Production & Post-Production

Sennheiser Acquires Majority Stake in Dear Reality VR/AR Audio Software Company

Wed, 07/10/2019 - 13:12 -- Nick Dager

Audio specialist Sennheiser has taken a majority shareholding in Dear Reality, a leader in spatial audio algorithms and VR/AR audio software. The company will continue to operate as a separate business based in Düsseldorf and customers will be able to rely on existing dearVR products. In addition, they can look forward to joint VR/AR workflows by Sennheiser and Dear Reality. Uwe Cremering, responsible for Ambeo Immersive Audio at Sennheiser, will support the company as a third CEO alongside founders Achim Fell and Christian Sander.

Spider-Man Sound Finished at Sony Pictures

Wed, 07/10/2019 - 13:06 -- Nick Dager

Post-production sound for this summer’s blockbuster hit from Columbia Pictures, in association with Marvel Studios, Spider-Man: Far From Home, was completed by Sony Pictures Post Production Services. Supervising sound editor and sound designer Steven Ticknor, re-recording mixer and supervising sound editor and sound designer Tony Lamberti and re-recording mixer Kevin O’Connell led a team of veteran sound artists in delivering dynamic soundscapes to match the film’s full throttle action, mind-blowing superhero gadgetry and larger-than-life characters, the latter including a quartet of extra-dimensional creatures with colossal powers known as the Elemental Creatures.

Play it Again, Sam

Tue, 07/09/2019 - 13:32 -- Nick Dager

Sam Chynoweth joined Technicolor in July 2018 and brings a mixture of animation and live action experience to Technicolor’s London color team. Chynoweth previously worked as a colorist in Australia on a number of different projects, including The Lego Movie, The Infiltrator, Peter Rabbit and The Lego Batman Movie. He spoke with Digital Cinema Report recently about his work.

Finding the Available Light

Tue, 07/09/2019 - 13:07 -- Nick Dager

Part Vittorio De Sica’s Bicycle Thieves, part Goonies on skateboards, director Lije Sarki’s Concrete Kids tells the story of two nine-year-old boys from Venice, California who, for a contest, set off on a mission to cross Los Angeles on skateboards at night to reach the Staples Center by morning. Now streaming on Amazon Prime, the low-budget feature from The Orchard was shot by cinematographer Daron Keet with Panasonic VariCam LTs in available light mainly at night.

Éclair Names Christophe Massie Head of Preservation, Announces Alliance with Orfeo

Mon, 07/01/2019 - 11:42 -- Nick Dager

Éclair has hired Christophe Massie as the new head of its preservation division, effective immediately. An alliance has also been struck with Massie’s conservation and media management company, Orfeo. Under the agreement, Orfeo benefits from Éclair’s European sales and business services and relocates from its current premises to Éclair’s Paris-Vanves and Auxerre locations.

Alkemy X Names Shurtiff Director of Information Technology

Mon, 07/01/2019 - 11:34 -- Nick Dager

Creative media company Alkemy X has appointed Rich Shurtliff as director of information technology. Shurtliff, who brings deep experience in IT for visual effects, design and content production, will oversee the company’s information technology strategy, services and operations at its Philadelphia, New York, and Los Angeles studios. He succeeds the retiring Bob Pyle, who held the post for nearly 30 years.

Paddleton’s Unique Approach to Sound

Thu, 06/27/2019 - 11:28 -- Nick Dager

With a unique improvisational acting style at the heart of the Netflix original film, Paddleton, capturing audio was of paramount concern for sound supervisor Daniel S. McCoy CAS, owner and operator of ToneMesa, Inc. “Sometimes, the team would go off to unplanned locations and I’d have to be ready to follow immediately,” says McCoy.

Don’t Make Ma Angry

Mon, 06/24/2019 - 11:00 -- Nick Dager

VFX Legion recently wrapped work on Ma, Blumhouse Productions’ new psychological horror film. The Burbank and British Columbia-based independent studio digitally mutilated and eviscerated characters, and augmented practical footage with computer-generated sequences, large-scale dynamics, new digital assets and composited shots that enhanced some of the movie’s most gruesome scenes.

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Report Finds 3D Ghosting Has Many Causes

Mon, 06/24/2019 - 10:50 -- Nick Dager

The Cinema Technology Community has published a report about the causes of 3D crosstalk. According to the not-for-profit independent cinema technology organization, while no single piece of equipment (port glass, projector, 3D system, 3D screen and eye wear) is necessarily responsible for the introduction of 3D ghosting, any and all elements in the light path can have a contributing effect inside of a closed ecosystem.

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