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“Dune: Part Two,” “Inside Out 2” and “The Creator” lead the feature nominations for this year’s Hollywood Professional Association (Hpa) Awards with three apiece. The awards will be presented during a Nov. 7 gala at the Television Academy in North Hollywood.

“Dune: Part Two” was nominated in the categories for color grading, editing and sound; “The Creator,” for color grading, sound and visual effects; and “Inside Out 2” for color grading in an animation feature, sound, and VFX in an animated feature. The eligibility period runs from September to September.

As previously announced, during the ceremony FotoKem will receive the Charles S. Swartz Award for industry contributions. Adobe, Disguise, Cuebric and Evercast will be honored for engineering excellence.

The list of nominees follows:

Outstanding Color Grading – Live Action Theatrical Feature

“Blink Twice” — Damien Vandercruyssen // Harbor

“The Creator” — David Cole // FotoKem

“Dune: Part Two” — David Cole // FotoKem

“Furiosa: A Mad Max Saga...

In Hamilton McFadden's 1934 film "Stand Up and Cheer!," the unnamed off-screen president (actually Franklin D. Roosevelt) posits that the real reason for Great Depression was a sudden crisis of optimism. Additionally, wicked bankers were running amok and getting rich while the rest of the nation starved, leaving everyone nihilistic and horrified. The wasteful and corrupt Warren Harding administration followed by the Crash of '29 isn't mentioned, as McFadden's film sought to cheer people up, not make their depression — and the Depression — any worse. In "Stand Up and Cheer!," Fdr created a Department of Amusement and appoints a secretary (Warner Baxter) to oversee a feel-good, nationwide show to keep morale up.

The bulk of the 80-minute film is a series of auditions in the secretary's office wherein performers come in to sing and dance, effectively turning the movie into a revue. Modern audiences may bristle at some racist caricatures, notably actress...

"Those Sensational Swing Scores: Or How I Journeyed from 1949’s Martin Kane, Private Eye to 2018’s King of Thieves in Four Years, Two Months, 17 Days, Six Hours and 43 Minutes"

By Derrick Bang, author of "Crime and Spy Jazz 1950-1970" and "Crime and Spy Jazz Since 1971" (McFarland)

I initially wanted to write the ultimate guide to television’s Peter Gunn. But some quick research revealed that it would be hard to improve upon Joe Manning’s excellent two-part feature story in the June and July 2007 issues of Film Score Monthly magazine; and Mike Quigley’s impressively thorough website guide to that iconic 1958-61 TV series (at www.petergunn.tv). That said, Mike’s meticulously thorough analysis of the show’s music planted a larger seed: perhaps a book about classic TV action jazz? Even there, though, a few existing books — such as Kristopher Spencer’s Film and Television Scores, 1950-1979 — had...

King of the second-unit cinematographers, Rexford Metz is second to none when it comes to getting shots on the ground, in water or high in the sky.

He operated the camera during the famed 10-minute chase sequence in “Bullitt” on the streets of San Francisco in 1968, and it was his coverage of muscle cars — and stuntman Bud Ekins’ motorcycle slide — that viewers could feel on the seat of their pants.

Metz was born in Los Angeles in 1937 to Glen and Mildred Metz. His dad built race car engines, and Metz graduated from Fairfax High School in 1955 with knowledge of two things: fast cars and using his 4×5 Graflex camera to photograph them.

On “Bullitt,” Ekins, who raced motorcycles with Metz, introduced his friend to star Steve McQueen, who got him hired on the film as a background actor. But after Metz shared his passion for cameras with Dp Bill Fraker, the cinematographer helped him change jobs.

Tony Sokol May 14, 2019

Hollywood's iconic girl next door was TV's first single mom and an animal rights pioneer.

"Que será, sera," Doris Day sang her iconic, underplayed ode to fortune, "whatever will be, will be." The Hollywood icon died of pneumonia on Monday, May 14, at the age of 97, according to The Doris Day Animal Foundation, via Variety. The singer and actress who defined the girl next door died early at her home in Carmel Valley, California.

Day made over thirty films, including Tea for Two, On Moonlight Bay, By the Light of the Silvery Moon, David Butler’s 1953 film Calamity Jane and The Pajama Game, and over 600 recordings. Alfred Hitchcock used Day's recognizable voice to send a distress signal to her kidnapped son in The Man Who Knew Too Much. The song which held the message, “Que Sera Sera,” won the 1956 Academy Award for Best Original Song with the alternative title "Whatever Will Be,...

Doris Day, one of Hollywood’s most popular stars of the 1950s and ’60s who was Oscar-nommed for “Pillow Talk” and starred in her own TV show, has died. She was 97.

The Doris Day Animal Foundation confirmed the legendary actress-singer died on Monday at her Carmel Valley, Calif. home.

Though she was marketed as a wholesome girl-next-door type, the comedies for which she was most well-known were actually sexy and daring for their time, and her personal life was tumultuous, with four marriages and a notorious lawsuit.

The vivacious blonde, who also had a successful singing career, teamed with Rock Hudson in “Pillow Talk” and other lighthearted romantic comedies including “Lover Come Back” and “Send Me No Flowers.” Her other significant screen roles included Alfred Hitchcock thriller “The Man Who Knew Too Much” (1956), co-starring James Stewart and featuring Day’s Oscar-winning song “Que Sera Sera; and “The Pajama Game” (1957), based on the Broadway musical.

Stars: Matthew McConaughey, Anne Hathaway, Diane Lane, Jason Clarke, Djimon Hounsou, Jeremy Strong, Charlotte Butler, David Butler, Rafael Sayegh, Michael Richard, Robert Hobbs, Kenneth Fok, Garion Dowds | Written and Directed by Steven Knight

The feeling and emotion a cinephile find within themselves when they witness a cinematic masterpiece unfold in front of their eyes is a magical, no scratch that, unfathomable ideal that is an exhilarating and unquestionable abstract thirst and can only be quenched with seeking out more exquisite forms of cinematic sensation. Steven Knight’s latest does not usher such ecstatic reactions. Quite the antithesis in fact. A film comparable to that of Wally Pfister’s twenty-fourteen film Transcendence that explodes on instant impact of release with a tremendous cast list utterly dissipated in what quite possibly may be one of the most diabolical ventures in film in the last two decades.

The superb writer of the sublime...