Miami, Feb.12, 2009

Miami Agency La Comunidad and creative director Jose Molla wanted to introduce their latest  MTV International campaign using  the newest technology and asked Director Nelson Cabrera to deliver three spots shot with the Red Camera.

The campaign, Let Idols be Idols, features look-a-likes for Bono, P. Diddy, and Robert Smith in various locations acting very unlike their namesakes. Cabrera brought the spots to Cineworks based on their successful track record with other Red Camera projects.

Cineworks’ Post Production supervisor Bradley Greer, using established work flow of Assimilate/Scratch, completed the conform, color grading, titling and the final output to HD and digibeta for all three spots.

Creative editing  credits on the project go to Alejandro Santangelo of Upstairs/Miami and the Cinematographer was Andre Sanchez. Other credits on the spots go to copywriter Gustavo Lauria, and art Director Philip Bonnery of La Comunidad and special effects designer Wally Rodriguez of Upstairs/Miami .

Vinny Hogan, president of Cineworks, believes that the Red Camera post work flow is an important service that Cineworks offers its clients. Cineworks has developed a strong niche in the Digital Intermediate Market offering film mastering and film outs from Red, Panavison’s Genesis, Arri’s D-21 or film originated projects.

Handsome Harry, experimental Director Bette Gordon’s new feature, played the Tribeca Film Festival to a sold out house this past week.

The Master HDCAM of the film had been shipped just a few days before the screening by Cineworks Post Production Supervisor Bradley Greer who had headed up in the 2K conform and the final color correction.

Handsome Harry brought producer Jamin O’Brien back to Florida since his successful Boynton Beach Club was processed at Cineworks Digital Studios in 2003 and exposed Bette Gordon and her Australian based cinematographer Nigel   Bluck to their Digital Intermediate process that Cineworks has perfected in the last few years.

Handsome Harry was shot in 2K Arri Raw data using the Arri D21 camera.  Bradley Greer, having dealt with two major data projects back to back, is looking forward to his next one,“Something that I can really sink my teeth into.”