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Setting the visual tone for ABC’s Madoff

Bernie Madoff, one of the most hated men on earth thanks to his massive Ponzi scheme, was recently the focus of a four-part ABC miniseries called, simply, Madoff.

Technicolor PostWorks New York colorist Anthony Raffaele worked directly with Madoff DP Frankie DeMarco in finalizing a look of the series, which captures the big money atmosphere of Wall Street in the 1990s and 2000s.

Directed by Raymond De Felitta, Madoff is told from the perspective of its title character (Richard Dreyfuss) and portrays his schemes to defraud investors and meticulous efforts to keep the truth about his activities hidden from the public and his family.

DeMarco shot the show with an Arri Alexa camera and used vintage Cooke Speed Panchro lenses to give the imagery a filmic look indicative of its time period. He also shot Super 16 and Super 8 film for Madoff’s childhood sequence.

“It’s a character-driven story told from one person’s point of view,” DeMarco recalls. “So, I didn’t want it looking too sharp or crisp. I used the vintage Cooke Speed Panchro lenses to give the movie a more round, human feel.”

Much of the action shifts between the 19th floor of the Lipstick Building in Midtown Manhattan, which housed the offices of Madoff’s investment firm, and a small boiler room operation on the 17th floor — this was hidden from all but a few insiders and is where the dirty work of the fraud scheme was carried out.

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Review: Avid Pro Tools 12
By Ron DiCesare

In 1990, I was working at a music studio where I did a lot of cut downs of 60s, 30s, 15s and 10s for TV and radio commercials. Back then we used ¼-inch analog tape with a razor blade to physically cut the tape. Since I did so many ¼-inch tape edits, the studio manager was forward thinking enough to introduce a new 2-track digital editing system by Digidesign called Sound Tools.

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Behind the Title: Editor Bob Mori

Freelance editor Bob Mori, versed in both Media Composer and Premiere, is a veteran commercial and film editor. He likes to wear many hats during a project, including providing visual effects, sound design and music. Check out our Q&A...

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Sound work recognized by the CAS and MPSE
By Mel Lambert

Editor Ben Whitten joins Northern Lights

Ex Machina visual effects team gets Oscar

ILM welcomes Oscar-winning VFX supervisor Eric Barba

Procam buys London-based rental house Take 2

72andSunny adds audio
and editing suites

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