/News
The Double-Blind Experiments
March 27 2019
Those mad scientists continue to explore the otherworldly. This week we got the above sneak peek at experiment no.2. The first experiment was undertaken by a collective of VFX artists with diverse creative backgrounds, including visual effects, traditional 2D animation, photography and graphic design. Together they ventured into the unknown in order to create something unique. The team of Zenon Kohler, Jasper St Aubyn West, Ian Anderson, Ricky Marks and Raoul Teague were challenged to each work independently to contribute a short sequence. The end result was an eclectic mix of styles and approaches, brought together through clever editing and sound design. The first iteration has blown minds around the world and was featured at over 50 festivals globally, winning over 20 awards. The experiments are set to return with a new mix of creative adventurers. In case you missed the first experiment check it out below. Stay tuned as…
The Spierig Brothers Gain An Edge
November 5 2018
Having completed Winchester with Cutting Edge, Filmmakers Peter and Michael Spierig share their experiences. The Spierig Brothers and Cutting Edge have been collaborating on feature films since Peter and Michael directed their debut, ‘Undead’ back in 2003. They continued to bring their post production to Cutting Edge with ‘Daybreakers’ (2010), and ‘Predestination’ (2014), both starring Ethan Hawke, and most recently Winchester (2018) with Helen Mirren. It’s a 15 year-long partnership resulting in an impressive body of work. As Michael Spierig explained, “Cutting Edge have always supported us from day one. Filmmaking is a collaboration, and post production is the last rewrite you get to do on your project. When you get to share that rewrite with people you trust and believe in, it only elevates the material.” We chatted the Michael Spierig about their take on post production and what it’s like to work with Cutting Edge.
Cutting Edge’s VFX Team Reboots Classic Slasher Halloween
October 26 2018
CUTTING EDGE was the sole VFX supplier on Halloween (2018), their third feature film project for US Studios, Blumhouse & Universal, to a record breaking first weekend of $80M US. While Halloween (2018) marks the eleventh in the franchise, it is a direct sequel to John Carpenter’s original 1978 classic, and sees Jamie Lee Curtis return as Laurie Strode.
Cutting Edge welcomes today’s rebate announcement by the Queensland…
October 18 2018
Queensland Premier, Annastacia Palaszczuk, announced a state based Post Production, Digital and Visual Effects (PDV) cash rebate of 10%, replacing the previous grant. When combined with the Federal Government PDV Offset of 30%, a total rebate of 40% is available, and the lower Aussie dollar (currently $1.00 USD buys $1.38 AUD), it is beneficial for Post and VFX to done in Queensland (regardless of where the project is shot). The new rebate is for qualifying productions working in Queensland with Cutting Edge or other Queensland PDV providers: Eligible formats include: feature films, telemovies, miniseries, and television series (including documentary, reality, animation and live action). Minimum spend in Queensland $500,000 AUD No cap Cash rebate paid to the production company Can be combined with federal government incentives (Location Offset and Producer Offset) No cultural or content tests Cutting Edge is Queensland’s largest post production and VFX studio with facilities in Brisbane…
Director Cameron March talks ‘And The Winner Is…’
October 17 2018
And The Winner Is… is a compelling and tense short film from Director Cameron March, which recently premiered in LA at the Chinese Theatre as part of Screamfest. Set in a near future, the film follows a disgraced sports star named Stanley who seeks redemption. His forgiveness must be earned and what begins as a seemingly light-hearted game descends into a living nightmare. Stanley’s pushed beyond his limits and it will be society that decides if he will be granted immunity from his past transgressions. The film’s post production was completed at Cutting Edge, and we sat with Cameron to discuss his film and the production process.
WORKING CLASS BOY TAKES AUSTRALIAN BOX OFFICE BY STORM
September 14 2018
A recent collaboration with CJZ and Director Mark Joffe, saw Cutting Edge deliver sound and picture post, including full deliverables, for the true story of Australia’s iconic rock star – Jimmy Barnes. Based on the acclaimed memoir of the same name, Jimmy Barnes’ Working Class Boy is taking the Australian box office by storm as the largest cinematic release ever for a home-grown documentary. Delving deep into the cultural background and family history that shaped the musician, the documentary is powerful and confronting. Through the exploration of Jimmy’s childhood, Working Class Boy reveals the man behind Australia’s most iconic band of the 80’s, Cold Chisel. It’s a story that bares experiences of poverty, alcoholism, and domestic violence, and the profound effect it had on his music. As the commercial success of Working Class Boy continues, the film is making waves amongst the cinema and television arts community. This month, Working Class…
NITV Introduces Feature Documentary Wik Vs QLD
June 25 2018
Exhibiting powerful insight into the High Court’s decision to grant native title to the Wik people in 1996, Cutting Edge alongside NITV present the dramatic political and cultural fallout that followed the landmark case. This feature documentary surrounds the historical High Court decision granting native title to the Wik People of Cape York. With unique access to the key players of that moment in history, we follow the demonisation that ensued at the hands of politicians and media, throughout one of Queensland’s most tumultuous times in history. Launching at Sydney’s Film Festival, Cutting Edge provided picture and sound post services to share the very personal story of the Wik people. The documentary was produced in conjunction with Bent3Land Productions, Bacon Factory Films and Freshwater Pictures. Wik Vs QLD premieres 8.30pm Sunday July 8 on NITV.
Love Island Wins BAFTA with Support from Cutting Edge…
May 23 2018
Reality program Love Island has been a huge hit and has now been awarded a BAFTA. The show, produced by ITV UK, which is currently in production on its fourth season, picked up a win for Best Reality and Constructed Factual. Host Caroline Flack accepted the award on behalf of cast and crew. The significance of this win is not lost on Cutting Edge’s Head of Technical Services Peter Laird, who explains, “A BAFTA is seriously high praise. I am very pleased to see the success of Love Island and that we were able to contribute to the production.” The show is filmed in Mallorca, Spain, where Cutting Edge provided post-production, IT and telephony infrastructure and support for the remote site. Cutting Edge’s Technical Services team captured every moment from the contestants during their stay at the villa. The highly technical requirements of the show required multiple video streams recorded…
A Ticket to the Power Ball
May 18 2018
Cutting Edge recently partnered with Y&R and Photoplay’s Lance Kelleher to deliver a vibrant and playful campaign for Powerball. The spot takes the viewer deep inside the ‘The Power Ball’, a party where Powerball winners from different walks of life meet and celebrate their win in their own unique way.
Borobi Signs-Off, But The Mascot Lives On
May 3 2018
How a collaboration with SapientRazorfish generated one of the most successful mascots in national history. As Borobi signs off from his post as GC2018 Commonwealth Games mascot, we took the time to reflect on the coolest blue surfing koala there is. Cutting Edge Creative Director Zenon Kohler, and Animation Director Ian Anderson, together with SapientRazorfish Creative Director Ralph Barnett, headed up the design team to deliver Borobi – an iconic, marketable Games mascot. Originally chosen from more than 4,000 entries in the GC2018 Mascot Design Competition, our journey with Borobi began with SapientRazorfish in 2016, as we were tasked with developing the the winning entry for use in 3D animation, 2D artwork and as a fully-functional costume with the ability to jump, dance and even surf. The final character had to be marketable and merchandisable, whilst embodying the spirit of the Games and capturing the essence of the original winning…