Technicolor Mill Film to base a major global visual effects studio in the Adelaide city centre

A scene from Gladiator that won a visual effects Oscar for Technicolor's Mill Film.

Global entertainment giant Technicolor’s 500-person visual effects (VFX) centre in Adelaide will make South Australian an international film production hub.

Technicolor’s Mill Film $26 million 3000-plus square metre studio, at the Myer Centre in Adelaide's city centre, will deliver visual effects for major film studios and streaming services, later expanding into virtual and augmented reality. Mill Film will comprise an Adelaide Centre of Excellence and VFX Academy, for 500 staff –ranging from technologists to artists – when running at full strength within five years.

A French company, Technicolor employs more than 15,000 globally with bases in Paris, London, Los Angeles, Montreal, New York, Vancouver, Bangalore and Shanghai. In 2018,

Technicolor and its brands – MPC, MR. X, Mikros and Mill Film – worked on 40-plus titles for major studios including A Wrinkle in Time, Predator, The Nutcracker and the Four Realms, The New Mutants and 14 episodic projects from Mr. X including new seasons of American Gods, Carnival Rows, Narcos, A Series of Unfortunate Events and Vikings. This is in addition to its film credits related to Jungle Book, Wonder Woman and The Shape of Water (nominated for 13 Oscars), along with films such as The Martian, Blade Runner 2049 and Pirates of The Caribbean: Dead Men Tell No Tales.

The Adelaide VFX businesses is set to attract talented artists to South Australia from around the world. The South Australian government provided up to $6 million to support Technicolour Adelaide project, which is expected to have an economic benefit of around $252.6 million over 10 years.

Technicolour saw Adelaide as offering a pool of proven creative talent, access to universities to develop and nurture new talent, and internet infrastructure to allow it to move large amounts of data.

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Southern Cross film 'The Woman Suffers' (1918) , made in Adelaide, a feminist melodrama

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David Shearer invents Australia's first car – steam powered – at Mannum in 1894-97

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South Australia's firm Southern Cross backs films by Raymond Longford from 1917

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Luther Scammell builds Francis Faulding 1840s vision for an Adelaide wholesale pharmacy

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Ludwik Dutkiewicz and Ian Davidson's 'Time in summer' (1968) gets to the Berlin Film Festival

Half a century to the day after The Woman Suffers premiered in Adelaide 1918, the next South Australian feature film, Ludwik Dutkiewicz’s Time in Summer (1968), appeared. Although it enjoyed a screening at the Berlin Film Festival but failed to attract commercial interest. The experimental narrative film, produced, written and photographed by Ian Davidson and directed by Dutkiewicz, explored the subjective experiences of a girl's first romance and her brother near death after a car accident. Christina O’Brien and Peter Ross led the cast. Davidson and Dutkiewicz also made Reflections (1964) and Transfiguration (1965) that received an AFI award for best black and white photography. Davidson was influenced  by  late 1940s films – William Wyler’s The Best years of our lives, Olivier’s Hamlet, The Third man and Kazan’s Boomerang – and by Jean Cocteau, Eisenstein, and modern authors William Faulkner and James Joyce. In the 1950s he was swayed by dramatists (particularly Lorca) seen in “visionary” productions in Adelaide and expanded his literary horizons in Mary Martin’s Bookshop that, under Max Harris, was a gathering place for exploring modernism. In 1955, Davidson met painter and multi-media experimental artist Stan Ostoja-Kotkowski and, soon after, brothers Wlad and Ludwik Dutkiewicz who founded the Arts Studio Players. Ludwik Dutkiewicz was featured in the documentary film Painting 1950-1955 South Australia, by Ostoja-Kotkowski. He belonged to the progressive Adelaide Group, that exhibited in Adelaide, Sydney and Melbourne in the 1950s. 

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