The Foundry Releases Mari 1.4

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Tue, 12/13/2011 - 19:00 -- Nick Dager

The Foundry has released of Mari 1.4.  Designed from the ground up to meet the needs of the most demanding VFX texture and matte painting artists Mari is a 3D digital paint tool that simplifies artist workflow. Capable of handling vast numbers of pixels Mari eclipses other 3D paint tools in speed flexibility and processing capabilities. Mari allows artists to concentrate on painting detailed multi-layered textures directly onto 3D models in a fluid and natural way. Introducing Adobe Photoshop layered PSD import and export industry standard color management with OpenColorIO and triplanar projection Mari 1.4 speeds up and simplifies workflow.  With Mari 1.4 artists can paint detailed multi-layered textures directly onto 3D models solve commonplace VFX problems save time and work in ways never thought possible before. Originally developed to cope with the most ambitious VFX films of our time and enhanced by The Foundry Mari easily fits into your current pipeline and will adapt to deliver on often-unforeseen production requirements. In the past year Mari has quickly become the new high end standard for digital paint.  It has been widely adopted across the industry at leading film studios and post production houses including Sony Picture Imageworks DreamWorks Industrial Light & Magic Pixar and Digital Domain to name a few. Hayden Jones VFX supervisor at Rushes says “Using Mari to paint was a revelation! It’s immensely quick and intuitive. Mari allowed me to concentrate on the getting the artistic look right without having to get bogged down in technicalities. Trey Harrell the lighting supervisor at Mr. X says “We were also one of the first studios in the world to adopt Mari into our pipeline which proved crucial due to the enormous texture resolution requirements on many of our assets.” Rob Bredow chief technology officer at Sony Picture Imageworks adds Mari streamlines our artist workflows on our most complicated assets. It is the latest addition to our pipeline as we provide artists with the right innovative tools to meet any creative challenge. Bill Collis chief executive officer at The Foundry says “The progress of Mari over the past year has been impressive.  Our aim is for Mari to continue development and handle all aspects of high-end digital paint this latest release brings us that much closer. Mari’s growing customer base reinforces that Mari is quickly being adopted as the industry standard.” Mari 1.4 is available immediately and runs on Windows and Linux. It supports Ptex Python OpenEXR and C API. Mari 1.4 is priced at $1 980/ £1 200 with maintenance costing $330/£200. For more information and for video demos of MARI 1.4 see: The Foundry ,2959
Digital Cinema Transition Passes Halfway Point with 50 000 Screens
,2011-12-14, Texas Instruments DLP Cinema has announced that more than 50 000 movie theatre screens across the globe have projectors from its OEM licensees Barco Christie and NEC. This means that the transition to digital cinema has crossed a threshold with over 50 percent of the estimated worldwide commercial cinema screens having been converted to digital cinema and the industry now estimates to reach near completion by the end of 2015. 
 “Together with our licensees DLP Cinema has always focused on the goal of providing audiences with the broadest digital projection technology options possible to match and even exceed the rich color clarity and detail of 35mm and 70mm film answer prints ” says Dave Duncan manager of DLP Cinema for Texas Instruments. “When the first DLP Cinema-powered projectors were installed in 1999 we knew we had embarked on something that would eventually bring positive change and opportunities not available in the film-based era. Today we are thrilled to continue to be the driving force in making what was once considered a far off and unlikely future a clear accessible reality and are fully committed to helping exhibitors of all sizes around the world.”
 To celebrate the achievement DLP Cinema provided each of its licensees Barco Christie and NEC with a commemorative DLP Cinema chip representing the 50 000th three-chipset manufactured which will be installed at three cinemas. Barco has selected the Cinemark El Tesoro in Medellin Colombia Christie has chosen the Shanghai Film Group Corporation in China and NEC has picked the Majestic Cinema in Milwaukee Wisconsin as the worldwide representatives of this 50 000th milestone. 
  “We are very honored to receive this award from Texas Instruments for being the 50 000th location. United Circuit Cinemas and Shanghai Film Group would like to thank Texas Instruments and Christie Digital Systems for staying ahead of technological innovation for exhibitors ” says Xu Xiaoping general manager United Circuit Cinemas Shanghai Film Group.
  “After an exhaustive review of all digital cinema providers by Jane Durment The Marcus Corporation’s chief information officer and Mark Collins our director of projection technology DLP Cinema was selected as Marcus Theatres’ digital cinema solution ” says Bruce Olson president of Marcus Theatres. “Marcus Theatres is proud that the Majestic Cinema in suburban Milwaukee Wisconsin was selected as one of the sites for one of DLP Cinema’s 50 000th chipsets.” 
  In the twelve-month period between December 1 2010 and November 30 2011 the number of DLP Cinema screens worldwide grew to a total of 51 620 (up from 28 036) – nearly double the amount of such screens at this point in 2010 – for an increase of 84 percent. DLP Cinema 3D screens have risen 65 percent to 30 290 in total (from 18 367) during the same twelve-month period. The total DLP Cinema worldwide screens do not include IMAX digital powered by DLP Cinema which separately grew to 410 sites globally (256 in North America and 154 internationally).
 The switch to digital projection has been particularly rapid in China with 7 745 DLP Cinema screens – an amount that is nearly 60 percent of all digital screens in the Asia Pacific region which includes India Australia and New Zealand – and 4 409 of the screens are 3D-enabled. This latest research estimates that China will have a nationwide footprint of all-digital commercial cinemas by the end of 2013. In the Asia Pacific region as a whole between December 1 2010 and November 30 2011 there was 92 percent growth in DLP Cinema screens to 13 365 (up from 6 972) and a 82 percent jump for 3D screens (from 4 583). 
Europe the Middle East and Africa experienced similar growth to Asia Pacific during this same twelve-month period with a 91 percent increase for DLP Cinema screens (17 670 total) and 56 percent increase with 3D (10 848 total). In Latin America DLP Cinema screens grew to 2 424 (an 83 percent increase) and 2 343 (83 percent change) with 3D capabilities. This continued global success further affirms DLP Cinema’s longstanding leadership position in the digital cinema space and represents a positive outlook for the months and years ahead.
 Christie announced that it has shipped and installed more than 26 000 digital cinema projectors worldwide and Barco announced that it has delivered more than 20 000 digital cinema projectors. “The versatility and convenience of our one-stop shopping approach based on our deep understanding of exhibitor needs has won us new customers across the globe. Christie continues to be the exhibitors’ choice for financing options like our innovative Virtual Print Fee program in North America leading edge-hardware and software and unparalleled support from Christie’s Managed Services ” says Jack Kline president and chief operating officer Christie Digital Systems USA. “All of this enables exhibitors to deliver a filmmaker's vision today in 2D 3D 4K and future-proofs their investments for 3D High Frame Rate projection quality depending upon the movie’s format and our clients’ budgets and audience expectations ” says Kline. “Combined with display support for 2D 3D 4K and 3D High Frame Rate projection exhibitors can choose between formats to suit their budgets and audience expectations and deliver a filmmaker’s vision or broadcast content the way it was intended while future-proofing their investments.” JP Tanghe senior vice president at Barco says As a listed company Barco has always cherished offering its shareholders and other stakeholders the highest level of transparency accuracy and trustworthiness when sharing information and that it intends to continue along this path in the future.  We are proud of our large contribution to the worldwide success of Texas Instruments' award-winning DLP Cinema technology. As this technology is now passing the 50 000 units milestone we are happy to announce that Barco's share in this success story represents no less than 40 percent or well over 20 000 units ” says Wim Buyens senior vice president of Barco's entertainment division. “Moreover various big incoming orders from large international cinema chains as well as regional exhibitors – including Cinepolis in Latin America SF Bio in Scandinavia and many others – prove that Barco remains a preferred cinema technology partner for the future. ,2960
NEC Upgrades Projectors to Support Higher Frame Rates,2011-12-14,NEC is upgrading Series 2 digital cinema projector line to support the higher frame rate format. Hollywood filmmakers such as directors James Cameron and Peter Jackson are already backing the HFR format which is likely to be available in late 2012. New films such as The Hobbit and Avatar sequel are being produced in HFR. NEC has performed major development to the software within its Series 2 line including the NC1200C NC2000C and NC3200S with the launch of version 3.3 of its Release Package. This enables the projectors to support the HFR format with IMB input allowing 60 frames per second in 2D and 3D with 48 frames per second in Double Flash 3D. This leads to faster movement sharper images and a much smoother picture. Support of HFR technology will be available for the NC3240S 4K projector in the spring of 2012. Higher frame rate movies will enhance the theatre experience and increase viewing aesthetics for avid enthusiasts says Jim Reisteter general manager for digital cinema projectors at NEC Display Solutions. NEC's ability to provide our customers with this important upgrade is a testament to our commitment to the digital cinema industry. The HFR technology for 2K/3D presentation will be also available for the NEC 4K projector NC3240S in late 2012. ,2961
Rethinking Santa Claus in 3D,2011-12-14,Earlier this year Walton Isaacson was hired to create a holiday ad for Philips Norelco’s new SensoTouch 3D rechargeable razor. They decided to re-imagine one of Norelco’s most popular holiday ads of all time. The long-running original was known for a stop-motion Santa that sledded through the snow atop one of their products. It is widely regarded as a classic. For the new :15 to :30 second spots the firm wanted to imitate the original’s look but incorporate a new twist. This time the razor would be 3D. That’s where re:think studios – a 3D design modeling and animation company based in Chicago – came in. To create the razor and many of the matte backgrounds that would surround it re:think turned to modo – a trusted ally in their 3D workflow. For years re:think has been using modo on 75-80 percent of their workload. This made the software a perfect choice for projects like Norelco’s that required tight turnarounds. modo’s highly intuitive features allowed the firm’s artists to compose light and model scenes for the new spot quickly and at high levels of quality. “We use modo almost exclusively for our photo-real rendered content ” says Brian Bullock director of CGI and partner at re:think studios. “Creating great CG can be very difficult and time consuming but with modo we never have to worry about quality or pushing deadlines because of slow render times. The speed of the renderer alone helps keep us relevant in this hyper-competitive world of advertising and design.” One of re:think’s favorite features in modo is the preview render feature which helps artists quickly see what their edits will look like in their final render. As visual storytellers this is important as they are able to transfer their ideas from their minds to their computers with speed and efficiency. Their clients count on it especially when the ad in question needs to be produced in a holiday-like rush. “Modo is blazing fast ” says Bullock. “And with the deadline we had on this spot we needed every minute. I vote we put modo on the nice list.” The spot can be seen nationwide on outlets like Fox CBS MTV Adult Swim ESPN Comedy Central etc. It can also be viewed online at re:think’s Vimeo page: Luxology ,2962
Panasonic Low-Cost 3D Camera Available Now,2011-12-14, Panasonic has announced pricing and availability for its latest professional 3D camcorder the HDC-Z10000 delivering in December at a suggested list price of $3500. The Z1000 achieves the industry’s nearest close-up of approximately 17.7 inches (45cm) for a twin-lens 3D camcorder while maintaining an equivalent 32mm wide angle of view. It records close-up images that would be conventionally difficult to capture in crisp detail. The Z10000 is Panasonic’s first integrated twin-lens 2D/3D camcorder that is fully compatible with the AVCHD 3D/Progressive standard. Based on the AVCHD format this new standard has been upgraded to AVCHD 3D which uses MVC (Multiview Video Coding) to record and play 3D images via the Frame Sequential Method (each frame is full resolution). Panasonic says that AVCHD 3D/Progressive is the latest format in the 3D domain and assures frame-by-frame beautiful results. Two independent high-sensitivity 3MOS sensors (left and right) for superb color and detail reproduction and a newly developed Crystal Engine Pro II for high-speed processing and noise reduction make the Z10000 a breakthrough camera at its price point. With the two high-sensitivity 3MOS sensors (with an effective pixel count of 6.57 megapixels each) that are independently mounted left and right the Double 3MOS system creates outstanding Full HD 3D video content (which can be viewed on any Panasonic consumer 3D TV). The same level of performance is also provided for 2D images allowing remarkable 2D image quality in combination with 1920 x 1080 60 progressive recording. “The Z100000 is the first handheld 3D camcorder that makes capturing close-ups easy ” said Jan Crittenden Livingston product manager Panasonic Solutions Company. “With its breakthrough convergence setting the Z10000 is the affordable choice for shooting small subjects that are typically difficult to capture close-up in 3D such as flowers and jewelry or in environments with little room such as inside a vehicle.” The Z10000 features a 1 152 000-dot 3.5-inch 3D LCD that requires no 3D eyewear to view. The user can check 3D images while shooting without having to connect to a 3D monitor by having it in the Mix Overlay mode and focus is then easily achieved by using the left eye only. The display can also be switched between 2D and 3D. Three independent manual rings allow fine adjustment for the focus zoom and iris to create precisely the intended image and a dedicated dial lets the user finely adjust 3D convergence. Functions that are frequently used for recording such as O.I.S. ON/OFF Color Bar ON/OFF Zebra Pattern Display 3D Guide Display Auto/Manual Iris Auto/Manual Auto Focus and Auto/Manual White Balance are also arranged on the side of the camera body as separate buttons to enable quick intuitive operation. In addition to built-in microphones for recording Dolby Digital 5.1-channel surround sound/2-channel stereo the Z10000’s uncompromising audio quality is augmented by two XLR audio inputs with a 48-V phantom power supply for external microphone use. Uncompressed Linear PCM (2-channel only) is also supported. Panasonic ,2963
Danna Kinsky Shoots Anti-Gay Bullying PSA,2011-12-14,Director of photography Danna Kinsky may use large cameras and heavier support equipment when shooting feature films like the upcoming Untold but she wants the same kind of support performance when she shoots with smaller form factor cameras like her Canon 7D. In connection with the Untold project Kinsky shot a public service announcement about anti-gay bullying in schools. On that shoot she used her DSLR and new Sachtler Ace tripod system designed for camera packages weighing from 0 to over 8 lbs (0 to 4 kg). The bottom of that weight range is important to her because she often uses a lightweight camera package her Canon 7D and a small prime lens. “Smaller cameras actually present more of a challenge to a tripod than larger cameras because there’s so little mass to help smooth the panning and tilting moves ” she says. “I’ve shot before with small tripods that want to inch along the floor when you pan which means you have to hold the sticks in place with one hand while panning with the other. It makes me a more confident shooter to know that I don’t have to deal with problems like these when I’m using the Ace.” The way Ace solves both those issues for Kinsky is that Sachtler’s engineers developed a completely new patented SA drag (Synchronized Actuated Drag) which the company says guarantees the familiar accuracy and repeatability that Sachtler’s larger tripod systems are famous for. With 3 vertical and 3 horizontal grades of drag (+0) the patented SA drag enables fine adjustment for precise panning and tilting no matter how small the camera package. Additionally Ace has five different counterbalance settings. Kinsky adds that “The Ace is stable enough that it stays put when you’re panning and the legs are substantial enough that there’s no backlash when you start or stop a pan.” Ace can be tilted through a range of +90° to -75°. Kinsky also appreciates the ruggedness of Ace. She says “When it’s time to move the camera to a new location I easily adjust the mid-level spreader and the sticks come together and I’m off to my next spot. The Ace is rugged enough to handle circumstances that happen on set.” Ace is easily adjustable up and down and it can be used on uneven surfaces. For shipping it breaks down to less than 34” (86 cm) which allows it to be put in a suitcase instead of requiring its own shipping case. “What’s really amazing ” says Kinsky “is that at a remarkably economical price Sachtler has put a lot of the features that were previously only available in tripod systems that cost thousands of dollars.” Photo by Gina M. Garcia Sachtler ,2964
Screenvision Allstate Partner on Delete Text Driving Campaign,2011-12-14,Screenvision partnered with Allstate Insurance Company to bring the company's award-winning Delete Text Driving public service announcement to moviegoers coast-to-coast. The campaign began on December 2. Screenvision's cinema network is an ideal forum for this message as movie-going is a weekly social ritual for millions of Americans especially teens and young adults says Mark Mitchell chief revenue officer of Screenvision.  We're delighted to work with our long-time partner to bring this vital message to the big screen and help raise awareness of the dangers of texting while driving. While the holidays are a time of joy it's also the season when statistically speaking Americans should be most mindful of their driving especially the growing hazards presented by texting and driving.  According to the Department of Transportation 45 percent of annual U.S. driving fatalities occur during the holiday season; and more than 6 000 people now die and 500 000 are seriously injured per year due to texting while driving. The award-winning 30-second PSA can be viewed at: ,2965
The Girl with the Dragon Tattoo Premieres in Sony 4K,2011-12-14, Odeon Cinemas in Leicester Square London this week premiered the Sony Pictures release The Girl With The Dragon Tattoo in Sony 4K digital cinema. It marks the tenth film this year to be released in the 4K format the emerging standard of digital film. The Girl With The Dragon Tattoo is the sixth 4K film to be released in as many months a pace that if kept through next year will see 2012 with the most 4K releases of any year to date. Perhaps more significantly The Girl… series of three films marks the second film franchise beside the re-imagined Batman releases to have all of the franchise films released in 4K demonstrating that studios are moving to the 4K format as a must-have for tent-pole franchises and acknowledgement that a 4K viewing option is critical for consumers seeking the best theater experience possible.
 With more 4K releases now than ever before and a need to differentiate their theater experience from others exhibitors have purchased more than 10 000 Sony Digital Cinema 4K projectors around the world (more than 8 300 in the US). ,2966
The Road We Know Offers Innovation in Film Philanthropy,2011-12-14,Beginning Thursday December 1st World AIDS Day movie fans and social networkers will be able to participate in the latest innovation in film philanthropy. The Road We Know a new documentary about a youth movement in Botswana aimed at HIV prevention has teamed up with technology company UbicMedia and its proprietary PUMit tool to allow audiences to digitally share the film while simultaneously contributing to a fund to further develop youth HIV/AIDS prevention programs in Botswana. Can a small group of college students from Botswana challenge conventional wisdom about AIDS in Africa to save their generation? The Road We Know explores the impact of HIV/AIDS in Botswana through the efforts of these young adults who boldly advocate for behavior change to save lives. Directed by Suzanne Taylor and produced by Citygate Films The Road We Know began production in 2008 when Taylor had the opportunity to film the HIV prevention training Botswana college students were receiving through the nonprofit program Face the Nation. The film began a series of nationwide screenings at churches schools of public health and AIDS awareness and prevention organizations on December 1 at Johnson Ferry Baptist Church in Marietta Georgia an early supporter of the Face the Nation program.  World AIDS Day will also mark the launch of the Watch the Movie Save a Life program a crowd-marketing and fundraising campaign that will allow audiences to digitally share the film via email and their social networks after paying an eight-dollar fee 50 percent of which will be donated by Citygate Films to Partners to the World a nonprofit organization dedicated to supporting HIV/AIDS prevention programs in Botswana. The Watch the Film Save a Life campaign is powered by PUMit a technology tool developed by UbicMedia.  PUMit allows rights-holders to securely share their video with their social networks while tracking viewings and referrals and adding an e-commerce component.   Citygate Films ,2968
Wanda Cinema Purchases 350 Doremi Digital Cinema Servers,2011-12-14, Wanda Cinema Line has purchased 350 Doremi digital cinema servers. The agreement includes Doremi’s Integrated Media Block with ShowVault and DCP2K4 digital cinema servers. Wanda Cinema Line is China’s largest cinema investor and operator with 94 premium cinemas and more than 800 screens. 
“China’s cinema industry is rapidly growing and we are thrilled to supply Doremi’s unparalleled server technology qualified and reliable products to the cinema operators ensuring their forefront position in digital cinemas.” Michael Archer vice president of Doremi Cinema says “We are happy to supply Wanda as they represent the next generation of exhibition committed to the latest technology and patron satisfaction.” ,2969
Making the Case for Previs,2011-12-14,Animators at the Previs (short for previsualization) Department of 20th Century Fox say their work has saved productions time and money and even better is putting creativity back at the heart of filmmaking. One of their main tools is Xsens’ MVN Motion Capture system. A recent example is the 20th Century Fox release X-Men: First Class. With the script calling for an action scene involving six characters fighting inside a flying plane the Previs Department used the real time capability of the Xsens MVN Motion Capture Systems to quickly record elaborate fighting motions for all the characters involved instantly reviewing each take as performances were developed and refined. Camera placement camera motion and camera lenses were then worked out virtually resulting in a shot-by-shot breakdown of the scene. In this case the scene did not make it to the final cut of the film a decision made at much lower than traditional cost due in large part to the Xsens MVN. “We were able to develop the scene in just two days. Traditional key frame animation would have taken much longer and would have involved more artists” says John Griffith cinematic director at 20th Century Fox. “Previs is rapidly gaining ground in the development process of moviemaking today.” The process of realizing the director’s creative vision typically requires a large crew and budget especially in action-packed films. The challenge is to cut costs while maintaining the deadlines. Productions increasingly rely on the previs process for exploring creative ideas developing narrative structure and defining the technical layout. The previs process creates detailed animation during preproduction thus replacing traditional storyboarding and animatics. It generates preliminary versions of shots or sequences with 3D animation tools and a virtual environment enabling film and TV directors to plan technical solutions and decide on the most efficient production methods. Previs is quickly gaining popularity in the production of feature film television commercials and architecture. By first creating a 3D animation proxy of the movie – complete with virtual sets actors and props – filmmakers can now design and plan their films at much lower cost while speeding up things in the digital production pipeline. Xsens ,2970
AAM Cinevise Partner on South American Deal,2012-01-13,Arts Alliance Media and Cinevise have agreed to a partnership to bring AAM’s Theatre Management System to exhibitors in Brazil and across Latin America.  Based in Miami and São Paulo Cinevise provides monitoring and support for digital cinema equipment and through this agreement will begin licensing AAM’s TMS to interested customers. As the first customer to benefit from this agreement Cinemais one of the top 10 exhibitors in Brazil has installed the AAM TMS at its cinema in Resende in Rio de Janeiro and will install the software across all of its theatres. Cinemais currently has 24 digital screens across its 12 sites. Cinevise provides support for all Cinemais’ digital screens and will install AAM’s TMS to all screens as they are digitized with the next installation planned for Cinemais Montes Claros in Minas Gerais which will open in January. Marcelo Naves of Cinemais says “We’re pleased to be continuing our ongoing relationship with Cinevise and to be installing Arts Alliance Media’s TMS in our digital screens. As our digital cinema needs grow we’re happy to be working with two such experienced digital cinema companies and to use their expertise to offer the best experience to our customers.” Alex Younger of Cinevise says “We’re happy to be partnering with Arts Alliance Media to supply their Theatre Management System to Cinemais we believe AAM’s digital cinema software is the best offering for all our exhibition partners and look forward to also supplying other cinemas throughout Latin America with their proven TMS solution.” “The Latin American digital cinema market is at an incredibly exciting point ” says Howard Kiedaisch CEO of Arts Alliance Media. “We’ve been spending time in the region and look forward to working with Cinemais and others in Latin America to help them take the steps towards digital. Cinemais committing themselves to digital is a huge positive move for the Brazilian market and we are convinced others will follow their lead.” Cinevise will be providing monitoring of Cinemais’ current and future digital screens through their network operations center and will also be providing support and maintenance for the installed screens. Arts Alliance Media Cinevise ,2976
ASC Names Nominees for Feature Film Award,2012-01-13,Guillaume Schiffman (The Artist) Jeff Cronenweth (The Girl with the Dragon Tattoo) Robert Richardson (Hugo) Hoyte van Hoytema (Tinker Tailor Soldier Spy) and Emmanuel Lubezki (The Tree of Life) have been nominated in the feature film category of the 26th Annual American Society of Cinematographers Outstanding Achievement Awards. The winner will be announced at the ASC Awards celebration at the Hollywood and Highland Grand Ballroom on February 12. These five cinematographers have created works of art that serve the story and director's vision in unique and engaging ways says ASC awards committee chairman Richard Crudo. Their talent for translating the script and performances to the screen demonstrates the phenomenal power of the visual image. This is the second consecutive ASC Award nomination for Cronenweth who was recognized last year for The Social Network. Richardson earns his 10th nomination. He was previously acknowledged for Inglourious Basterds (2010) The Good Shepherd (2007) The Aviator (2005) Snow Falling on Cedars (2000) The Horse Whisperer (1999) Heaven & Earth (1994) A Few Good Men (1993) JFK (1992) and Born on the Fourth of July (1990). Lubezki won the ASC Award in 2007 for Children of Men and was also nominated in 2000 for Sleepy Hollow. Schiffman and van Hoytema are both first-time ASC nominees. Every year the nominees in this category have expanded the boundaries of cinematography with their consummate artistry and their mastery of the technological tools required to achieve their vision says ASC president Michael Goi. In an intensely competitive field these are the best of the best. Last year Wally Pfister won the ASC feature film award for Inception and went on to take home the Oscar as well.

 ASC ,2978
DaVinci Resolve 8.2 Beta for Windows Now Available,2012-01-13, Blackmagic Design has announced that DaVinci Resolve 8.2 for Microsoft Windows public beta is now available for download in both the full-featured DaVinci Resolve 8.2 and free DaVinci Resolve Lite versions. The DaVinci Resolve 8.2 for Windows license is included with the Mac OS X version so all current Mac OS X customers automatically get a license for the Windows version and can download it now to use in their facility. This new DaVinci Resolve for Windows beta will allow customers to use a wide range of hardware for building color correction systems with the advantage of a wider selection of GPU processing options with support for up to 4 GPU’s per system.

 When the public beta program is complete and DaVinci Resolve for Microsoft Windows is formally released it will be accompanied by the Mac OS X version. When customers purchase DaVinci Resolve they can choose which operating system they want to use and then install either one. This allows the flexibility to let customers potentially choose to use a Windows desktop computer in the office with powerful multiple GPU processing while at any time the customer can unplug the dongle and plug into one of the latest stylish Mac OS X MacBook Pro computers when on set.

As a reward for all current DaVinci Resolve customers any customer who has purchased the Mac OS X version of DaVinci Resolve can now keep using the same dongle for the Windows version of DaVinci Resolve and they can simply download the Windows version. This will ensure current DaVinci Resolve customers are kept up to date with the latest features and are not disadvantaged for purchasing early.

DaVinci Resolve will now be available in three models. DaVinci Resolve Lite the current free version is now available in both Windows and Mac OS X downloads. DaVinci Resolve Software for $995 is now available for both Mac OS X and Windows and customers will get support for both operating systems for the one purchase. DaVinci Resolve with the full colorist designed control surface will be available with Mac OS X Windows and Linux software allowing the customer to choose any of three operating systems to build their color correction system.

“ This Windows release has happened way sooner than we expected and the DaVinci engineering team have done an amazing job ” says Grant Petty CEO Blackmagic Design. “We think this is very exciting because it makes DaVinci Resolve more flexible for customers and makes it even easier to integrate Resolve color correction into any facility workflow even when using a wider range of editing and effects software.”
 Blackmagic Design ,2980
New Documentary Focuses on Detroit Firefighters,2012-01-13,Filmmakers Tom Putnam and Brenna Sanchez recently shot the feature documentary Burn a project that focuses on a year in the life of Detroit as seen through the eyes of its firefighters the men and women tasked with saving a city that many have written off as dead. The documentary was executive produced by Denis Leary and partner Jim Serpico and produced by Putnam and Sanchez. Much like the popular television series Rescue Me the film relies on the reality of the moment during intense situations. Therefore the production staff of Burn must be able to be up and running in seconds and that is why they say they chose the Sachtler SOOM support. “That’s where the Sachtler FSB 6 head and SOOM support for our Canon 5D DSLR cameras and Zeiss prime lenses have been great for us ” says Putnam. “The SOOM is essentially three tripods in one and it allows us to move quickly and keep our gear light. It can raise the camera six feet in the air so it’s great for getting unique angles at the fire scenes. Plus it can break out into a set of baby sticks too which has been invaluable. It is simply the sturdiest tripod I’ve ever seen which is key when you are working under the tough conditions we’ve been putting it through.” The Burn crew has been taxing their equipment for a year filming a wide variety of situations each a challenge to the shooters and the equipment. “I remember once when we were filming in a burnt out building where it took us half an hour to work our way through the debris ” Sanchez recalls. “I decided to get a low angle shot and the SOOM was right there to become our baby legs. Without it I would have had to send someone back out of the building to get other support and that would have cost us an hour. “We also filmed during the rehab of one of our firefighters who had been paralyzed ” she adds. “Because the SOOM can go so high it’s like having a jib arm allowing us to instantly get great very stable overhead shots during his rehab sessions. We also used it extensively for time-lapse on various building roofs. It’s heavy enough and has a wide enough spread that we never worried about it getting blown over in the wind. “The fluid head turned out to be an invaluable part of our production ” Putnam says. “We’re often going from heated interiors to freezing exteriors which would cause many of our lesser fluid heads to freeze up and stutter. But the FSB 6 head was always rock solid. Much of our filming took place at night and the illuminated bubble level was a great time-saver as well. “We’ve put the SOOM and FSB 6 head through rain snow hail and blistering heat from fires. They’ve been blasted by fire hoses a couple of times as well. We’ve never had a problem. I’d take my Sachtlers anywhere in fact I have ” he says. Burn will be completed in early 2012 and will begin the festival circuit before the theatrical broadcast and DVD release. A percentage of profits from the film will go to the Leary Firefighters Foundation earmarked to buy equipment for The Detroit Fire Department. Sachtler ,2981
Cinedigm Digital Cinema Passes 10 000 Screen Mark,2012-01-13,Cinedigm Digital Cinema has signed more than 10 000 digital cinema screens in its combined Phase One and Phase Two digital cinema deployment. In total given the company’s previously contracted agreements Cinedigm says it will deploy nearly 33 percent of all digital cinema screens in North America. “Passing the 10 000 mark in digital screen conversion contracts is a huge milestone for both Cinedigm and the entire exhibition industry says Cinedigm chairman and chief executive officer Chris McGurk.  “This digital transformation has created a tremendous paradigm shift that will have long-lasting ramifications on all aspects of the theatrical industry.  From the types of content shown in theatres including LIVE 3D events and ongoing programs to the overall management efficiencies and analytical information offered by digital theaters digital conversion provides studios and theater companies with an entirely novel way of providing entertainment to the film-going community.” In the combined Phase One and Phase Two digital cinema deployment program Cinedigm says it has: ·   Signed 10 007 screens overall ·   Installed 8 750 digital screens ·   Signed digital screens deals with 180 exhibitors Gary Loffredo Cinedigm’s president of digital cinema services praised the company’s recent success. “Our growing exhibitor partner-base has made it clear that Cinedigm is the number-one choice for exhibitors to entrust with their digital cinema program ” he says. “With just over seven months remaining before the end of our rollout period in September 2012 per our studio agreements we expect this enthusiasm and momentum in digital conversion to continue during the coming months.”   Cinedigm