Northern Ontario: Construction of a cutting-edge 20,000-square-foot film soundstage is underway in Wahnapitae First Nation thanks to a collaboration between a local Indigenous-owned multimedia company, White Owl Film Studios, and Volume Global, a film production company based in Los Angeles, Calif.
The $3 million soundstage features a 35-foot-high clear span and will be located in the First Nation community situated 50 km north of Sudbury. Construction of the studio is expected to be completed and operational by January — with projects already lined up for the rest of the year.
Volume Global is also constructing an additional air-supported pop-up soundstage on the property, designed to meet the needs of productions in the North, where many filmmakers gravitate because of available tax incentives.
The state-of-the-art facility offers the square footage required for set construction and virtual production, with a turnaround time of 120 days. Two television series are already scheduled to lease the pop-up soundstage. The film series Deerslayer, a prequel to The Last of the Mohicans and directed by Michael Mann, will be one of the first film projects to utilize the pop-up space.
“We came up to Sudbury three or four years ago and tried to implement this (project) but it didn’t work out for many reasons,” said Chris Harrington, long-time film producer and co-founder of Volume Global.
At that point, Harrington had produced about a dozen feature films in the Parry Sound area (2012 to 2016) and realized that the North lacked necessary infrastructure for the film industry. But a chance meeting with Roy Roque at an industry producer event in Sudbury set in motion the plan to build the facility on Wahnapitae First Nation territory.
Roque worked in mining, construction, hospitality and in other sectors before launching White Owl Film Studios, an Indigenous-owned multimedia company in Wahnapitae First Nation, where he has been a resident since 1988.
What made working with Roque and his community more ideal was not having to deal with the red tape associated with a municipal government, said Harrington.
“That is the core reason why we are able to move as fast as we are,” he said.
That reason, coupled with the community’s close proximity to the airport and a soon-to-be built helipad and road upgrades, made the partnership that much more attractive, said the two entrepreneurs.
“We like to think outside of the box and do different things,” said Roque. “Way back in 1992 in Wahnapitae First Nation, there was no hydro, no water, no telephones and we built a licenced restaurant on the lake running off of generators. You know the old adage, build it and they will come? I think that’s going to happen here.”
“We didn’t come in here really with the sole idea that build it and they will come,” said Harrington. “We came in with the idea that we need to build it because we need the space for our projects. That’s a critical thing with this business model.”However, Harrington sees greater potential with the space in the community.“We want to this to be a creative destination,” he said. “We want a story village, a place where people can come and write something, produce it, post it and distribute, all right there.”Roque added: “It’s an opportunity for everyone here in Northern Ontario.”
According to a release, Volume Global is known for crafting pioneering air-supported pop-up soundstages and in modular design, scalability, operations, and LED volume workflows. In collaboration with Voltron Global, Volume Global has also undertaken the design and construction of a cutting-edge LED Volume wall in Regina, Sask., for a six-episode action TV series. This marks the company’s inaugural Mini LED Volume project in Canada.
In addition, in April, Volume Global opened the world’s first air column-supported soundstage in Yonkers, N.Y., in partnership with Great Point Studios and Lionsgate Entertainment.
From tentpole blockbusters to fast-turnaround streaming hits, the Universal Costume House remains one of the industry’s premier destinations for wardrobe and styling. With facilities in both Los Angel...
Mark Duplass is done waiting for the streamers to come around. Instead, he’s building a new path—one project at a time.
As the traditional television ecosystem continues to contract and consolidate, ...
At a time when U.S. production incentives remain fractured and fragile, Netflix’s Greg Peters is pointing across the Atlantic for inspiration.
Speaking at the Wall Street Journal’s CEO Council event ...
Paramount Global has initiated yet another round of layoffs, this time trimming 3.5% of its U.S. workforce—amounting to several hundred employees—as the legacy media giant continues to grapple with sh...
Los Angeles doesn’t let go of its icons easily—but even soap operas need to pack up eventually. After 38 years and over 9,600 episodes at CBS’s Television City, The Bold and the Beautiful is officiall...
Warner Bros. Discovery is splitting into two companies—one for streaming and studios, the other for global networks. It’s not just a reorg. It’s an admission: in this market, scale without focus is a ...
In the escalating arms race for global production dollars, Mexico has the locations, the crews, the infrastructure — but it still lacks one key weapon: competitive incentives.
While international pro...
In a key move to revive California’s flagging production economy, the State Senate on Tuesday passed a bill that would significantly expand eligibility and boost benefits under the state’s long-standi...
As major studios continue to reconfigure their production pipelines and streaming platforms scale back in high-cost markets, Louisville, Kentucky, is quietly positioning itself as the next major playe...
Western Australia is stepping up its game in the global production race. Starting July 1, Screenwest will double its post-production, digital, and visual effects rebate to 20%—now the most generous po...