Meet Danish Director of Photography Sophie Gohr

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Cinematographer Sophie Gohr

Though the career paths for many go undecided until later in life, ‘signs’ of a person’s natural gifts and interests are often apparent in childhood– we just have to know how to spot them.

Growing up in Espergærde, a small fishing village outside of Copenhagen, Denmark, Sophie Gohr was surrounded by a bucolic countryside that fueled her creative imagination. After attending a National Geographic photo exhibit, she went home and made her own camera out of cardboard. She was 6.

I was absolutely in love, I knew I wanted to do something like that when I got older,” recalls Gohr.

With a lens made out of a toilet paper roll, Gohr would take her ‘camera’ across town, going on photo adventures and capturing everything ‘mentally.’ Quickly taking notice of their daughter’s budding interest, Gohr’s parents bought her a camera. It was then that the young Dane began cultivating the creative eye that would later lead her to become a sought after cinematographer.

I would sneak up to the library in school at every chance I got to look at photography books,” says Gohr. “My favorite photographers were Steve McCurry and Yann Arthus. The photographs were telling a story and it was like magic to me, I could feel it, smell it and it was like I was there.”

With a painter for a grandfather, and a fashion designer and dance instructor for a mother, Gohr grew up surrounded by creatives who supported and nurtured her developing interest in the arts. Some of her earliest memories are of her grandparents taking her to museums to look at paintings, and attending ballets, opera houses and Riverdance performances with her parents.

“I remember my mom telling me to draw or paint what I felt the opera or dance was about and how it made me feel. To me that has been such a gift in making the connection of feeling something and putting it down on paper,” says Gohr.

“My mom also started meditating and doing visualizations with me when I was 10. I think a lot of these things influence you, especially having parents that supports you in your art emotionally.”

Cinematographer Sophie Gohr
Cinematographer Sophie Gohr

Today, Gohr’s ability to seamlessly infuse the shots she captures with emotive qualities and create a visual language that pulls viewers into the story on screen is one of the key elements that sets her apart from others in her field. Whether she is leading the camera department as the cinematographer on films such as “Wretched” and “Madeleine,” or on tv series such as the upcoming Danish comedy “Frida and Karo” and the upcoming docuseries “A Woman’s Story,” Gohr has a unique talent for nailing the director’s vision.

The new comedy series “Frida and Karo,” which Gohr recently wrapped production on, is directed by award-winning director Jonas Risvig, who’s known for his work as the director behind several cinematic music videos such as Felix Cartal’s “Get What You Give,” Sopico’s “Paradis,” and Tritonal’s “Call Me.”  

Sophie was our prefered cinematographer for the project and made us able to visualize our humor in the aesthetics of the piece,” explains Risvig. “She has a great eye for details and visual identities.”

Starring Karoline Brygmann from the series “Yes No Maybe” and “Something’s Rockin’,” Frida Brygmann and Peter Zandersen from the series “Follow the Money” and “Ride Upon the Storm,” and produced by Reinvent Studios, the series “Frida and Karo” is set in the modern age and follows the lives of two friends. Gohr’s seasoned skill in terms of lighting and visual composition has made her a powerful cinematographer who knows exactly how to frame and light each scene in a way that supports the story.

Gohr says they were going for a ‘very bright and happy’ look in terms of the visuals for the upcoming series. “Since it’s a comedy I decided on warm tones for the lighting, and get sunlight vibe. And I used soft vintage Leica lenses to create the feeling of softness,” explains Gohr. “I used my RED weapon to get the clean cinematic look. The director really wanted the framing to be very simple as if it was a Youtube channel show. A living room type of situation, that turned out really fresh and different.”

Through cinematography Gohr has not only found a field that utilizes her unique range of skills, but it’s one where she gets to shoot projects like the ones she dreamed of doing in her youth. Earlier this year she began working as the cinematographer on the upcoming docuseries “A Woman’s Story” from director Nathalie Jornheim. With each episode taking place in a different country, the show depicts stories about specific women across the globe and incorporates aspects of the local culture and cuisine from the countries portrayed.

“I can’t talk too much about the show yet because it hasn’t been released and we are still shooting,” explains Gohr. “But I love the theme, cultural documentaries are what I fell in love with as a kid. I’m enjoying observing the stories of each of these women, and having a director who is very visual makes it an awesome project to be a part of.”

As the head of the camera department, Gohr is in charge of creating more than just the visual look of the series, but overseeing her department’s budget and the work of those on her team. About some of the differences between shooting docuseries such as “A Woman’s Story” and some of her other work, Gohr says, “You have to be ready and on your toes at all times, to get that special moment. Where as commercials and narrative projects are usually shot in more controlled environments, and there is more prep time.”

Though the release date for the series “A Woman’s Story” is not set just yet, Gohr confides that the creators of the series are in talks with Amazon, Netflix and Youtube as potential platforms.

Though she was born and raised in Denmark, Gohr moved to London at the age of 16 to study music prior to moving into photography. “At that time I really wanted to be a rockstar and photography was something that would happen in the ‘future’ for me,” recalls Gohr. “I have now learned that sometimes what you think is only going to be a hobby, actually ends up becoming the love of your life.”

The hobby has undeniably turned into a full-fledged career for Gohr, and it’s one that continues to fuel her curiosity, ignite her passion and draw on all of her skills. In addition to working on a plethora of film and television series, Gohr regularly works as the special on set photographer on projects from Pink Banana Studios, an award winning creative production company based in London, which earned 9 AVA Digital Media Awards this year. As the special photographer, Gohr has captured crucial behind the scenes shots on numerous commercials for Pink Banana Studios, including ones for Dove, Green Berger, the Huggle App and more.

 

Australia’s Mark Davis talks passion for acting and starring in ‘I Want You’

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Mark Davis

Despite having other passions, Mark Davis found himself acting from a young age. Growing up in Melbourne, Australia, his father had an old VHS camcorder, and to pass the time, Davis’ brother and his friend used to use the camera, recording small skits. Being the youngest, Davis was always made to be a bad guy who gets beaten up, or he would be dressed up in his mother’s clothes to play a woman. At the time, he was just happy to be spending time with his big brother, but little did he know he would grow to be a celebrated actor.

Throughout his esteemed career, Davis has been a part of several acclaimed projects, from award-winning movies to prolific commercials. He has starred in films like Lucy and Topdecked, which he also wrote, as well as the upcoming period drama Fallen. Australians also know his face from national commercials for Honda, Crownbet, Interflora, and more.

“I knew acting was always something I had a natural affinity for. Instinctually the acting process made sense to me and even though I was quite shy, I felt freedom when taking on a role. I feel like acting is a culmination of many art forms and for me movement and being in touch with something like your emotions and imagination as a profession just made sense. I like taking a walk in other people’s shoes and to get paid to swear, cry, fall in love and throw chairs is a privilege,” said Davis.

One of Davis’ first tastes of international success came with the 2013 romantic drama I Want You. The story follows Maya, who is deeply in love with a boy who lives in Israel. Maya struggles to maintain her faith in a relationship that unfolds largely on a computer screen after she meets another man who can provide the tangible aspects missing from her relationship. Although tempted, Maya has to ask herself, will this new relationship give her what she truly wants?

“The story really demonstrates that good people can be tempted to do things that are against their morals and who they are. In the end, however, the film is about forgiveness and that message is very strong,” said Davis.

In the film, Davis plays Ethan, a character who was very much the other man in a love story. Ethan had to seduce Maya, who was in a very healthy relationship. He was the protagonist in the film. He came into a healthy environment and had to be the perfect blend of nice and endearing whilst also being the bad guy who is going to ruin a relationship purely for his own sexual gratification. Therefore, Davis had to be extremely charming, and managed to do so in tough shooting conditions. It was extremely hot on set, as they were filming in many different locations during the Australian summer.

“I liked being cheeky and being a person with low morals dressed as a nice guy. I’m more self-deprecating and awkward in real life so I had to channel my inner Brando to pull it off. That’s the joy in acting and I definitely had fun on this film. I’ve always said that no one cares about your enlightenment, the audience will watch because they want to see your darkness. It’s more relatable,” said Davis.

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With the help of Davis, the film went on to be screened at the Palm Springs International Film Festival, the Newport Beach film festival and the St Kilda Film Festival, seeing great success around the globe.

“It was one of the first films I was involved with and I’m glad it was so highly regarded. Viva is a great creative mind and an amazing talent,” he concluded.

 

Written by Annabelle Lee

Livi Zheng Directs Music Video for Grammy Award Winning Artist

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(On the set of “Queen of the Hill” in Joshua Tree)

Livi Zheng recently directed the music video “Queen of the Hill” featuring Judith Hill a Grammy Award winning artist and contestant on The Voice (US season #4). “Queen of the Hill” is a unique collaboration between two genres of music: funk and Balinese gamelan. The music video itself is a kaleidoscope of funk and traditional Balinese dance and costumes.

“Queen of the Hill” was shot in the Southern California’s Joshua Tree desert. Filming in the desert is always a challenge but doing so in summer, as in the case of this music video, is even more so. Shot in a single day, the greatest challenge for the Queen of The hill team was transporting a Gamelan ensemble during rising temperatures in excess of one-hundred degrees Fahrenheit. Director/Producer Livi Zheng only had access to one set of the large gamelan ensembles and if the set broke during three-hour truck drive, or cracked under the heat…that’s it, show over.

The making of “Queen of the Hill” is featured in the full-length documentary Bali: Beats of Paradise. Also directed by Livi Zheng. Bali: Beats of Paradise will be released in theaters November 16, 2018. This epic story of Balinese music and the spread of gamelan was shot in Bali, Indonesia, and The United States. The executive producers of the film are His Excellency Ambassador Umar Hadi, Indonesian Ambassador to South Korea, former Consul General of The Indonesian Consulate in Los Angeles, and Julia Gouw.

Julia Gouw, on the list of 25 Most Powerful Women in Banking in the US, was born in Indonesia but has lived in the US for the last forty years. Her passion includes promoting Indonesian culture in the US internationally. Julia Gouw and Livi Zheng have collaborated on projects ranging from filmmaking to concert production.

Roma Kong takes audiences behind the scenes with Nickelodeon

Roma Kong has always been a big movie fan. Growing up in Lima, Peru, Kong’s favorite childhood pastime was taking in the latest flick, whether at the local cinema or on her couch at home. Even from that young age, she knew she wanted to eventually go on to make films like the ones she enjoyed so much.

“The moment I truly decided I wanted to make movies for the rest of my life was back in 2001 when I went to see Lord of the Rings: The Fellowship of the Ring on opening night. To see these iconic literary characters and worlds come alive on the screen was mesmerizing. I remember how mind-blowing and epic the film was, and I just thought, I want to do that. I want to be one of those people who make magical worlds be a reality before the audience’s eyes,” she said.

Now, Kong is an industry leading editor in both her native country and abroad. Having worked on several prolific projects for none other than Disney, Kong has established her reputation with her versatile talent.

One of Kong’s other long-standing professional relationships is with Nickelodeon. Working on several projects for the company since 2016, Kong’s work has been appreciated by audiences all around the world. Earlier this year, she embarked on a new project for the celebrated production company, taking viewers behind the scenes of their favorite Nickelodeon shows, featuring some of the shows’ biggest creators and cast members.

“I think these videos give the audience an idea of what it’s like to work in the industry. It shows them that we are all human and not this kind of over the top industry where everything is super glamorous. That people that are part of this industry also do all the silly things everyone else does at work, we all joke and we all work incredibly hard to make the content that everyone loves watching. It grounds the industry for the audience and makes it more accessible for everyone,” said Kong.

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Roma Kong at Nickelodeon

The online video series includes a behind-the-scenes look into the Fairly Odd Phantom, Butch Hartman’s new crossover animated short, and has exclusive interviews with the casts of The Fairly Odd Parents, T.U.F.F. Puppy, Danny Phantom, and Bunsen is a Beast. They were all published through Nickelodeon’s Social Media platforms, including YouTube, Facebook and Instagram. Together they are some of the most viewed social media videos published by the studio, amassing over 400,000 views.

“I’ve always loved working on BTS projects. They’re always fun because not only are you looking to give the audience a glimpse of how their favorite shows and movies are made but also, you’re looking to catch those extra special funny moments that only happen behind the scenes. Making these for Nick and editing videos with some of their biggest creators at work really stood out for me,” said Kong.

Kong was the sole editor for every one of the BTS Nickelodeon videos. As the videos were very time sensitive, the production company needed an editor that was effective working at a fast pace. Even working quickly, Kong excels at catching great moments that not only are humorous and entertaining, but that look good on camera. On top of this, she has a unique ability to edit to the rhythm of the music in the video, making them that much more captivating. The use of music was essential to each videos success, which could not have been achieved without Kong’s touch.

“I loved these because it was awesome watching the footage and seeing these people in action. Being able to catch great moments of their personalities and how much they love what they do and being able to tell a story with those moments was fantastic. It was great watching the action go on and then something completely unexpected and funny would happen and I would just burst out laughing and call my teammates and we would have a great team moment. They were incredibly fun to work on,” she said.

Storytelling was a fundamental element for Kong when editing the videos. Even though they were just going behind the scenes of a show, she knew she still needed to tell the audiences a story. She was given all the footage and went through everything to find the best moments and tell a coherent story. Because they were behind the scenes videos, at the beginning, it was difficult to figure out how to structure it for everything to make sense and not just be a series of funny bits or bloopers. Kong therefore decided to first separate sections of the video, parts where everyone was laughing, parts where they were recording voices, etc., and then, depending on the video, she would either keep the sections separate or intercut them, jumping from one section to the other. She then added small sections from the actual show to help the audience make the connection between the part that was being made and the exact moment in the piece.

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Roma Kong at Nickelodeon

“Nickelodeon is one of the big ones. Every kid grows up watching Nickelodeon and adults my age all had their lives impacted by them. Everyone knows them and what they stand for and their great reputation. It fills you with a sense of pride knowing that you’re working for a company that so many consider part of their lives. Whenever I talked to my friends about the shows they used to watch growing up, 90 per cent of those shows are Nickelodeon shows. It feels amazing to work for a company that has been so influential for so long,” she said.

Kong worked on BTS Nickelodeon from January to May of this year. Every video she did provided a new learning experience for the editor, which is why she loves what she does so much. Every time she steps into the editing studio, she remembers what it was like as a child, being so captivated with movie magic, and she strives to engages her audiences the way she was once so engaged. That drive is what makes her such a tremendous editor, and for those looking to follow in her footsteps, she encourages you to never give up.

“Never ever think that you can’t be a part of this industry, you absolutely can. It’s a very intense industry. It’s not glamour and glitz as they like to show, it’s long hours, very short deadlines, hard work and lots of different personalities to deal with. So, you have to be sure this is what you want to do for a living. Really sure. Once that’s settled, educate yourself. Filmmaking is a creative line of work but it’s also very technical. You need to learn how to do it. Watch all the content you can, no matter how good or bad you think it might be. You’ll be surprised how much one learns from bad movies. Learn the tools of writing and storytelling, your job is to tell stories, so learn how to properly tell them. Lastly, talk to people, reach out to people already in the industry, ask for their advice, ask if you can meet up for a cup of coffee. We all started somewhere and we all know how much talking to people already working helped us,” she advised.

Colorist and Editor Cynthia Chen artistically portrays grief and loss in ‘The Last Page’

“To me, filmmaking is like making a delicious meal. The process of shooting is like gathering the ingredients for the food, whereas post editing is like cooking. Editors reorder the different materials, and create different dishes through proper dressing and seasoning,” she said.

Chen is recognized around the world for what she does. Having edited highly successful films such as Slingshot Prince, Offsprung, and most recently, I Don’t Want to Sleep Alone, Chen is an industry leading editor in China with her work celebrated both there and abroad.

Chen is also a celebrated colorist, often combining her roles on many films. She has enhanced many films through color with her work, including Maskand The Last Page. The latter was a motivational project for the Chinese native, as she was telling a true story about another artist.

The Last Page is a short film that follows the story of a once famed comic book writer Emanuel Delgado. After a long career of award winning comics, and a mega fan base, it’s been nearly a decade since Emanuel abruptly ended his career because of the death of his brother. He is living in a house littered by the drunken debris of his depression until one of his fans show up who is the same age as his brother and encourages him to restart drawing comic books.

“I like this film because it carries positive energy and is both motivating and encouraging. It’s a story about a person coping after the big mental trauma of losing everything to picking himself up and changing his miserable life. It encourages people to never give up on their dreams, reminding them there are always other people supporting and caring about them. We need to cherish our own lives and do more meaningful things in the limited time that we have. I was totally touched when I finished watching this film. It is not only about remembering the people we’ve lost, but also encourages those people who lost their hope from losing the one they love to get out of the deep sorrow and tell them that there is always somebody else supporting and caring about them,” said Chen.

The film premiered at the Los Angeles Independent Film Awards 2017, where it took home the top prize. Chen was both happy and surprised when she heard that The Last Page was an award-winning film, knowing that it touched audiences the same way it touched her.

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“I remembered those countless nights that I was talking with the director about the color grading ideas and how we could make this film into a better piece of art. And right now, we can all be proud of ourselves that we made it to the end, although it was just a small step on a long road ahead of me, I will keep up and be more creative as a filmmaker,” she said.

Chen was in charge of all the color grading for this project. The director described what kind of color effects he wanted for each scene after showing her the editing. Chen marked down every detail he mentioned and spent weeks turning his vision into a reality.

There are a lot of scenes in the film that express a decadence and hopeless feeling, and Chen used color to enhance these emotions. She used a heavy yellow and green color tune for showing the messy house environment. After the character’s internal emotion changed, she used some bright and clean color tunes to represent the delightful changes in his life. The whole color tune changed from cold to warm. Her color grading works highlighted the transitions of the moods and echoed the arc of the story, different color rhythms made this whole film vivid and lifelike. Her work took the film to a new level.

“The film had a big creative space for me to do the color grading, through the discussion with the director, I understood what he wanted and started to do the individual color design. Throughout the whole process I had a chance to use the color analyse from other different film types and apply them to this film project. I like the color tunes from Fight Club very much, and I was always trying to get a chance to apply them into my film projects. This short film fulfilled the wish for me by using the Fight Club dirty color tunes to highlight the messy house when the main character was at his lowest point. Also, it created a big comparison later when the main character was back into his normal life,” she said.

Be sure to watch The Last Page to see Chen’s outstanding work and be moved by Emanuel Delgado’s story.

 

Written by Annabelle Lee

Art Director Cagri Kara Mixes Creativity and Ambition for a Winning Formula

The acclaimed Turkish art director Cagri Kara always knew his destiny lay in the arts. As a teenager, Kara wasted no time, successfully creating and selling a variety of progressive, eyecatching web designs before graduating high school. After attaining design degrees at university, the ambitious, driven Kara established himself, in short order, as one of the most skilled art directors in hometown Istanbul, the biggest, most sophisticated metropolis in eastern Europe.

The international entertainment, promotion and design communities are a tight knit pool of craftspeople and Kara’s mastery of the universal language—visuals—and impeccable reputation as a reliable, intuitive and groundbreaking artist quickly spread. Kara’s early formal accolades included numerous high-profile industry awards Crystal Apple Festival of Creativity, Kirmizi Advertising and MIXX Awards and the famed Cannes Lions Festival of Creativity. All of this notably preceded his 2016 arrival in Los Angeles, where Kara’s characteristic professional alacrity found him taking on a spectrum-spanning array of assignments and campaigns for a wide variety of agencies and clients.

One of Kara’s first, key alliances in California was with the prominent Hollywood agency Forbidden Toast, a relationship which served both as proving ground and springboard for his American career.

“I’ve been working with Forbidden Toast since I’ve moved to LA,” Kara said. “It’s a high end creative services company that focuses on entertainment art work for movies and television The company’s owner, Sherry Spencer, hired me as an art director for several projects she was working on.”

It was a significant break for Kara, and also one that demanded he deliver first rate product. “Forbidden Toast has a very high quality work standard and a clear vision for the work they produce,” Kara said. “I very much respect that and enjoy working with the team. And I enjoy the challenges of producing such great work.”

From the start, Kara’s stylish, skillful contributions fit right in.

“My responsibility with Forbidden Toast is overseeing campaigns in post-production, and ensuring the artwork is correctly executed,” he said. “The projects I worked on were highly visible and vital to the success of the films and television shows for which we developed these campaigns, and my work resulted in both increasing the company’s revenue stream and exposure in the market.”

Kara’s mixture of technical skill, instinctive flair for appealing design and comprehensive grasp on the adaptability each visual element must have is a priceless combination.

“Mainly, we do print ads, large outdoor billboards and social media campaigns,” Kara said. ”The platform is not as important as the flexibility of the art work—it needs to be effective and integrated into all types of media, both internet and large scale print campaigns.

Kara’s keen vision has created important advertising campaigns for productions by some of the biggest names in the business—Sony, HBO, Fox, Netflix, Starz, National Geographic and numerous others.

“I worked intensely with Sherry in producing the final art work for the client,” Kara said. “The art gets approved directly by the studios and, often, also by the talent. And they were all very happy with the results.”

Kara’s successful ventures include campaigns for shows with wildly disparate themes and content. He successfully worked a winning campaign for the current season of comic provocateur Bill Maher’s “Real Time” (“The show is very timely and, I feel is very important to the American political climate. It was very special to be a part of the production of the art work for this series. The art went all over the United States and the show was highly rated and successful”) preceded by one completely opposite, 2017’s launch for the National Geographic television series Genius.

“It was very exciting and challenging,” Kara said. “The talent needed to give the impression that we were actually looking at Albert Einstein. Sherry and I worked closely together to produce a successful final product that appeared not only throughout the city but also appeared on the one of the most visible billboards in the city including—the entrance of the Fox studios.”

Whether it’s documentary, fantasy, film, television, album cover art or an international promotion for FIFA giant EA Sports, Kara’s sweeping creative scale, holistic grasp of his field’s requisite elements and most effective practices create the foundational basis upon which Kara’s formidable natural skills excel—and Forbidden Toast continues to reap his bounty.

As company president Sherry Spencer said “I’ve worked closely with Cagri over the last several years—I’ve been impressed by his ability to successfully lead teams of artists and watched his creative skill and impressive talent push my company even further into creative entertainment marketing. “

 

Writer Sonia Gumuchian Crafts Enthralling Stories for Film and TV

Poster for the new film “Home Entertainment”
Poster for the new film “Home Entertainment”

Every fiction contains at least a kernel of truth, but a great writer knows when not to let the truth get in the way of a good story. Taking inspiration from the people and experiences in her own life, Canadian writer Sonia Gumuchian is in a class of her own. With boundless curiosity, keen instincts and extraordinary perception, Gumuchian constantly watches and listens to the world around her, filtering everything she observes through the prism of her rich imagination.

Her most recent project, the film “Home Entertainment,” which Gumuchian wrote, co-directed, produced and edited, reveals her uncanny ability to translate real life experiences into laugh out loud stories that resonate with audiences. Told in three parts, the film takes place in a house that is rented out to temporary residents each weekend by its owner, who has a voyeuristic streak.

“Every story in this anthology, believe it or not, was heavily inspired by true stories- whether they were based off of our personal experiences or ignited with the help of a fascinating person that, at some point, crossed our path,” explain Gumuchian and her co-director Katherine Eaton in a Director’s Statement.

From a couple’s floundering romantic getaway to an unconventional sex-driven memorial and more, “Home Entertainment” follows a different set of house guests each weekend, all watched by the homeowner’s group of rich oddball dinner party guests through livestream security camera footage.

Eaton says, “Working alongside Sonia, it is evident that she is nothing short of an amazing writer, whose vision and leadership stands out beyond the norm. Apart from her great work ethic, she has this incredible creative ability to tell great stories, which are not only outrageously funny but also grabs and tugs at the hearts and minds of her audience — essentially getting people to think. I believe these elements make her an incredible asset in any film environment.”

Sonia Gumuchian

Gumuchian’s talent for creating captivating stories based, at least in part, on truths from her own experiences, was apparent even in her earliest work, and it’s one of the reasons her writing is so magnetic. Her vivid imagination proved invaluable when, as a young girl, Gumuchian was rarely surrounded by kids her own age. Aside from her parents and grandparents, her closest companions were often books, movies and TV. By the time she was a teenager, Gumuchian had taken to creating her own stories. During her first year of high school she met a strange boy with a bizarre hobby, and he quickly became her first muse.

“His name was Liam, and he told me stories of how he loved spending hours stalking people he barely knew, gathering intel on their lives, and even going as far as breaking into his school’s office and reading up on everyone’s medical history. Suffice to say, Liam and his strange addiction fascinated me,” Gumuchian said. “So one day, I sat down and wrote an entire novel from his point of view. It was through that experience that I found how exciting it was to spend hours escaping into someone else’s point of view.”

It was soon abundantly clear that the young Gumuchian was a bona fide prodigy. As soon as the ink was dry in her novel about Liam she focused her full attention on training with LEAP, a prestigious academy for promising young playwrights in Vancouver. By the time she finished high school she had already distinguished herself as the writer of two one-act plays, both of which were chosen to be produced and performed by the community of professional stage actors and writers at the Vancouver Arts Club Theatre Company.

The young writer’s remarkable abilities and accomplishments earned Gumuchian acceptance into the University of Southern California School of Cinematic Arts, which was once again ranked by the Hollywood Reporter as the #1 film school in the country — where she studied Writing for Film and Television. Gumuchian was quickly tapped by networks, producers and prominent figures spanning every corner of the industry to contribute her skills much earlier than most writers. Though still in school, she began taking her first steps as a writer by learning from the brightest executives who oversaw shows on FOX, HBO, ABC, and virtually every network and studio from across the industry’s proverbial alphabet soup, such as “Big Little Lies,” “Barry,” “Silicon Valley, “Game of Thrones,” “Family Guy,” “Once Upon a Time,” “Black-ish,” “Brooklyn Nine-Nine” and more.

“After working at TV and cable networks, at studios, and on independent films, I fell in love with the process of bringing stories to life,” said Gumuchian, recalling her early experiences as a writer in the industry. “From script to screen, my exposure to the inner workings of content creation taught me a lot about the craft and… shaped the industry professional I am today.”

Years working in creative development at many of the biggest networks in the world gave Gumuchian a staggering wealth of experience. XS Media Director of Development Julie Zhang, who worked alongside Gumuchian at HBO, says, “Sonia brings a contagious energy to the table that hooks you from minute one. Apart from amazing taste and her eye for good stories, she is a go-getter, and very determined to achieve the goals she sets for herself. In this business it’s sometimes more important to be perseverant than talented, so it’s good that she is both.”

As she grew in experience, so too did she grow in her determination to write and share with the world a story entirely of her own. With her 2017 script for the ambitious fantasy-comedy series “Loyal Royals” — which she created as well as wrote — that Gumuchian revealed once again that she is an imaginative and engaging writer in the modern era of television. The story is at once a whimsical and refreshing comedy, a farcical fantasy set in a world of knights and dragons and magic.

“Set in a medieval town, the recently divorced King Robert is forced to move into his daughter’s castle across the lands and aims to regain the little dignity he has left,” she explained. “Princess Lilian and Robert, her conservative dad, are at odds when he disapproves of her engagement to a frog, pisses off a local population of culturally sensitive unicorns, and continues causing ruckus in her kingdom.”

 

Her original pilot for “Loyal Royals” was exceptionally well received by critics and festival judges. Spotlighting Gumuchian’s talent on an international level, “Loyal Royals” earned First Place at the Hollywood Hills Screenplay Competition, Fifth Place at the London Film Awards, the Los Angeles Film and Script Festival’s Honorable Mention Award, the Jack Oakie Doubletake Award for Exceptional Achievement in Comedy, as well the award for Best Unproduced Script at the London Filmmaker Festival. “Loyal Royals” was also chosen an Official Finalist of the World Series of Screenwriting, a Semi-Finalist at the Screenplay Festival, as well an Official Selection of the Atlanta Comedy Film Festival. The success of the script proved once again that she is on par with the best writers in the industry, and it opened the door for her next project, the film “Home Entertainment.”

Ambitious and original, “Home Entertainment,” which Gumuchian marks as her biggest project to-date, stars Brock Ciarlelli (ABC’s “The Middle”) and features a soundtrack composed by guitarist Benjamin Sturley, known for his work with Noah Cyrus and Grammy-winner Selena Gomez. Hilarious and thoroughly unexpected, the film recently had its Los Angeles screening and is preparing to begin its festival run.

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Actor Brock Ciarlelli & Gumuchian on set of “Home Entertainment” (Photo by Penelope Eaton)

Perhaps Gumuchian’s greatest asset as a storyteller is an uncanny talent for identifying and appreciating the huge reserves of untapped narrative potential hidden in the most unexpected, overlooked and eschewed recesses of everyday life. Borne of her innate perception and indefatigable imagination, an endless stream of stories pour from Gumuchian’s mind — their impact compounded exponentially by the years she’s devoted to honing her already razor-sharp writing skills. Curiosity, imagination and an unrivaled mastery over the written word enabled Sonia Gumuchian to deftly ascend the ranks of cinematic academia, and she’s fully on her way to becoming one of the most sought-after writers in this burgeoning new golden age for film and television.

Character Technical Director Qiao Wang revolutionizes animation tech for Lexus commercials

When watching the animated 2011 hit Rango, inspiration struck Qiao Wang. At the time, he was a graphic designer, creating still images, but when watching the film, he was transfixed by the technology used to create such realistic computer animation. Always a fast learner, Wang began to study new styles of mathematics and computer science to combine with his artistic background, wanting to create similar films to that which so motivated him.

“The visual effects industry in filmmaking was still fresh and new to the world, and not a lot of people knew what it was in my country. I enjoyed what I did as a designer and artist, but I would have definitely changed my career path earlier if I knew what VFX was,” said Wang.

Since that time, the Chinese-native has gone on to become an internationally sought-after Character Technical Director and Character Effects Artist. Using his skills in both mathematics and design, Wang helps to conceptualize some of the most beloved characters in many recent popular films, including Rocket the Racoon and Groot in the mega blockbuster Avengers: Infinity War. Not limiting himself to just one medium, Wang has collaborated with Justin Timberlake on his latest music video, “Filthy”, and worked with world renowned companies, like Target, on national commercial campaigns.

“Qiao is both technical and artistic, he contributed to the team and film’s success in many aspects, including troubleshooting and solving technical issues on hero characters, and developing aesthetics for character cloth and hair simulation and skin deformation,” said Fabrice Ceugniet, Creature Pipeline Technical Director at Method Studios.

Ceugniet and Qiao worked together at Walt Disney Animation Studios on the upcoming film Ralph Breaks the Internet: Wreck-It Ralph 2 and Godzilla: King of Monsters. The two had previously worked together many times, and recently worked on a commercial series for the leading automotive company Lexus. The commercials, such as “2018 Lexus Golden Opportunity Sales Event: Lap the Planet” provided a unique and fun challenge for Wang, who delivered both technical and art direction to the digital Lexus vehicles. He took on many responsibilities for the commercial, working closely with the Character Supervisor, CG Supervisor, VFX Supervisor, Producer, Art Director, Model Maker, and Animators.

“Vehicles are like characters, they have characteristics. Especially Lexus vehicles; they are not only transportation tools, but also a work of art to me. To be able to help build extremely realistic CG Lexus cars sounds very cool, especially as they are the best-selling luxury cars in the United States. I’ve done human characters, cartoon characters, spaceship vehicles, utility vehicles in feature films, and more, but this was a type of project I’ve never done before. I always love to experience new challenges,” said Wang.

The goal was to create realistic CG Lexus cars to express their high performance. This meant that everything had to be exactly the same as the real cars. Wang was up to the task, so he first started doing research and development on rigging setup for cars, watching many videos to find out the details of movement of a race car’s wheels, suspensions, etc. He also had a few meetings with animators to ask them about what needed to be provided. After all that, Wang did not use the auto mastic vehicle setup tool to rig the cars. Instead, he scripted his own procedural Lexus cars rigging tool to provide animators with only a few very intuitive custom controls. He was also able to widely use the ‘Piston’ rigging system that he personally developed previously to fix bugs and improve features to make it a very powerful component in our character technology pipeline. These systems require less setup time and provide institutive and realistic controls for improving the motion of vehicles and many auto parts. On top of all this, Wang also solved wheel spinning motion blur issues to achieve the realistic yet artistic wheel effects. It requires a lot less rig rebuild time when there are model updates for over 10 vehicles. Undoubtedly, the vast technological improvements that Wang implemented saved not only him, but the entire team time, money, and effort.

“I really like the fast pace of this type of project, and the final results are fantastic. The whole production process went super smooth. I also like the different ways of logical thinking to explore and solve various fully mechanical rigging challenges for the vehicle parts,” said Wang.

The commercial series was to promote the 2018 Golden Opportunity Sales event for Lexus. Wang’s work was pivotal to the commercials’ success, and ultimately that of the sale. The company knew they needed someone with his talent, which is why they reached out to him in the first place to take the task. Wang did not take this honor lightly and is extremely happy with the outcome.

“It always feels great to know that our work is helping clients to make more money. I was amazed at how real those cars look, and how beautiful. Even though I work in the industry, if no one told me, I wouldn’t know those were computer generated cars,” he concluded.

Watch the other commercials in the series, “2018 Lexus Golden Opportunity Sales Event: Always in Your Element” and “2018 Lexus Golden Opportunity Sales Event: Higher Standard”.

 

Written by Annabelle Lee
Photo by Shino Tang

Art Director Cagri Kara Always Exceeds Expectations

Art Director Cagri Kara, whose professional reputation reaches all the way from his native Istanbul to current headquarters in Hollywood, has established himself as one of the leading, most sought after talents in his field. A renown award-winning talent whose skill and professional capacity effortlessly spans a wide variety of visual platforms – posters, billboards, web, television – Kara is currently enjoying a fruitful alliance with home entertainment giant Netflix, making key contributions to promotional campaigns for their acclaimed original series.

Most recently, Cagri was key in the launch of a groundbreaking international project for the company, one where his own Turkish heritage played a critical role. Having previously executed well received campaigns for Netflix series Santa Clarita Diet and Grace and Frank, when Kara got a call from top Hollywood entertainment marketing and advertising agency Rhubarb, the results were all but inevitable. Truly in the right place at the right time and brimming with the skill to make him indispensable, the stars aligned for Kara when he was given the green light to art direct promotional efforts for an ambitious new fantasy adventure series The Protector.

“I’d worked on several campaigns with Rhubarb in the past,” Kara said. “When Andrew told me about the project I was very excited and felt very lucky to work on this Netflix project in Istanbul. They brought me on-board right away.”

Kara’s instinctive ability to command and extend the delicate co-dependence which advertising and pop culture share is reliably invaluable. This unrivaled skill has also earned him a shelf full of awards and recognitions: his groundbreaking 2015 Woman with No Voice Campaign for Polisan Cosmetics was took both the Crystal Apple Festival of Creativity’s Most Creative Use of Social Media and the Kirmizi Advertising Awards’ Best use of Medium-length Video in Social Media honors; the year prior, Kara’s boundlessly appealing Coca-Cola 50th Anniversary in Turkey Campaign won the Crystal Apple’s Best Integrated Campaign award and along the way he’s earned additional trophies from the MIXX Awards and the prestigious Cannes Lions Festival of Creativity

Significantly, Kara’s works seamlessly in any setting, always displaying with an authority, ease and understanding of his role that is internationally successful.
“It’s important to understand the culture when you work on a project from a foreign country,” Kara said. “Advertising is basically a communication channel to speak to the public. So it’s imperative that you understand people’s cultural and societal filters, especially when they look at printed media or a TV commercial for less than 15 seconds.”
For the Protector, Kara’s heritage and comprehensive mix of intuition and commanding visual design was ideal.

“There were lots of advantages to me being a Turkish art director,” Kara said. “The story is about a young man given mystical powers by a talismanic keepsake. Fighting shadowy forces, he learns about himself and his past along the way. It is the first superhero show in Turkey and it also has a lot of historical content and deep significance that would be harder for a non-Turkish person to research and understand in such a short time. The ancient history that is woven into the show is something Turkish people cherish and are very proud of.”

Kara relished the layers of societal and cultural elements the project features, and approached the project with characteristic sensitivity.

“We had many great concepts that we needed to cover in the production,” he said. “The story plays in our current period of time, and it connects modern day Istanbul to its past. It was challenging to juxtapose the ancient history of the city with a modern execution. The photographer and motion director for the campaign were very well known and had many years of experience as artists in the field, so that made things go very smoothly. Also the cast were amazing with their patience.”

“The show’s importance for Turkish culture cannot be overstated,” Kara said. “It was very exciting for me to work on something that will be seen as groundbreaking and, eventually, a part of Turkey’s entertainment culture history”.
“I’m very satisfied with the result of the production and very excited to see the campaign out in the world. There is already a lot of buzz in print and television media about it.”

Kara’s involvement and enthusiasm are second only to his elevated sense of craft and ingenuity, attributes which define both his acclaimed professional reputation and the accomplished depth of skill he brings to any project. This winning formula—which makes Kara’s presence indispensable— guarantees an ever heightening professional profile.

As the Rhubarb agency’s owner-creative director Andrew Irving said, “When Netflix asked us to help with their first original Turkish series, I immediately thought of Cagri. He flew to Istanbul to direct the marketing photo-shoot, which was shot by Tamer Yilmaz, one of Turkey’s leading fashion photographers. He played an integral role in creating the marketing campaign, and Cagri directed the cast with such finesse that the client said she didn’t know how we would have accomplished the shoot without him.”

Writer and Director ADRIAN PROSPERO: Getting the Job Done

Recognized as an influential storyteller with tremendous success in the festival circuit, acclaimed Writer and Director Adrian Prospero can be described as a young Ridley Scott; a filmmaker whose sole focus is on his craft and in getting the job done- and done right. This preeminent Australian director has made himself indispensable to the industry by crafting films that are uniquely his.

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Celebrated Australian filmmaker Adrian Prospero, who writes, directs, edits and produces various projects, on set for an upcoming production. 

2018 has been a defining year for Prospero, having received glowing recognitions from festivals all around the globe including the Los Angeles Film Awards and the Berlin Flash Film Festival.

Adrian Prospero received great acclaim in his film “The Hunt” about an absentee son attempting to reconnect with his father by going on a hunt for a beast that no one believe exists. Prospero showcased his capabilities in building suspense in this drama that leaves the audience at the edge of their seats. The film earned the Best Australian Film Award at the prestigious Canadian World International Film Festival which recognizes the very best of world cinema with submissions from over 90 countries around the world.

The Hunt

CANADIAN WORLD INTERNATIONAL FILM FESTIVAL OFFICIAL WINNER - Best Australian Film - THE HUNT

“The Hunt” was also recognized by the Accolade Film Festival, a festival celebrated by Movie Maker Magazine as one of the Top 25 Festivals in its category, and was a finalist at the New York Film Awards. For his screenwriting, Adrian was recently a finalist at the Ojai Film Festival in recognition of his compelling script for “The Marketplace,” a highly anticipated project which will continue to build Adrian’s impressive reputation.

Prospero’s dedication to his craft can be seen through his investment in himself as a filmmaker, having qualifications in Film Production, Marketing and Accounting. This explains his great ability in keeping productions within budget, and being able to excel in the festival circuit due to his deep understanding of what sells to an audience. In addition to that, as an esteemed member of the DGA, Prospero has also invested in various Masterclasses and have taken several short courses in directing, screenwriting and photography in order to become a well-rounded filmmaker.

The distinguished writer and director admits “I see great value in investing in yourself in order to become a better version of what you currently are. You are your greatest asset and you should always seek to improve yourself”.

Prospero also takes pride in his multitasking abilities which allows him to take on several projects at any one time. He explains “multitasking allows me to explore my creativity in various platforms. I can be directing a narrative film that demands creative storytelling while also direct a commercial that utilizes creative problem solving. It provides me a balance in my work while harnessing all facets of my abilities and also keeps me on my toes.”

The Australian native began his career in directing television commercials, and have since worked with successful Australian service industry companies like RAC, Novotel, and the multi-billion dollar company CBH Group which is Australia’s leading and largest exporter of grain in which he travelled through the West Australian Wheatbelt for two weeks, capturing stories of the communities and their community service projects.

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An eye-catching still from one of the many impressive commercials Adrian has produced as writer and director. This one was promoting the alternative energy company, Elan Energy. 

It is noteworthy to mention Prospero’s directing style in commercials that leaves fellow directors in awe as he is able to engage an audience with excellent use of motion and fluidity in his shots whether through the blocking of actors or camera work, or a combination of the two.

When asked about his recent work, Prospero was ecstatic to talk about his directorial work on the Australian workplace comedy mini-series “Unrealty” in which he directed all seven episodes. “It was a really rewarding experience directing for a comedy series as it demands a different kind of skill set and challenges you as a director to trust your actors and your gut, and to really just dive into it”.

“Unrealty” is an excellent example of Prospero’s attention to detail in regards to using colours to his advantage. The use of primary colours in the show emphasizes the series’ fictitious and comedic elements, and serves to distinguish characters from one another. The use of symmetry and dutch angle shots are also unique and serves the story well.

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A still from the hilarious comedy series Adrian directed, “Unrealty.”

Prospero’s ability to tell a wide range of stories is impressive, ranging from horror to comedy, and more documentary oriented stories of human nature and experience. Shifting between genres can be challenging, but seems to be second nature to this seasoned storyteller who has been in the industry for over a decade.

Often the director of the films that he writes, Prospero focuses on each film’s particular needs and has the advantage of understanding the film to its core. “Being a writer and director of a film allows me a creative independence in what I want to convey to the audience. It is a wonderfully surreal intimacy which grounds me in keeping an honest conversation”.

His tenacity in the film industry goes beyond writing and directing as Prospero also plays a critical role in the company Stareable, a platform that seeks to connect web series creators with their audience. Stareable currently holds the title of the largest community of web series creators.

Adding to his already impressive CV, Prospero has also been held to high esteem by becoming a judge in film festivals such as the International Hollywood Short Film Festival in Los Angeles, California and the Jackson Hole Film Festival in Wyoming, USA. “It is an honour to be a judge in these festivals. There are so many great stories out there, and to have the opportunity to watch all these incredible films and judge them- it truly is a gratifying experience, one that I do not take lightly.”

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Adrian recently served as a juror for the International Hollywood Short Film Festival, reflecting the high-regard with which many in the industry hold Adrian

Prospero further acknowledges that being a judge for these films can be a very educational experience as it forces you to break films down into various components and to analyze each aspect individually like story, cinematography, sound, and editing in addition to viewing it as a whole.

Being compared to Ridley Scott is most certainly daunting, but Adrian Prospero is definitely up to the challenge. His work demands attention, and he has definitely been successful thus far. He is thrilled to continue living his passion as a writer and director and we are excited to see what’s next for this notable Australian filmmaker.

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An arresting still from “Ambience,” one of many gripping film projects directed by Adrian Prospero.

 

 

International Entertainment, and the Talents that Leave us Buzzing….