{"id":24235,"date":"2025-10-16T18:00:26","date_gmt":"2025-10-16T16:00:26","guid":{"rendered":"https:\/\/www.samdb.co.za\/blogs\/?p=24235"},"modified":"2025-10-16T18:00:27","modified_gmt":"2025-10-16T16:00:27","slug":"tron-ares-free-virtual-qa-with-picturehouse-441","status":"publish","type":"post","link":"https:\/\/www.samdb.co.za\/blogs\/blog\/2025\/10\/16\/tron-ares-free-virtual-qa-with-picturehouse-441\/","title":{"rendered":"‘Tron: Ares’ Free Virtual Q&A with Picturehouse 441"},"content":{"rendered":"\n

Cinematographer Jeff Cronenweth, ASC; production VFX supervisor David Seager; sound designer\/supervising sound editor Addison Teague<\/em><\/strong><\/p>\n\n\n

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Tron: Ares<\/a>: A highly sophisticated digital program, Ares, is sent into the real world, marking humanity\u2019s first face-to-face encounter with physically-generated A.I. When programmer Eve makes a shocking discovery, they embark on a dangerous mission as mankind reckons with the threat of A.I. beings come to life.<\/p>\n\n\n\n

Date: 11\/02\/2025 at 4:00PM ET \/ 1:00PM PT \u2010 Live
Date: 11\/02\/2025 at 8:00PM ET \/ 5:00PM PT \u2010 Encore
Date: 11\/02\/2025 at 11:00PM ET \/ 8:00PM PT \u2010 Encore 2<\/p>\n\n\n\n

Get FREE Tickets<\/a><\/p>\n\n\n\n

Sponsored by Walt Disney Studios Motion Pictures<\/p>\n\n\n\n

Guest Bios<\/h4>\n\n\n\n

Jeff Cronenweth, ASC – <\/strong>Two-time Oscar-nominated cinematographer Jeff Cronenweth, ASC, is known for his compelling and creative lensing across film, television, commercials and music videos. <\/p>\n\n\n\n

Most recently, Cronenweth served as director of photography on TRON: Ares<\/em>, the latest installment of the iconic sci-fi franchise, directed by Joachim R\u00f8nning and filmed for IMAX. Set to release on October 10, 2025, the film follows a Program sent from the digital world into the real world, marking humankind\u2019s first contact with AI beings.<\/p>\n\n\n\n

Also in 2025, Cronenweth served as the DP on Ariana Grande’s short film Brighter Days Ahead<\/em>, co-directed by Christian Breslauer and Grande. Released alongside her Eternal Sunshine <\/em>deluxe album, the film explores themes of love, resilience and healing. <\/p>\n\n\n\n

In another 2025 project, he collaborated with Xbox on a commercial titled Wake Up<\/em>, directed by Romain Chassaing and co-directed by David Fincher. The ad features Cronenweth\u2019s cinematography and earned Bronze Lions at Cannes Lions for Colour Correction\/Grading and Production Design. <\/p>\n\n\n\n

Up next, Cronenweth reunites with director Sam Taylor-Johnson for Rothko<\/em>, a biographical drama about Kate Rothko\u2019s fight to protect the legacy of her father, renowned abstract painter Mark Rothko. The two previously collaborated on A Million Little Pieces<\/em> in 2018.<\/p>\n\n\n\n

In 2021, he lensed Being the Ricardos<\/em>, a biographical drama <\/em>directed by Aaron Sorkin starring Nicole Kidman and Javier Bardem as Lucille Ball and Desi Arnaz.<\/p>\n\n\n\n

In 2020, he made his television debut with the pilot for Amazon\u2019s Tales from the Loop<\/em>, with director Mark Romanek. Cronenweth earned an Emmy nomination for Outstanding Cinematography for a Single-Camera Series for his work on the neo-futuristic series inspired by Simon St\u00e5lenhag\u2019s artwork.<\/p>\n\n\n\n

Cronenweth earned Academy Award and ASC nominations for his acclaimed work on David Fincher\u2019s The Girl with the Dragon Tatto<\/em>o and The Social Network<\/em>, continuing a longstanding collaboration that began with his feature debut on Fight Club<\/em> in 1999, named one of the 10 best shot films of 1998 – 2008 by the American Society of Cinematographers.<\/p>\n\n\n\n

Other notable features include One Hour Photo <\/em>(Mark Romanek), K-19: The Widowmaker<\/em> (Kathryn Bigelow) and Hitchcock <\/em>(starring Anthony Hopkins and Helen Mirren).<\/p>\n\n\n\n

In addition to his feature film work, Cronenweth is known for his stylish CLIO Award-winning commercials and music videos for artists such as P!nk and Maroon 5 and for brands Adidas, Amazon, Gap, Gatorade, Lexus, MasterCard and Verizon. He also lensed high-fashion spots for Lady GaGa\u2019s fragrance, Fame, and continues to shoot music videos and commercial campaigns between features. <\/p>\n\n\n\n

A native Angeleno, Cronenweth studied filmmaking at the University of Southern California and began his career apprenticing to some of the film industry\u2019s greatest cinematographers, including; Sven Nykvist, ASC, John Toll, ASC, Conrad Hall, ASC and his father, the late Jordan Cronenweth, ASC (Blade Runner<\/em>).<\/p>\n\n\n\n

Cronenweth is represented by DDA.<\/p>\n\n\n\n

David Seager <\/strong>is a VES Award-nominated Visual Effects Supervisor with over 27 years of experience. He most recently served as the Production-side Visual Effects Supervisor on the Director Joachim R\u00f8nning\u2019s highly anticipated film, Tron: Ares where he supervised<\/p>\n\n\n\n

over 2,100 VFX shots. The work ranged from a location\u2011based chase scene, integrating stunts, SFX, and VFX to bring lightcycles into the real world, to fully CG battles in the Grid. Before Tron: Ares, he oversaw ILM’s work on Tony Gilroy’s critically-acclaimed Star Wars<\/p>\n\n\n\n

series Andor and Ryan Coogler\u2019s Black Panther: Wakanda Forever. He also contributed to Jon Favreau\u2019s episodic series The Book of Boba Fett.<\/p>\n\n\n\n

For his contributions to Michael Waldron\u2019s Loki for Marvel, Seager was honored with the HPA and VES award nomination for Best Visual Effects. As Visual Effects Supervisor on Loki, Seager led the team responsible for the Void, including its environment, the Loki Alligator, Alioth, and FX magic, as well as the Time Theater sequences in episode one. Previously, he received the Saturn Award nomination for Best Special Effects for Guy Ritchie\u2019s live-action Aladdin and an HPA Award nomination for Outstanding Visual Effects for his work on the fantasy adventure film Maleficent, directed by Robert Stromberg.<\/p>\n\n\n\n

With a career spanning from everything to pipeline engineering and shader writing to supervision at every level, Seager brings both highly technical and artistic expertise in leading a team to deliver the highest quality work on complex projects.<\/p>\n\n\n\n

Addison Teague<\/strong> is an Oscar nominated sound designer from Skywalker Sound with 25 years of experience. During this time, he has worked on 48 films directed by some of the industry\u2019s best, including Gore Verbinski, James Cameron, Steven Spielberg, Chlo\u00e9 Zhao, Sam Raimi, and James Gunn.<\/p>\n\n\n\n

Addison moved to Los Angeles in 1995 to attend USC Film School and pursue a childhood interest in filmmaking. At USC he received the Mary Pickford Sound Scholarship and worked as the Teaching Assistant for Tomlinson Holman (inventor of THX for Lucasfilm) while falling in love with the art of cinematic sound.<\/p>\n\n\n\n

In 2000, Addison began his professional career at George Lucas\u2019s world-renowned Skywalker Sound in Northern California. Over the next 7 years, he would edit sound effects on 19 films, including The Ring, Munich<\/em>, and Lord of the Rings<\/em>.<\/p>\n\n\n\n

Missing the collaborative filmmaking experiences from film school, Addison realized a dream to work as an embedded sound effects editor in the picture editorial department for Disney\u2019s first Pirates of the Caribbean<\/em> film, The Curse of the Black Pearl<\/em>. Proximity to the director and picture editors allowed him to help build the sound track in coordination with the early picture editing phase, which was not necessarily common in 2003 post production.<\/p>\n\n\n\n

Building on this workflow, he permanently relocated to Los Angeles in 2007 to work in Jim Cameron\u2019s home for three years on the first Avatar<\/em>, for which he earned a British Academy Award nomination.<\/p>\n\n\n\n

Staying in Los Angeles, Addison has continued to work as an embedded Skywalker sound designer, overseeing films including Tron Legacy<\/em> (earning him a Best Sound Editing Academy Award nomination), Rango and Zootopia <\/em>(both films winning the Best Animated Feature Oscar), <\/em>and many Marvel films including Guardians of the Galaxy Vol 2<\/em> and Doctor Strange in the Multiverse of Madness<\/em>.<\/p>\n\n\n\n

Between supervising the sound on motion pictures, Addison still enjoys cutting sound effects on memorable film sequences, such as the car race sequence in Spielberg\u2019s Ready Player One<\/em>, and R2-D2 and C-3PO\u2019s final cinematic bow in Star Wars: The Rise of Skywalker<\/em>.<\/p>\n\n\n\n

Returning to the world of Tron 14 years after working on Tron Legacy<\/em> has been a career highlight for Addison, working for a year on the Disney studio lot and collaborating with director Joachim R\u00f8nning, VFX supervisor David Seager, picture editor Tyler Nelson, and composers Trent Reznor and Atticus Ross of NIN.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Cinematographer Jeff Cronenweth, ASC; production VFX supervisor David Seager; sound designer\/supervising sound editor Addison Teague Tron: Ares: A highly sophisticated digital program, Ares, is sent into the real world, marking humanity\u2019s first face-to-face encounter with physically-generated A.I. When programmer Eve makes a shocking discovery, they embark on a dangerous mission as mankind reckons with the… Continue reading ‘Tron: Ares’ Free Virtual Q&A with Picturehouse 441<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":24237,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-24235","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interview","entry"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.samdb.co.za\/blogs\/wp-content\/uploads\/2025\/10\/TronAres-Picturehouse441.jpg?fit=550%2C290&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/posts\/24235","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/comments?post=24235"}],"version-history":[{"count":0,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/posts\/24235\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/media\/24237"}],"wp:attachment":[{"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/media?parent=24235"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/categories?post=24235"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/tags?post=24235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}