celebrating 50 years of acknowledging creative excellence in film & video productions
US International Film & Video Festival Award Winners
 
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"ACIDITY AND HEARTBURN RELIEF" (United Kingdom)
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CORPORATE: Craft/Production Techniques: Virtual Reality (VR)

Entrant: Random42 Scientific Communication / London
Sponsor/Client: GSK


Creating the immersive, 360° environments for this project was a real creative challenge for our team. We started with the assets from the initial 2D animation and added details and extensions to all of the environments to surround the viewer for the VR experience. All of the models were initially created inside 3Ds Max, where we also added texturing, lighting and finally animation. Lighting this project was a challenge as when inside the stomach, the environment is totally enclosed, so lights had to be placed carefully to light the scene well without making it obvious where the light source was coming from. We wanted the stomach to feel like an organic cave, which was achieved by a mixture of careful placements of lights along with the use of Sub surface materials. For the liquid simulation, the software Houdini was used, the biggest challenge was getting the liquid to change colour as the blue fluid collides with the red. Particle IDs were used to generate a map which defined when the blue part of the simulation was to overcome and envelop the red. We then used V-Ray to render out thousands of animation frames at 2K resolution for both the left and right eyes, to create the 360 effect. We took these rendered frames into Fusion; our compositing software and took advantage of the cutting-edge VR and grading tools to achieve the look we were after. Then in the editing stage we used Adobe Premiere to arrange all the shots and make use of the new 360 tools to transition between them, adding to the viewer’s virtual experience.


"ALAALA (REMEMBER): A MARTIAL LAW SPECIAL" (Philippines)
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DOCUMENTARY: Docudrama

Entrant: GMA Network, Inc. / Quezon City
Production Company: GMA Network, Inc. / Quezon City
SVP, News and Public Affairs: Marissa L. Flores
Credits: FVP, Public Affairs: Nessa Valdellon; SAVP, Public Affairs:
Clyde Rolando A. Mercado; Program Manager: Joy Madrigal


ADDITIONAL CREDITS: Casts: Alden Richards, Gina Alajar, Bianca Umali, Rocco Nacino; Executive Producers: Richelle Ramirez, Criselda Caringal; Screen Play Writer: Bonifacio Ilagan; Writers (Documentary): Harvey Bayona, Criselda Caringal; Directors: Adolfo B. Alix, Jr., Rember Gelera (Drama), Harvey Bayona (Documentary); Director of Photography (Documentary): Marco Felipe Lopez; Directors of Photography (Drama): Jhapz Bagnas, Mark Joseph Cosico; Edit Supervisor: Ayisha Fabian; Researcher: Nina Torralba; Translator: Katherine Rosanne R. SyCip
“Never forget.” Now is the time in Philippine history where this phrase rings urgency more than ever. Today the remains of former dictator, Ferdinand Marcos, rest at the Libingan ng mga Bayani (The Philippines’ Cemetery for Heroes). In recent months, historical revisionism has been spreading like wildfire on social media, with posts claiming the period of martial law as “the best era in Philippine history.” This is despite the fact that 34,000 were tortured and 800 became desaparecidos or disappeared under martial rule. Alaala (Remember): A Martial Law Special serves as a reminder of the horrors of this dark period in Philippine history, particularly for the youth in whose hands the future of the Philippines lies. Two teams were formed to produce this special: the documentary team and the drama team. The documentary team shadowed the drama team's production, with behind the scenes footages. The documentary team also interviewed personalities who experienced Martial Law atrocities, as well as historians and experts to provide the bigger picture of life during the Marcos dictatorship. The drama team employed the best actors from the roster of GMA Network– Alden Richards, the Philippines’ biggest matinee idol, and award-winning actress Gina Alajar. The short film was directed by internationally acclaimed director, Adolf Alix, Jr.


"ATTENBOROUGH'S ANT MOUNTAIN" (Austria)
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DOCUMENTARY: Craft/Production Techniques: Cinematography

Entrant: Terra Mater Factual Studios GmbH / Vienna
Production Company: A production of TERRA MATER FACTUAL STUDIOS in association
with BBC and ABC Australia produced by AMMONITE LTD.
Additional Credits: Producer: Joe Loncraine; Written/Directed by Martin Dohrn, Joe Loncraine;
Cinematographers: : Martin Dohrn, Jack Hynes; Editor: Andi Campbell-Waite


Special Credits: Sound: Cheryl Jones; Music composed by Fraser Purdie; Executive Producers: Ivo Filatsch, SABINE Holzer
David Attenborough travels to the Jura Mountains in the Swiss Alps, to find out about one of the largest animal societies in the world, where over a billion ants live in peace. After following the lives of these incredible creatures and their dramatic fight for survival for a year, David is able to unravel the secrets of the Swiss super-colony... Winter in the Swiss Jura Mountains. Nothing lives in the frozen landscape – or so it seems. Hidden beneath the snow, billions of individuals are about to stir, because this sparkling winter wonderland is home to hundreds of nests of wood ants. Right now, each tiny resident is hunkered down in the corridors and chambers of their miniature cities, hibernating through the worst of the cold and barely moving, but when the snow starts to melt their lives will change dramatically. As spring arrives, David Attenborough introduces us to the protagonists of a spectacular and epic story - the queens and workers of an extraordinary ant society. They form one of the largest animal societies anywhere on Earth – but it’s a society that shouldn’t exist.


"BREAKING THEIR SILENCE: WOMEN IN WARTIME MANCHURIA" (Japan)
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DOCUMENTARY: History

Entrant: NHK / Tokyo
Production Company: NHK / Tokyo
Producers: Akira Itami, Jun Shioda, Hideki Masuda
Additional Credits: Directors: Megumi Kawa, Naomi Fuma;
Cinematographer: Hideaki Odanaka; Editor: Takuro Komatsu


In 1945, 20-year-old Harue Sato was living on a Japanese settlement in Manchuria, northeastern China, when she made a gut-wrenching decision: She agreed to go into sexual servitude to help ensure the safety of fellow settlers. The settlement was one of hundreds set up before and during World War Two to cement Japanese control of the region. But after Japan's defeat, the residents' very survival was at risk. The desperate leaders of Harue's settlement offered 15 teenage girls and young women to advancing Soviet troops in return for protection (an arrangement they called "entertainment"). Despite their sacrifice, surviving women endured decades of shame back home in Japan before finally deciding to speak out. This documentary uses first-hand accounts and interviews to reveal a new chapter in Japan's wartime history and to show how the collateral damage wrought by war leaves scars that span generations.


"CHE: CAMINOS, HUELLAS, ENIGMAS" (Russia)
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DOCUMENTARY: History

Entrant: RT / Moscow
Sponsor/Client: RT / Moscow
Production Company: RT / Moscow
Credits: Producer: Marina Toledo; Original idea: Lidia Tishkina
Project direction & Coordination: Victoria Vorontsova, Alexander Luchaninov


Additional Credits: Cinematographers: Maximiliano López Santos, Pablo Daniel Sánchez Rivera, Adolfo Ley Jiménez, José Lius Romero Ortiz, Raúl Blanco Urra, Raiber Noé Monagas Velásquez, Jeyson Puentes; Presenters and Editors: Ignacio Jubilla, Érika Ortega Sanoja, Emma Torres, Paola Guzmán, Oliver Zamora Oria, Ricardo Romero; AV Postproduction: Nikolay Gorokhov, Sergei Otroshko, Dmitri Yergulev, Sergei Kukushkin, Arkadi Ivanov, Vladimir Potyukaev
The show focusses on the near impossible task understanding Che’s psyche. Who was he? An adventurer or incurable romantic? And who is he to the world now? A symbol of the eternal struggle for freedom or just a trendy image on (posters and) t-shirts?


"COMMERCIAL UPGRADE PROJECT IN MEGA KAZAN" (Russia)
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BEST OF FESTIVAL NOMINEE - Corporate
CORPORATE: Communication: Investor Relations

Entrant: Zilant Pro / Kazan
Sponsor/Client: MEGA Kazan / Kazan
Tatyana Polyakova; Centre Manager: Liana Sirazetdinova
Production Company: Zilant Pro / Kazan
Producer: Alena Lipina; Director: Dmitrii Zakharov; Sound: Ildar Fattikhov
Additional Credits: Cinematographer: Timur Minevaliev; Editors: Ildar Fattikhov, Pavel Moscvin,
Ranis Gilmutdinov


After a year of construction and successful completion of the facade renovation, galleries and territory in front of the MEGA Kazan shopping center, the second stage of the shopping center renovation began. The team Zilant.pro followed the progress of the work for 2 years and filmed everything that happens in the TimeLapse mode. As the project participants say: "It was the construction of a new building inside the existing shopping center," which was the main feature of the commercial renewal project. More than 30 shooting days were conducted on the site, and during the whole MEGA Kazan reconstruction project (2 years) several professional shooting systems for ultra-longterm timelapses "Timebox" (http://timebox.camera/) were installed, which continuously shot in 24/7. As a result of our work, there was a video that in just 7 minutes shows more than 10 000 photos of the project and tells viewers about the scale and complexity of the reconstruction of the shoping center.


"CORALEE’S STORY" (United Kingdom)
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BEST OF FESTIVAL NOMINEE - Corporate
CORPORATE: Communication: Employee/Internal-Oriented

Entrant: Shell International / London
Producer: Darren Connell


This film was produced for an induction program for Prelude workers. It was made to trigger a conversation about safety and remind workers of the dangers of complacency. can be a killer . To achieve this we filmed the story of Prelude Technician Coralee Alexander. In 2014 while working in South Korea, Coralee tripped and fell down a flight of stairs, fracturing her spine and ultimately ending up in a wheel chair. We wanted to show Prelude workers that incidents can happen to anyone, anytime and the consequences are profound and very real.


"DESTINATION TOBOLSK" (Russia)
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BEST OF FESTIVAL WINNER - Corporate
CORPORATE: Communication: Investor Relations

Entrant: LBL Production (FreeMotion Group) / Moscow
Sponsor/Client: Sibur. ZapSibNeftehim / Tobolsk
Production Company: LBL Production (FreeMotion Group) / Moscow
Producer: Sergey Murashkin; Directors: Pavel Menyailo, Petr Pchelnikov
Additional Credits: Cinematographers: Artem Orlov, Aleksandr Savchenko; Editor: Pavel Menyailo;
Script: Galina Goldfeld


When you hear ‘a massive construction project’, what picture comes to your mind? It is a common phrase, but the scope of this project is truly colossal. The largest petroleum refinery to be built from scratch in the center of the world’s biggest country. Outsize equipment from 7 countries to be transported to the building site. How is that manageable, its size 106 meters, its weight 917 tons? No motorway or train is up to the task. Is it even possible?


"I-WITNESS: SILANG KINALIMUTAN (THE FORGOTTEN)" (Philippines)
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DOCUMENTARY: Social Issues

Entrant: GMA Network, Inc. / Quezon City
Production Company: GMA Network, Inc. / Quezon City
SVP, News and Public Affairs: Marissa L. Flores
Credits: FVP, Public Affairs: Nessa Valdellon; SAVP, Public Affairs:
Clyde Rolando A. Mercado; Program Manager: Joy Madrigal


ADDITIONAL CREDITS: Host/Writer: Atom Araullo; Executive Producer/Director: Bryan Kristoffer J. Brazil; Program Researcher: Nyorly Gail Montero; Edit Supervisor: Harvey Henryan Bayona; Production Assistant: Pauline Jane Castillo, Regit Adrian Antonio; Editors: John Wesly Lagdameo, Gavian Llave, Genice Panuncio, Jhoan Antenor; Videographer: Vince Eribal; Production and Logistical Support: Joan Camaya-Pacson
In a refugee camp in Bangladesh, a Rohingya mother carefully prepares a simple meal for her kids. They live in a small makeshift tent, bare except for a few belongings strewn on the earthen floor. Hamida says she hardly brought anything when she fled Myanmar, not even clothes for her kids. Her husband was killed by the military, she claims. When asked how she feels about their situation now, Hamida solemnly says heaven is within her reach. In recent years, insurgency has persisted in the northern part of Myanmar, a clash between the Buddhists Burmese and the Rohingya Muslims. The Myanmar government denied the citizenship of the Rohingya and their movement within the country is restricted by local authorities. The internal conflict eventually prompted thousands of Rohingya to flee to neighboring Bangladesh. The UN has called the decades-long oppression and the atrocities by the military in Myanmar as a form of “ethnic cleansing”. Myanmar officials are firm in their stance that the Rohingya are not citizens of their nation while neighboring Bangladesh considers them as forcibly displaced Myanmar nationals who could be deported anytime soon. I-Witness followed the journey of a Filipino serving as a humanitarian worker in the largest refugee camp in Bangladesh. This documentary teaches us the value of compassion, bridging differences in color and beliefs.


"NO CHILD LEFT BEHIND" (China)
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DOCUMENTARY: Short

Entrant: China Global Television Network / Beijing
Production Company: CGTN / Beijing
Director: Xiao Xiaowai; Controller: Jiang Heping; Managing Editor: Li Bin
Credits: Exec Prod: Liu Changying, Zheng Mengmeng; Host: Annelise Nielsen; Camera: Ning
Nan,Zuo Yue; Script Consultant: Michael Harrold; Post Prod: Gu Yuanping


This documentary turns the spotlight on rural education in the more remote parts of China. It describes the close relationship that has developed between the teacher and the only two pupils at a tiny village primary school. By contrasting their situation with that at the much bigger school in town, it reveals some of the challenges being faced in providing a good education for China’s rural youth.


"PHILIPPINE SEAS" (Philippines)
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DOCUMENTARY: Environment, Ecology

Entrant: GMA Network, Inc. / Quezon City
Production Company: GMA Network, Inc. / Quezon City
SVP, News and Public Affairs: Marissa L. Flores
Credits: FVP, Public Affairs: Nessa Valdellon; SAVP, Public Affairs:
Arlene U. Carnay; Program Manager: Lee Joseph Castel


ADDITIONAL CREDITS: Host: Atom Araullo; Executive Producer Ian Carlos Simbulan; Director: Aaron Papins Mendoza; Segment Producers: Marie Saballegue. Rizza Mendiola, Joselito Tan, Bryan Brazil; Researchers: Zeliet Paris, Gerson Kim Penetrante, Elisha Manas; Executive Assistant: Sharon Mae Sison; Associate Producers: Maria Teresa Ranoco; Romabell Yumol; Production Administrator: Carlo Isla; Video Journalists: Vince Eribal, Avelino Chavez, Leonard dela Mance, Bo Mancao; Production Coordinator Nisreen Caparas; Transcriber: Fearlly Tan; Editors: Geoff Castillo, Noli Enero, Marijoy Pablo, Kernan Gatbonton, Albert Magcamit, Paul Francis, Alvin Caintic, Peter Manabat; Translator: Katherine Rosanne R. SyCip
Philippine Seas was a documentary special that aimed to uncover the wonders and threats surrounding the Philippines’ marine gems. The team went on a rigorous 10-day expedition across Luzon, Visayas and Mindanao. In Moalboal, Cebu’s world-famous dive site, the team witnessed hundreds of thousands of sardines gather in a single ball in a moment that can only be described as impressive. While in nearby Bais, Negros Oriental, the team looked into the current situation of dolphins once being caught and slaughtered before becoming the province’s leading tourist attraction. Off the coast of Sarangani in Mindanao, the team experienced what life is like for tuna fishermen who wait days for a single catch. Under the harsh elements, the team witnessed the daily struggles of those who rely on the seas for a living. The most heartbreaking moment was discovering a group of fishermen detained in Indonesia for fishing in foreign waters. The dwindling sea catch has forced many small fishermen to cross international boundaries in hopes of feeding their families. Yet international poaching remains a huge problem in the Philippines, too. In Palawan in Luzon, the team visited the site where sharks were recently confiscated from Vietnamese poachers. Yet all hope is not lost. In the same seas of Palawan, the team came face to face with a dugong or sea cow, a critically endangered marine mammal. After the airing of the special, eight Filipino fishermen detained in Indonesia were repatriated to the Philippines. The court found insufficient grounds to charge them for illegal fishing.


"PIONEER WOMAN" (United Kingdom)
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BEST OF FESTIVAL NOMINEE - Entertainment
ENTERTAINMENT: Cooking

Entrant: Pacific Television / London
Sponsor/Client: Food Network / New York, NY
Production Company: Pacific Television / London


Ree’s seeking cowboy approval on dishes for her deli menu asking a trio of Osage’s finest for brutal feedback on a bunch of test recipes. There are rival Chicken Fried Steaks: rib eye and regular - both paired with Creamy Gravy. Then it’s a tasty toss up as classic biscuits are pitched against a delicious bacon onion take. And in a battle of the desserts rich Chocolate Pie faces off against Double Chocolate Silk Pie. Decisions decisions. Which way will the taste testers vote?


"PLATFORM" (New Zealand)
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BEST OF FESTIVAL NOMINEE - Corporate
CORPORATE: Communication: Employee/Internal-Oriented

Entrant: Omnicron Productions Ltd / Auckland
Sponsor/Client: ACROW LTD


One of the biggest challenges for this production was to select the right workers to front the video. We held exhaustive screen tests and made a selection on those we felt had the best ability to anchor the video. We then gave these selected workers additional media training to help with their confidence and final performance. It was very important that we use real staff and not actors so that the video would be credible to their fellow work mates. The music was specifically written and recorded for the video. Also, a range of cameras were used including a drone. But ultimately we didn't want the production to look over-produced. Management were conscious of needing to look as they had invested their money wisely.


"REEL TIME: BATANG MAESTRO (LITTLE TEACHER)" (Philippines)
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DOCUMENTARY: Social Issues

Entrant: GMA Network, Inc. (GMA News TV) / Quezon City
Production Company: GMA Network, Inc. (GMA News TV) / Quezon City
SVP, News and Public Affairs: Marissa L. Flores
Credits: FVP, Public Affairs: Nessa Valdellon; SAVP, Public Affairs:
Clyde Rolando A. Mercado; Program Manager: Nowell M. Cuanang


ADDITIONAL CREDITS: Executive Producer and Writer: Mark Anthony Norella; Researcher: Ralph Raven Tubice; Video Journalists: Cocoy Gaa, Lemuel Anorma; Edit Supervisor: Chester Alan Ebora; Editors: Eman Payumo; Paul Franklin Mejia; Graphic Artist: John Vincent Chiu; Colorist: Peter Manabat; Translator: Katherine Rosanne R. SyCip
An estimated 9 million Filipinos can’t read, write, or count, while 24 million have never been to school. Driven by a determination to build a community with zero non-readers, the head teacher of San Jose Elementary School in the province of Sorsogon started a program to teach children in remote villages how to read. In this mission, he is helped by volunteer little teachers – his students who share his advocacy of making sure that no child in their place will remain unschooled. One of them is 12-year-old Dagul. Together with his fellow little teachers, he braves the long river of Donsol on board a bamboo raft that they sometimes have to push against the current, and takes an hour walk up to a village on a mountain. Their goal is to reach children who have difficulty reading because they live so far from school that they’re often absent from classes. By bringing the skill of reading to his friends, Dagul hopes to help his fellow students reach their dreams. Dagul himself has his own struggles at home. Most days, he lives alone with his sisters as their father works away from home and they’ve been separated from their mother. Despite this, Dagul pursues his volunteer work to bring pride and honor to his mother, his very first teacher.


"SEARCHING FOR FATHERS: JAPANESE-DUTCH CHILDREN OF WAR" (Japan)
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DOCUMENTARY: History

Entrant: NHK / Tokyo
Production Company: Tsubaki Pro for NHK in association with NHK Enterprises, Inc. / Tokyo
Producers: Jun Shioda, Koichi Ota; Sound: Hirofumi Watanabe
Additional Credits: Director/Cinemtographer/Editor: Mariko Kanamoto


During the Pacific War, Japanese men stationed in Indonesia fathered thousands of children with Dutch-Indo women. The children were repatriated to the postwar Netherlands, where they led troubled lives. Facing discrimination as children of a despised enemy, many concealed their Japanese identity. Others were subjected to abuse by their Dutch-Indo families, who carried scars from the brutal war. In recent decades, many of these Japanese-Dutch children began to search for the identity of their fathers. These efforts to confront and heal the traumatic legacy of war have been assisted by support organizations in the Netherlands and Japan. The program follows the stories of two families to examine the complexity of this history. Two sisters track down the identity of their Japanese father and meet relatives in Japan. Continuing on to Indonesia to trace their mother's history, they confront ambivalent feelings about the past and strengthen their bond as sisters. The other story is that of a Japanese-Dutch woman who was raped and impregnated as a child by her Indonesian stepfather. Confronting her past, she reunites with the daughter from her childhood pregnancy, who was put up for adoption. That daughter, in turn, tracks down her Indonesian father's history as a POW of the Japanese army. The bitter legacy of war crosses generations, but the search for understanding offers the hope of closure.


"SPORTS FOR ALL - FREESTYLE FOOTBALL" (Hong Kong)
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BEST OF FESTIVAL WINNER - Entertainment
ENTERTAINMENT: Reality Competition Program

Entrant: Radio Television Hong Kong / Hong Kong
Production Company: Radio Television Hong Kong / Hong Kong
Producer: Shirley LEE Nga-yun; Director: Rex CHEUNG Hin; Editor: CHAN Kwok-shing
Additional Credits: Cinemtographers: LAM Kin-ming, Leo LAI Yick-ho;
Associate Producer: TSANG Tsz-wai


Lyson first came across football in Secondary Three. Lyson later started strenuous training in freestyle football, devoting himself to an unconventional football journey in this city. In 2010, Lyson won the championship in the Hong Kong Freestyle Football Competition. In 2014, winning the first place in the Freestyle Football World Cup (Shanghai) rendered him the first Chinese ever to enter the final round of the contest. He was even the first runner-up in the China Freestyle Football Championship in 2015. Despite having garnered accolades one after another, Lyson has in fact encountered difficulties of all kinds these years before being able to establish his status as the first full time pro freestyle footballer of the territory. Athlete: PE Teachers Antonio, Kay and Samuel PE teachers surely hope that students are keen to attend their PE lessons. Teaching and learning will both be more effective if students are interested in the kind of sport taught. Freestyle football happens to be a sport that many students find enchanting. Therefore, hoping to introduce this fascinating sport to their students, three PE teachers from three different primary schools will participate in the freestyle football training this time, to learn making fluent and elegant moves so as to achieve the state of “player and ball in one”. After receiving the dedicated instruction from Lyson SZE, the three PE teachers set foot in the world of freestyle football and start learning the five basic moves. After weeks of training, the three PE teachers will face an arduous challenge: street performance. For Lyson, Sai Yeung Choi Street South was the place that molded him into an unflappable street performer and taught him the importance of interacting with the audience. Besides street performance, the PE teachers will take on an ultimate challenge which requires each of them to challenge the football obstacle course with three of their students from primary schools. On the course meticulously designed by Lyson, the teachers will train their students to overcome a myriad of challenges together. Not only will this challenge stress on the skills of members, but it will also test the rapport among teachers and students.


"SPORTS FOR ALL - SYNCHRONISED SWIMMING" (Hong Kong)
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BEST OF FESTIVAL NOMINEE - Entertainment
ENTERTAINMENT: Sports

Entrant: Radio Television Hong Kong / Hong Kong
Production Company: Radio Television Hong Kong / Hong Kong
Exec Producer: Shirley Lee; Director: Queenie Sin
Additional Credits: Cinematographer: Yi Chiu-kwan
Editors: Wong Lap-hang, Roy Tsai


Rosita TSE, coach of the Hong Kong Synchronised Swimming Team, makes her first bold try in life – providing training to a group of seniors with an average age of over 73 by letting them take upon themselves a synchronised swimming challenge, so as to break the barrier put up by their age. In the first episode, the eight elders have to go through the first stage of training, the challenge of performing five basic synchronised swimming moves in the mid-term test, including backstroke kicks, continuous spins, “head first sculls”, “eggbeater kicks” and double patterns. In the second episode, they are divided into two teams by gender for the ultimate challenge, which is even more difficult than the previous one. Each team takes on the challenge of a one-minute team synchronised swimming task. The performances will be scored using the artistic impression, difficulty and execution as evaluation criteria. Synchronised swimming is an aquatic sport that integrates music, gymnastics, dance, and swimming strokes. Athletes need to perform moves such as lifts, turns, twists, and verticals without touching the bottom of the pool. It is sure that the athletes will achieve twice the result with half the effort if they have learnt dancing before. “Dry land training” is one of the drills on land in synchronised swimming which imitates dance. Athletes can have a better understanding of each move through imitating in-water swimming strokes on land. To the elders, swimming may be as easy as a hand’s turn, but dancing may be a totally different matter. It seems that the essential elements required for synchronised swimming such as speed, agility, flexibility and coordination are all related to age. To surmount the difficulties, the seniors have no other choice but to train hard. Apart from the pool trainings, they practise hard on the beach every single day. Will their diligence and determination help them overcome the age barrier, so as to create an unprecedented chapter in the history of synchronised swimming by performing the beautiful and elegant sychronised swimming moves in front of the audience for one minute?


"STITCHERS: TAPESTRY OF SPIRIT" (Canada)
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DOCUMENTARY: Religion

Entrant: 90th Parallel Productions Ltd / Toronto, ON


One woman’s ambitious project to create the entire Torah, in needlepoint. Over 1,000 stitchers in almost 20 countries, are each stitching a portion, in the hope that the final work will become a inspiring traveling museum exhibit.


"THE FUTURE OF X-RAY" (USA)
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BEST OF FESTIVAL NOMINEE - Corporate
CORPORATE: Advertising/Marketing: Business-to-Business

Entrant: Mountain View Group, Ltd./ Atlanta, GA
Sponsor/Client: GE Healthcare
Production Company: Mountain View Group, Ltd./ Atlanta, GA
Exec Producer: Thomas Gonyeau; Producer: Simon Umlauf
Additional Credits: Director: Tom Gliserman; Editor: Buff Harsh


Aspirational video for GE Healthcare’s X-Ray business unit. This approximately 2-minute video is used for marketing, sales, and promotional purposes to showcase GE’s X-Ray offerings across devices, services, and customer collaboration. Key themes of the video include digital innovation, better outcomes for patients, business optimization, reducing error and waste, and better management of vast amounts of data. This customer-focused video shows how digital technologies can create a different experience now and in the future, responding to the growing needs of health care organizations.


"THE LIONS RULE: EP1 - DEATH IN THE GLADE" (Austria)
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DOCUMENTARY: Craft/Production Techniques: Writing, Concept

Entrant: Terra Mater Factual Studios GmbH / Vienna
Production Company: A Terra Mater Factual Studios production in co-production with Doclights /
NDR Naturfilm and National Geographic Channel
Credits: Produced in association with Arte France /
Unité Découverte et Connaissance and Shibumi Films


Additional Credits: Director/Cinematographer: Owen Pruemm, S.A.S.C.; Editors: Andrew Chastney, Steve Barnes; Music composed by Sarah Class
The Glade is a paradise in the desiccated plains of Ruaha. Water is here all year round. This bounty spawns strange relationships, like the pact that exists between a baboon and a lion family who, against all natural instincts, live in harmony. But peace in the Glade is shattered when thousands of buffalo arrive to drink. They are followed by the biggest pride in all of Ruaha National Park, The Baobab pride. While the Baobab pride hunts the herd inside the Glade, another pride arrives on the scene. They are the Njaa - a pride of drifters - always following the buffalo herd. The herd is their territory and they will fight any lion that dares to poach their prey. The Glade becomes a war zone. Before this day is over, a horrible event will leave one pride in exile, one victorious and another waiting for the next disaster to unfold.


"THE LIONS RULE: EP1 - DEATH IN THE GLADE" (Austria)
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BEST OF FESTIVAL NOMINEE - Documentary
DOCUMENTARY: Nature, Wildlife

Entrant: Terra Mater Factual Studios GmbH / Vienna
Production Company: A Terra Mater Factual Studios production in co-production with Doclights /
NDR Naturfilm and National Geographic Channel
Credits: Produced in association with Arte France /
Unité Découverte et Connaissance and Shibumi Films


Additional Credits: Director/Cinematographer: Owen Pruemm, S.A.S.C.; Editors: Andrew Chastney, Steve Barnes; Music composed by Sarah Class
In episode one we introduce the Glade, a paradise in the heart of Ruaha National Park, Tanzania. Even in the hottest summer the Glade has water. It is a haven for the animals of Ruaha. Strange things happen in the Glade. Here, a lion pride and a troop of baboons have formed an unusual relationship. Lions are normally enemies of baboons. But the Glade pride and the baboons live in harmony. This is unprecedented behavior. The baboons appear to assist the lions when they hunt. Where normally baboons would warn prey animals that lions are near, in the Glade the baboons remain silent. Visitors are lulled into a false sense of security by the silence of the baboons. They remain oblivious to the danger right up until the lions pounce. Why do the baboons do this? A lion with a full stomach has no need to kill a baboon. If the baboons can help keep the lions fed there will be peace in the Glade. It may be as simple as that.
The Glade is a paradise in the desiccated plains of Ruaha. Water is here all year round. This bounty spawns strange relationships, like the pact that exists between a baboon and a lion family who, against all natural instincts, live in harmony. But peace in the Glade is shattered when thousands of buffalo arrive to drink. They are followed by the biggest pride in all of Ruaha National Park, The Baobab pride. While the Baobab pride hunts the herd inside the Glade, another pride arrives on the scene. They are the Njaa - a pride of drifters - always following the buffalo herd. The herd is their territory and they will fight any lion that dares to poach their prey. The Glade becomes a war zone. Before this day is over, a horrible event will leave one pride in exile, one victorious and another waiting for the next disaster to unfold.


"THE LIONS RULE: EP2 - HUNTING GIANTS" (Austria)
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DOCUMENTARY: Craft/Production Techniques: Cinematography

Entrant: Terra Mater Factual Studios GmbH / Vienna
Production Company: A Terra Mater Factual Studios production in co-production with Doclights /
NDR Naturfilm and National Geographic Channel
Credits: Produced in association with Arte France /
Unité Découverte et Connaissance and Shibumi Films


Additional Credits: Director/Cinematographer: Owen Pruemm, S.A.S.C.; Editors: Andrew Chastney, Steve Barnes; Music composed by Sarah Class
The dry season continues in Ruaha. In the Glade, animals gather to drink the last waters. The buffalo are also returning. Strangers follow. A coalition of adult male lions. They could spell disaster.
The Glade is a paradise where there is always water, a place where strange things happen. As the dry continues in Ruaha, herds of elephants arrive in the Glade. They dig deep into the sand with their trunks to tap the cleanest waters. The Glade pride copy the elephants - unusual behavior, but not in the Glade. Life carries on in its idiosyncratic way, but soon things may change. Adult male lions are on the horizon, they’re following the buffalo. The Njaa pride have already spotted the males. The Njaa are drifters, they consider the buffalo their territory. But even these fearless lionesses will not hunt while the lions are about - and now the males are on their way to the Glade.


"THE LIONS RULE: EP3 - BLOODLINES" (Austria)
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DOCUMENTARY: Craft/Production Techniques: Music - Adaptation or Original

Entrant: Terra Mater Factual Studios GmbH / Vienna
Production Company: A Terra Mater Factual Studios production in co-production with Doclights /
NDR Naturfilm and National Geographic Channel
Credits: Produced in association with Arte France /
Unité Découverte et Connaissance and Shibumi Films


Additional Credits: Director/Cinematographer: Owen Pruemm, S.A.S.C.; Editors: Andrew Chastney, Steve Barnes; Music composed by Sarah Class
A new leader has arrived in the Glade; the cubs are safe; he is their father. But, when one male cub grows into a boisterous teenager, the adult male must expel him from the Glade. Will this young exile survive the dangerous journey into adulthood?
Change comes to the Glade. An adult male arrives to resume his positions as leader, and father. The cubs grow quickly - there is one male amongst them. When the cub reaches adolescence he begins to play dangerous games, trying to mate with female members of the pride. This will not be tolerated. The leader evicts the young male from the Glade in a short but violent display of authority. The exile’s journey into adulthood is fraught with peril. Alone and desperate, hunger drives the teenager to become a scavenger. When he meets another young male exile from the Baobab Pride, his fortunes seem to change. Together they kill their first buffalo and form a bond for life. The young males know the only way they can survive is to follow the buffalo herds. Their journey takes them into the Greater Ruaha River valley, far from their homes. It is here that the Glade male meets a lioness - and that’s when the trouble really begins.


"THE RESTORATION OF THE SAADIAN TOMBS" (Morocco)
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DOCUMENTARY: Craft/Production Techniques: Music - Adaptation or Original

Entrant: Dounia Productions / Casablanca
Sponsor/Client: Foundation Dr Leila Mezian / Casablanca
Production Company: Dounia Productions / Casablanca
Producer/Director: Dounia Benjelloun; Sound: Younes Moad
Additional Credits: Cinematographer: Frederc Daudier; Editor: Abderrahim Meetour;
Composer Original Music: Richard Horowitz; Prod Mgr: Karim Wahib


The Dr Leila Mezian Foundation, which takes concrete actions to foster art and culture, has committed to provide funding for the research, restoration work, dissemination of knowledge, and promotion of the Saadian Tombs site with the objective of returning it to its former glory and showcasing the ancestral know-how of artisans perpetuated and faithfully reproduced over the centuries This film illustrates this ongoing commitment to the promotion and standing of Morocco’s culture and rich heritage, an outstanding example of cultural patronage and its essential role in preservation, development, and protection. This film is the result of two years of shooting, which began with the work outside the site then followed the evolution of the restoration work of three chambers, the “Chamber of the Mihrab”, the “Chamber of the Twelve Columns” and the “Chamber of the Three Niches”, as well as a second set representing the “Lalla Messaouda Cupola”. The images before and after the restoration are a testament to the colossal undertaking that this work represented as well as the splendour of the result.


"THE TEA EXPLORER" (Canada)
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BEST OF FESTIVAL WINNER - Documentary
DOCUMENTARY: Feature

Entrant: 90th Parallel Productions Ltd / Toronto, ON


Canadian explorer Jeff Fuchs is a true tea aficionado and his lifelong search for the perfect cup of tea takes him on a journey along the ancient Tea Horse Road. "The Tea Explorer" follows Jeff as he travels from the tea forests of southwest China over the Himalayas and down through the magnificent Kali Gandaki Gorge into Kathmandu, where the old tea traders once carried their leaves to market on the backs of mules. "The Tea Explorer" is a magnificent adventure through a forgotten part of history, revealing a fascinating and hidden world of tea.


"TRIBE VS. PRIDE" (Austria)
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DOCUMENTARY: Environment, Ecology

Entrant: Terra Mater Factual Studios GmbH / Vienna
Production Company: A Terra Mater Factual Studios / Wildlife Films Co-production
Prod/Dir: Beverly Joubert, Dereck Joubert; Exec Prod: Ivo Filatsch Sabine Holzer
Additional Credits: Cinematographer: Dereck Joubert; Editor: Jolene van Antwerp; Sound:
Beverly Joubert; Narrator: Sello Maake Ka-Ncube; Original Music:JB Arthur


Fifty years ago, an estimated 450,000 lions lived alongside the same number of Maasai in Africa. Today, these numbers have changed dramatically. There are now 2 million Maasai – but only 20,000 lions left in the whole of Africa. Very few warriors will ever see a lion, let alone hunt one. So what happens to that warrior status ritual, that competitive aggression? Hunting was banned in 1977, so all lion hunting that happens now is illegal. A Maasai in jail with no view of the rolling plains is a dead man walking, his spirit dies, his name forgotten. The elder leader in Maasai culture, the Pope of their world, is the Supreme Olaiban - and he is worried. This is a classic tale of culture versus today’s world, but it's based on conservation. A small group of concerned people have been engaging in ways to mitigate and to stop the killings that still go on. And finally, the Supreme Olainban announced: “We should not kill lions anymore.” As a means to stop the falling lion numbers, the Maasai have decided to change one of their culture’s most defining traditions - a big and important step for them, as culture and rituals are not changed in a heartbeat. But this particular case was recognized as so important that it was agreed by all the Maasai. And as a result, the iconic African lion, respected as one of the fiercest predators, gets another chance. The young men of the Maasai now compete in a different physical test – athletics. In 2008, the Maasai Olympics were founded, now taking place in Kenya biannually. The competition is organized in three levels – there are local, regional and ecosystem-wide competitions. Instead of killing lions, the young Maasai athletes are running, jumping and throwing spears. Even more important, conservation education has become blended with sports. Now, the hunt is not for lions - but for medals. They are trophies of a different kind, but are regarded with the same importance and approval within the communities. Bravery can still be tested and expressed, while the lion, friend and foe of the Maasai, may continue to roam the African savannahs…


"UNIT 731: ELITE DOCTORS AND HUMAN EXPERIMENTATION" (Japan)
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BEST OF FESTIVAL NOMINEE - Documentary
DOCUMENTARY: History

Entrant: NHK / Tokyo
Production Company: NHK / Tokyo
Producers: Junichiro Nishiwaki, Kazuyo Fukuda; Editor: Yoshimi Ozawa
Additional Credits: Dir: Tomoharu Okada, Chiyo Migita, Yuichi Tanaka, Kunihiro Sakai;
Cinematographers: Koichi Wada, Gao Jun; Sound: Koichi Wada, Gao Jun


There is this shocking fact that Unit 731 of the Japanese Imperial Army secretly developed and used bacteriological weapons in Manchuria during World War Two. It later destroyed the evidence and personnel kept silent. Then NHK found, in Moscow, more than 20 hours of audio recordings of a military tribunal held in Khabarovsk after the war. The tapes contain former Unit 731 members' testimonies about their human experiments. Defendants speak, for instance, of using Chinese prisoners as the subjects and of forcing them to swallow sugared water infected with typhus. It is estimated that more than 3000 people were used as living subjects. The human experiments were directed by medical scientists, who ought to have been saving lives. NHK obtained documents from an association of Unit 731 veterans and used them along with other directories and academic papers to investigate links between Unit 731 and universities. It learned that Unit 731 had gathered at least 40 scientists from more than 10 universities and research institute. As the war became intense, public feeling of disdain for resisting Chinese spread, provided the impetus for scientists to cross this ethical line. After the war, scientists who had worked for Unit 731 escaped prosecution and became leading figures in medical scientists' circle. They kept silent and Unit 731 became a taboo subject. But today, 72 years later, that history is taking on renewed relevance in Japan. The Science Council of Japan has a long-standing policy that scientists will not engage in research for military purposes. However, an increase in research funding from the Ministry of Defense has sparked debate over whether this prohibition should be relaxed. During the discussion, the history of Unit 731 and the development of the atomic bomb were cited as examples where science was used for questionable ends. To unveil the truth of Unit 731 should give a warning to this recent movement.


"WASHINGTON’S WAR TENT" (USA)
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BEST OF FESTIVAL NOMINEE - Corporate
CORPORATE: Specialty Productions

Entrant: Donna Lawrence Productions / Louiseville, KY
Sponsor/Client: Museum of the American Revolution / Philadelphia, PA
Dr. R. Scott Stephenson, Dr. Philip Mead
Production Company: Donna Lawrence Productions / Louiseville, KY
Exec Prod/CD/Music Supervisor: Donna Lawrence
Credits: Studio Managing Producer: Lynn Birkett; Cinematographer: Jim Barry;
Dev & Loc. Production Sr. Producer: Elle Kamihira; Post Prod Sup: Dan Galvin


Additional Credits: Project Tech Dir: Todd Freese; Editor: Paul Allman; Motion Graphic Artist & Animation: Chris Corbin; Soundtrack Design/Recording Engineer: Chris Greenwell/Downtown Recording; Writers: John Styron & Dr. R. Scott Stephenson; Historical Location Prod: Bryan Stefancyk; Tech Producer: Michael Redmon; Narrator: Peter Coyote; Art Director: Lindsay Daniels; Design Asst: Jennifer Greb; Image Research & Acquisition: Lynn Birkett & Lesley McShane; Lighting Design: Available Light; AV Engineering and Installation: Electrosonic Systems, Inc; EOS: Lighting Integration; Exhibition Design: Healy-Kohler
The ground-breaking, years-long project to conserve, study, display and then interpret Washington’s War Tent in an unforgettable, high impact multi-media visitor experience, has been both challenging and innovative. It was one of the most complex and complicated preservation projects in generations, from the enormous task of conserving such a large, three dimensional textile, to developing a new and unique method of support for long-term display of the tent. The depth of research, care in conservation, and creative and sophisticated interpretation bring this unique historic structure alive for visitors. The Museum’s goal was to display the tent in a way that would mimic the way it was set up and used by General Washington during the Revolutionary War. To protect the centuries-old linen from rope tension, Keast & Hood worked with a team of conservators, curators, and craftsmen to design an innovative umbrella-like aluminum structure to display the artifact. The structure is invisible to viewers so that the tent imitates its original shape. The tent is located behind glass in a climate-controlled object case. The Museum is one of the first institutions with a fire suppression system that involves a “vortex.” Designed by Victaulic, the innovative technology uses just a small amount of water and forced air to create a fog. With the equivalent of a gallon of water, it can put out a fire in a room while ensuring that the tent is not damaged and will continue to survive for generations. Location production presented the next round of challenges in order to bring this story to life. A precise replica of Washington’s tent was filmed on location near a period house, as it would have been used during the war. Live action scenes portray the tent being erected, used as Washington’s “office” in the field, and as a place of refuge, reflection, and strategy during the darkest and most hopeful times at this turning point moment in American history. The story is narrated by Peter Coyote with period “voices” helping to bring particular moments to life. Theatrical staging includes scrim and screen visual layers, cyc wall projections, theatrical lighting, and surround sound—all of which sweep the audience into the story, then unexpectedly reveal the actual tent mere feet away, culminating in an experience that has proved to have a deeply personal and emotional impact on visitors as they encounter the story.


"WE RISE" (USA)
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BEST OF FESTIVAL NOMINEE - Documentary
DOCUMENTARY: History

Entrant: Donna Lawrence Productions / Louiseville, KY
Sponsor/Client: New-York Historical Society Center for Women’s History / New York, NY
Louise Mirrer, Valerie Paley
Production Company: Donna Lawrence Productions / Louiseville, KY
Exec Prod/Director/Soundtrack Direction: Donna Lawrence
Credits: Sr. Producer: Lynn Birkett


Additional Credits: Principal Editor & Motion Graphics: Colin Carter/Mode Project; Soundtrack Design/Recording Engineer: Chris Greenwell/Downtown Recording; Writer/Story Development: Peter Ryan; Narrator: Meryl Streep; “We Are Here” Co-Written & Performed by Alicia Keys, Closing Theme Music; Design & Art Dir: Lindsay Daniels; Technical Producer: Michael Redmon; Electrosonic Systems Inc. & Available Light
We Rise—narrated by Meryl Streep and featuring the song “We Are Here” written and performed by Alicia Keys—explores a pivotal moment in New York during the first two decades of the 20th century. Out of a convergence of forces in New York during this period, the changing lives of a generation of women and a cohort of extraordinary women leaders working without the vote, create long-lasting political and social change for women and men, reverberating to today. Through brief vignettes and first person accounts, the film highlights remarkable moments of change and such women as Lillian Wald, Eleanor Roosevelt, Frances Perkins, Clara Lemlich and Zora Neale Hurston as well as many unsung women such as those who tragically perished in the Triangle Shirtwaist Factory fire, others who laid the foundation for the community that would produce the Harlem Renaissance, and those who advanced the cause of women’s suffrage by finally forging solidarity across social divides in mass marches and protests. The audience witnesses individual women advocating change over many decades, but it was in this time and place, as New York was emerging on the world stage, that a critical mass of women became crucial to making that change tangibly, observably real. Women and men stepped up to address deep issues facing families, the city, and the nation. An extreme gap between rich and poor, millions of immigrants pouring into the country, unspeakable working and living conditions, and limited freedoms for African Americans and women, called to a generation to respond in ways Alicia Keys’ song, “We Are Here,” calls us, today, to do the same. As we begin to hear contemporary voices, the film releases into an unexpected view across time. Supreme Court Justice Ruth Bader Ginsburg and others speak to the timeless connection between this historical moment and audiences today: "Something that Martin Luther King said: ‘The arc of the moral universe is long, but it bends toward justice.’ It's a long road, but it does bend to justice, as long as there are people who care.’” The narrative thread places women at the center of political thought and action that reshaped the country and brings us into New York at the present moment. We Rise moves audiences from a focus on the profound changes set in motion by women in early 20th century, to a celebration of the ultimate impact and meaning of such changes to expand human rights for all people.


"WINELINE 2 - ODYSSEY" (Australia)
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BEST OF FESTIVAL NOMINEE - Documentary
DOCUMENTARY: History

Entrant: Light Image Productions / Adelaide, SA
Production Company: Light Image Productions / Adelaide, SA
Director: Rick Cavaggion
Additional Credits: Editor: Sarah-Jane Rohersheim, Asst Editor: Gavin Possingham;
Colorist: Gavin Possingham


WineLine was the story of the historic Hamilton wine family across five generations of winemaking dating back to 1838. The sequel, Odyssey, follows the personal and universal quest of a son following in his footsteps, trying to unravel the mystery of his father's early life.


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