promise as a dramatic narrative.
We’ve been demoing high-end color correction and visual fxs hardware, including the two systems considered the best in the world. This is to explore the possibility of becoming the first long-form feature-only finishing house in New England. The business concept is built mainly on providing theatrical quality color matching and mastering, some of it taking place during the shooting itself, for a better Indy film outcome.
The idea was inspired in part by conversations with Board Members Vinca Jarrett and David Kleiler; and of course, by the Massachusetts film tax credit incentive system. The first feature film we tackled, Oxymorons underwent a miraculous theatrical grade second pass color correction in our facility. It’s a mean streets biopic starring and produced by Johnny Hickey.
Set in Charlestown , it deconstructs the Oxycontin trade, an opioid more available and often more devastating than Heroin. Hydraulix (Avatar, 2012) is finishing the special fxs work with Bolden and Buhl who are now on site, and Finish and Heart Punch provided the rest of the post-production support. It has been an adventure.
The scenes that comprise The Extraordinary Passage of the Great White Hunter have been shaped. This impressive work remains in need of narration, segment integration, graphics and polish. It has been our longest project to complete and next to wrap on the heels of Faith in the Big House’s completion. It has attracted a measure of controversy before its release, with its frank portrayal of post- WWI racialism, eugenics and the
Just released, El Pilar chronicles the work of Archaeologist Anabel Ford in protecting the culture and livelihood of the Maya in Guatemala and Belize. Most early excavated Mayan structures, stripped of their underbrush and the canopy above them, now bake -- and decay -- in the sun. Acid dissolves the limestone and turns the ancient monuments to dust. Ford works alongside local Maya to preserve their century old cities and the traditional rain forest gardening that sustained the Maya.
Mifigash: How a group encounter with self-identity can transforms Jewish culture is currently being on-lined at Interlock’s studios.
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