High Ground, The Invisible Man and 2067 lead the feature film nominees and Hungry Ghosts, Stateless and Bump television for the upcoming Australian Production Design Guild (Apdg) Awards.
Production designer for High Ground Ross Wallace and The Invisible Man’s Alex Holmes will compete for the night’s top gong against Relic‘s Steven Jones-Evans and True History of the Kelly Gang‘s Karen Murphy.
In television, battling for the production designer award are Hungry Ghost‘s Carrie Kennedy, On Becoming A God In Central Florida‘s Annie Beauchamp, Stateless’ Melinda Doring and The Luminaries‘ Felicity Abbott.
There are 23 categories for this year’s awards, including the traditional live performance, film, television, event, animation and costume design awards, in addition to new categories that include set decorators, screen graphic designers and live performance video designers.
“Over the past 10 years our young emerging designers have flourished,” production designer and Apdg president George Liddle said.
Production designer for High Ground Ross Wallace and The Invisible Man’s Alex Holmes will compete for the night’s top gong against Relic‘s Steven Jones-Evans and True History of the Kelly Gang‘s Karen Murphy.
In television, battling for the production designer award are Hungry Ghost‘s Carrie Kennedy, On Becoming A God In Central Florida‘s Annie Beauchamp, Stateless’ Melinda Doring and The Luminaries‘ Felicity Abbott.
There are 23 categories for this year’s awards, including the traditional live performance, film, television, event, animation and costume design awards, in addition to new categories that include set decorators, screen graphic designers and live performance video designers.
“Over the past 10 years our young emerging designers have flourished,” production designer and Apdg president George Liddle said.
- 7/15/2021
- by Staff Writer
- IF.com.au
By now the term “dystopian future” almost seems redundant, at least at the movies — when was the last time you saw a film in which the future wasn’t dystopian? Audiences can swan-dive down that familiar sinkhole once again in “2067,” an Australian sci-fi adventure that’s the first directorial feature from Seth Larney, whose visual-effects background is evidenced in a good-looking production that gets a lot out of its design aspects for the buck.
In the realms of storytelling and character interest, however, this stock “can our protagonist save the planet that humanity already wrecked?” tale proves less resourceful, bogging down in convoluted, low-boil intrigue despite taking place in both the titular year and 25th century. Though Larner gets sole screenplay credit, publicity materials note involvement of at least four other writers. The result is a movie that seems unaware just how generic the should-be-distinguishing details of its earnest eco-cautionary tale have turned out.
In the realms of storytelling and character interest, however, this stock “can our protagonist save the planet that humanity already wrecked?” tale proves less resourceful, bogging down in convoluted, low-boil intrigue despite taking place in both the titular year and 25th century. Though Larner gets sole screenplay credit, publicity materials note involvement of at least four other writers. The result is a movie that seems unaware just how generic the should-be-distinguishing details of its earnest eco-cautionary tale have turned out.
- 10/2/2020
- by Dennis Harvey
- Variety Film + TV
‘Winchester’. (Photo: Ben King)
Matthew Putland took home the award for Best Production Design for a Feature Film for his work on Winchester at the Australian Production Design Guild (Apdg) Awards over the weekend.
The equivalent television award went to Tim Ferrier for ABC series Friday On My Mind.
The awards were held on Sunday evening at the Eternity Theatre in Sydney, with prizes given out in 26 categories spanning VFX, costume, hair and makeup, and production design across film, television, games and live performance.
On the evening, Ian Richter, Bill Undery and Ross Turner were all presented with Artisan Awards for Lifetime Achievement, while production and costume Stephen Curtis, acclaimed screen and live performance production and costume designer, was the recipient of the Cameron Creswell Award for Outstanding Contribution to Design. Caitlin Murray was the recipent of the Thelma Afford Award.
The full list of winners:
Aftrs Award For Student...
Matthew Putland took home the award for Best Production Design for a Feature Film for his work on Winchester at the Australian Production Design Guild (Apdg) Awards over the weekend.
The equivalent television award went to Tim Ferrier for ABC series Friday On My Mind.
The awards were held on Sunday evening at the Eternity Theatre in Sydney, with prizes given out in 26 categories spanning VFX, costume, hair and makeup, and production design across film, television, games and live performance.
On the evening, Ian Richter, Bill Undery and Ross Turner were all presented with Artisan Awards for Lifetime Achievement, while production and costume Stephen Curtis, acclaimed screen and live performance production and costume designer, was the recipient of the Cameron Creswell Award for Outstanding Contribution to Design. Caitlin Murray was the recipent of the Thelma Afford Award.
The full list of winners:
Aftrs Award For Student...
- 12/17/2018
- by jkeast
- IF.com.au
There’s plenty to love about George Miller’s masterful “Mad Max: Fury Road,” but the film’s captivating visual presentation often takes precedent. A movie printed on storyboards instead of a fully-formed script, it’s an exhilarating, eye-popping spectacle in every sense of the word — from John Seale’s amazing cinematography, to Jacinta Leong and Shira Hockman’s massively-inspired art direction, to the radiant orange and teal-heavy color palette, to the incredible stunt work and motorcar-fueled mayhem. With all that visual stimulation, it can be easy to forget how much Mark A. Mangini and David White’s impeccable, Oscar winning sound editing also played into the never-ending excitement of Miller’s latest. So, thankfully, Vimeo user Zackery Ramos-Taylor is here to give them their full due (beyond, you know, their Oscars) with his latest supercut, “Hearing Mad Max: Fury Road.” Read More: Watch: Video Essay Explores The Rhythm Of...
- 4/6/2016
- by Will Ashton
- The Playlist
Concept art for Mad Max: Fury Road has been released - and it is amazing.
There's a reason that the cars in the film are the real stars of the show, and it's because illustrator Peter Pound was already working on the designs 15 years ago.
His website states: "Beginning in the late '90s, Peter contributed over 950 storyboard frames to Fury Road and is the Principal Vehicle Designer."
The Principal Vehicle Designer also contributed intricate designs for the characters and storyboarded scenes.
Art director Jacinta Leong said the reason the vehicles look so amazing was because of the amount of time that was put into imagining them on the screen.
In an interview with The Credits, she said: "The vehicles had their functions too, which led to their forms.
"For example, the pole cat vehicles were used to pluck prey from moving vehicles. How do they work? They looked like analogue metronomes.
There's a reason that the cars in the film are the real stars of the show, and it's because illustrator Peter Pound was already working on the designs 15 years ago.
His website states: "Beginning in the late '90s, Peter contributed over 950 storyboard frames to Fury Road and is the Principal Vehicle Designer."
The Principal Vehicle Designer also contributed intricate designs for the characters and storyboarded scenes.
Art director Jacinta Leong said the reason the vehicles look so amazing was because of the amount of time that was put into imagining them on the screen.
In an interview with The Credits, she said: "The vehicles had their functions too, which led to their forms.
"For example, the pole cat vehicles were used to pluck prey from moving vehicles. How do they work? They looked like analogue metronomes.
- 6/13/2015
- Digital Spy
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