DAVID BUSH - LONDON, UK firstname.lastname@example.org Flat 21, 70 Tavistock Road, London W11 1AN, UK . +44 7447 575 512
8K MOBILE DIGITAL LAB - LONDON, UK is a division of WOTAN FILM Ltd., 542 Uxbridge Road, Pinner, Middlesex, HA5 3QA, UK
MIKE CONNOR - LONDON, UK email@example.com +44 7802 255 620
ALBERTO PARODI - GENOA, ITALY - MULINETTI STUDIOS firstname.lastname@example.org via Antonio Gandin, 70-1, 16142 Genova GE, Italy.
+39 347 255 4249, +39 010 860 6220
PAOLO SAVIOLO - VALLETTA, MALTA - LUX MARIS ltd. email@example.com 171 Old Bakery Street, Il-Belt Valletta VLT 1455, Malta.
+356 7704 1824
Thanks to RAI Cinema & Martinelli Film for the stills
Mike is director of photography in 5K and 8K son the film "My Story" based on the life story of Sheikh Mohammed bin Rashid Al Maktoum, the Prime Minister of the United Arab Emirates. The film, directed by Ahmed Kamel was a world first to go through the Mobile Digital Lab.
Me supervising visual effects with my Indian assistant Ashish Tyaghi for the Rose Movies production "Drona" in Rajasthan, Northern India.
Me grading colour and stereo 3d together in Genoa, as this technique offers the best results for 3d films. I made some tests for an important director in China, who exclamed when seeing the results of 20 different scenes that I had done to prove the point "They look like Caravaggio paintings".
Mike is director of photography of the short film "Appasionata". The short won an Oscar as Best Foreign Film in the Long Island Festival Short Film Festival. It has also been shown in some 29 festivals around the world, including Shanghai.
Mike shooting a film about recruiting for the Swedish Air Force.
The producer was Patrick von Faber-Castel of "Travel to Romantis".
An example of saving construction costs by using virtual sets. This was for Florestano Vancini's "E' Ridendo l'uccise".
We didn't have the comfort of Motion Control for moving the camera, but the genius chief grip Luigi Rocchietti using a Black and Decker drill and a large elastic band, made a makeshift "hot head or repetitive pan" that governed the wheels of the old Arri style head to satisfy the director's desire to have camera movement on the scene.
This photograph shows me and Francesca Rotondo working on solving the problem with Luigi's help. We were looked on as being mad to start with, when I suggested this.