Putting Production Gear to the Test at the Dakar Rally

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Thu, 11/29/2012 - 19:00 -- Nick Dager

The famous Dakar Rally is considered the hardest desert rally in the world. Participants are not the only ones who are put to the test; the reporters' equipment also has to overcome challenges. DakarPress Team member Dirk van der Veen summed up the requirements for the equipment saying During this demanding 19-day shoot in Argentina Chile and Peru we had to be prepared for all possible weather conditions. We expected not only perfect protection and easy portability of our equipment from our bags and backpacks but also maximum flexibility in order to cope with the various shooting conditions. And that’s what we found in Petrol Bags.”

The Dakar Rally route not only runs through rough terrain; it also exposes the drivers and the news teams to a variety of weather conditions – wetness cold extreme dryness and heat are characteristic. In the Atacama Desert in Chile temperatures of up to 131°F (55°C) are quite common. In addition we also had to deal with the highest UV Index in the world there. The Digibag DSLR Camera Bag (PD221) and the DSLR Sling Bag (PD333) protects our DSLR equipment perfectly even when the bags were left in the sun the whole day and the air was full of dust. In other regions it was often raining heavily and persistently so we used the PD510 Transparent DSLR Plus Rain Cover (PD510) to protect our cameras. The rain cover is completely waterproof easy to use and enables both good viewing and fast access to the camera. This is an extremely useful accessory said van der Veen.

 The drives over rough terrain are a further challenge for the DakarPress Team. Anyone who is familiar with the Dakar Rally immediately visualizes adventurous routes and technicians who are busy with repairs. To keep the press team from joining the latter it is important that the equipment be safely transported during long stretches in the jeep. According to van der Veen The strength of the materials used is the best thing about Petrol Bags. When we drive through rocky terrain by car the backpacks constantly vibrate. They are then strained by dust sand and extreme heat. After such torture it is also astonishing that even the zippers still function correctly and easily glide as usual. For the long trip the DakarPress team also had to think about packing of course as the team only had a limited amount of space available for the almost three weeks in the cramped jeep. In comparison to their size the enormous amount of storage space of Petrol Bags backpacks and bags was a very welcome feature for van der Veen. A further Petrol Bags bonus is the versatile interior. We were very surprised at how spacious the small DSLR Sling Bag is ” he said. “The backpacks by Petrol Bags are lightweight robust and enable safe transport of the equipment. Deciding to use Petrol Bags was definitely the right decision. ,3725
Digital Cinema Destinations Officers to Present at Wedbush Conference,2012-11-30,Digital Cinema Destinations has announced that chairman and CEO Bud Mayo and CFO Brian Pflug are scheduled to present at the upcoming Wedbush Consumer Conference on December 12 and ring the NASDAQ market-closing bell on December 21. They will make their presentation at Webush Securities’ 13th Annual California Dreamin’ Consumer Conference at 3:40 PM Eastern Time at Le Parker Meridien Hotel in New York City. The ceremonial NASDAQ bell ringing follows Digital Cinema Destination's first annual meeting as a public company since successfully completing its Initial Public Offering in April. The annual meeting is also being held at the MarketSite location earlier that day. Digital Cinema Destinations Corporation www.digiplexdest.com ,3726
Digital Cinema Solutions to Host Conference in February in London,2012-11-30,Digital Cinema Solutions is hosting a one day Digital Cinema Conference on February 7th at the Vue Westfield in West London. The conference which is supported by industry bodies including the Cinema Exhibitors’ Association will focus on the UK & Irish markets and includes key speakers and presenters who will outline the current issues facing the market.  Phil Clapp CEO of the UK trade body the CEA said “It seems certain that by the time of the Digital Cinema conference the UK will be essentially a fully digital cinema territory.  With that comes a host of opportunities and challenges. This DCS event should provide an unmissable opportunity for cinema operators and colleagues across the industry to learn more about how best to harness digital cinema technology to the benefit of cinema-goers and the wider public.” Derek Cownty director of DCS said “We are very excited about this conference – it will give suppliers exhibitors and content providers a unique chance to come together for one day to explore discuss and learn about some of the technical challenges and innovations that are central to the cinema industry today and looking ahead to the future.  We really hope that as many people as possible will sign up to attend what we promise is going to be a very informative and interesting day and one that also offers an opportunity to network with industry experts and professionals.” For more information visit http://www.digitalcinemasolutions.co.uk ,3727
Barco Participates in Key European Research Projects,2012-11-30, In close collaboration with both industrial and academic partners Barco is participating in several research programs funded by the European Union the Flemish government and the Agency for Innovation by Science and Technology. Two of these projects have recently led to successful technology demonstrations. In one project in which the opportunities of the future internet are being explored Barco successfully streamed standard 4K cinema content from a server in one location to a theater in another location via a high-bandwidth connection. Barco is also participating in funded research on user acceptance of laser-illuminated projection in which a test panel has concluded tests on image quality. “As a digital cinema technology leader we continually invest in new technologies that benefit the entire cinema industry and the moviegoing experience – not only by developing our own innovative products and solutions but also by participating in funded research programs and via strategic partnerships with cross-industry research groups ” says Wim Buyens senior vice president of Barco's Entertainment Division. “Our cinema streaming demo illustrates that - in the cinema of the future – it will be possible to stream cinema content over the internet from one location to a digital cinema projector installed remotely. What’s more our participation in laser research projects is giving us more critical insight into the matter which will definitely benefit the development of our laser projector.”

 To better understand user perception of laser illuminated projection Barco engaged in a research project conducted by the iMinds-SMIT research center and the Department of Applied Physics and Photonics of the Vrije Universiteit Brussel. As opposed to earlier laser projection demos which were conducted with an audience of professionals and cinema owners this was the first controlled test with actual moviegoers. Set in a real cinema auditorium the test audience was asked to evaluate the image quality of laser projection via a voting system that included both blind and active testing. The test also included focus group interviews to capture an in-depth discussion of the quality of the movie experience with laser projection. The results of these tests will support Barco in developing a laser-illuminated projector to deliver the ultimate movie experience.

The cinema streaming demo was part of the Future Internet Public-Private Partnership Program FI-Content research project on use cases for the future internet. In close collaboration with research partners from the telecom and networking sectors Barco designed this technology showcase which was funded by the European Union. Barco streamed 4K cinema content from a cinema server in Ghent Belgium to a Barco digital cinema projector installed at a theater in Kortrijk Belgium. Using the existing network infrastructure between the two remote locations and inside the theater a sufficient quality of service was achieved to stream and project the Digital Cinema Package complying with industry specifications.

Compared to existing content delivery methods - such as hard disk or satellite connection - streaming over the future high-bandwidth Internet opens up endless possibilities for all players in the cinema industry. For cinema exhibitors using satellite receivers today building permits and complex installations would no longer be necessary. What’s more centralized content scheduling programming and streaming from one location in the cinema chain would also be possible. As it would enable them to centralize content storage and playback studios and distributors could benefit from the future high-bandwidth Internet as well. They could also set up an online library of back catalog movie classics that could easily be consulted and programmed by theater owners. ,3728
Focus World Acquires Baltasar Kormákur’s The Deep,2012-11-30,Focus World has acquired U.S. rights to the riveting drama The Deep directed by Baltasar Kormákur (director of this year’s hit Contraband and next year’s 2 Guns). The announcement was made by Focus President Andrew Karpen. The deal was closed by Avy Eschenasy Executive Vice President Strategic Planning Business Affairs and Acquisitions and Kent Sanderson Director Alternative Content & Distribution with WME Global. The Deep has been selected as Iceland’s official submission for the 2013 Academy Awards in the Best Foreign-Language Film category. Directed produced and co-written by Kormákur  The Deep dramatizes an astonishing true incident about the sole survivor of a downed fishing boat. An ordinary man’s will to live made him a reluctant national hero – one whose truly fearless act was to journey home. The film screened at the Mill Valley and Toronto International Film Festivals after being a box office smash in its home country. BAC Films is handling foreign sales of The Deep. Kormákur most recently directed Contraband starring Mark Wahlberg which Universal Pictures opened in the #1 slot at the domestic box office this past January; the film was based on Reykjavik-Rotterdam the Icelandic feature which Kormákur had previously starred in and produced. Universal will release the director’s next movie  2 Guns starring Denzel Washington and Wahlberg in theaters nationwide on August 16th. His Icelandic films as director include Reykjavik 101  The Sea and Jar City. Kormákur is currently developing an English-language remake of Jar City with Lava Bear Films and Furst Films; Viking an action adventure to film in Iceland; Everest about events on the mountain in 1996; and a film version of Halldór Laxness’ beloved Nobel Prize-winning book Independent People. He will also direct the pilot episode of The Missionary produced by Wahlberg. His other feature credits as a director include A Little Trip to Heaven  White Night Wedding and Inhale. The Deep was shot entirely in Iceland much of it on the open sea and stars Olafur Darri Olafsson a frequent collaborator of Kormákur’s. Agnes Johansen and Kormákur through his Blueeyes Productions are the film’s producers and Lilja Palmadottir and David Linde are the executive producers. The screenplay is by Jon Atli Jonasson and Kormákur based on the former’s stage play of the same name as well as on news reportage of the events that transpired. The Deep will be released in the first half of 2013. ,3730
Kodak to Showcase Archival Stock at AMIA Conference in Seattle,2012-11-30, Kodak will showcase its portfolio of asset protection films at this year’s Association of Moving Image Archivists Annual Conference from December 5-8 at The Westin Seattle. The company will also present information on the newest addition to its film family – Kodak Vision3 Digital Separation Film 2237.

 The AMIA Conference is an annual gathering of industry professionals and academia that brings together the restoration and preservation community who work tirelessly towards saving and keeping cinema and broadcast content accessible whether created today or 100 years ago. The Reel Thing XXX is a technical symposium directly preceding the conference. During this event Kodak will highlight their 2237 Film as well as review a customer case study of another new film Kodak Color Asset Protection Film 2332.

 “We are honored to continue to support this community and help in finding answers to the grave concerns revealed in the Motion Picture Academy’s Digital Dilemma reports ” says Kodak’s Diane Carroll-Yacoby product manager for Kodak’s Entertainment Imaging Division. “We have a longstanding relationship with AMIA and the important research and practices they develop will help preserve our cultural heritage long into the future. We consider ourselves partners in that same endeavor.” 

 At the conference Kodak will show a short demo of the Kodak Vision3 Digital Separation Film 2237 which became available last month. This archival film is optimized for laser CRT and LED light sources utilized by digital recorders in the marketplace. Providing exceptional image quality including fine detail tight grain optimal resolution and excellent flare characteristics Kodak Vision3 2237 Film is offered on an ESTAR base for premier physical performance and long-term stability that lasts centuries in recommended conditions. ,3732
Rhythm & Hues Makes Skies Soar in Life of Pi,2012-11-30, Rhythm & Hues recently completed the lion’s share of visual effects shots on the acclaimed new film Life of Pi leveraging Nvidia GPUs to maximize throughput and accelerate creative workflows. Life of Pi from Academy Award-winning director Ang Lee tapped legions of R&H artists at offices in Los Angeles India Kuala Lumpur Vancouver and Taiwan to create several hundred visual effects shots in stereo 3D that included the Bengal tiger digitally recreated water and skies Meerkat Island and myriad additional creatures and effects.

 R&H is known for its custom development of proprietary visual effects tools many of which are written specifically for the GPU. One of those tools dubbed Rampage was particularly instrumental in achieving the remarkable skies that set the tone in this tale of an Indian zookeeper’s son named Pi shipwrecked with a Bengal tiger and adrift in the Pacific Ocean. 

Rampage is a 3D projection-mapping program that allowed R&H artists to quickly replace the skies in each shot with custom-made matte paintings. “We wouldn’t have been able to do this show without Rampage and Nvidia GPUs. We were generating full High Dynamic Range Imaging skies with an average file size upwards of 3GB which are the largest matte paintings we’ve ever done on this scale not to mention the added complexity of creating them in stereo 3D. That high-resolution level of detail was required because the skies take up much of the frame in many scenes and were used to light and influence reflections in the CG water ” explained Heather Abels Matte Painting Lead.

From vibrant blue to sun-drenched magic hour tumultuous and stormy over 110 different skies literally set the stage in this movie. With Rampage running on Nvidia GPUs artists were able to quickly project custom 2D matte paintings onto simple 3D geometry and review in real-time how each sky would look aligning with the vision of the director and VFX supervisor and creating immediate lighting reference images to hand off to other teams of artists.

 Nathan Cournia lead software engineer at R&H took an interest in writing code for the GPU to meet the project’s workflow and productivity demands. “The mandate in my department is to make things more efficient so that we can work faster and more cost effectively without compromising image quality. With each new show we create a priority list to guide our development. Oftentimes as with Life of Pi those demands drive us toward custom GPU development. For R&H working on the GPU means working with Nvidia; their driver stability is simply better than the competition.”

 In addition to Rampage R&H has several other customized GPU tools that were used on Life of Pi including its in-house compositing package Icy with several nodes written using CUDA Nvidia’s parallel computing architecture to enable real time color correction operations retiming and optical flow. CUDA has proven to be popular with R&H engineers due to the abundance of easily accessible documentation available online. The CUDA based optical flow implementation garnered a ten-fold increase in performance over R&H’s legacy CPU implementation enabling artist to converge quicker on the desired look. Likewise R&H’s GPU-enabled proprietary animation and tracking software Voodoo continues to enjoy performance increases with each new generation of Nvidia GPUs.

“ It is an honor to have Nvidia technology associated with such an incredible film; one that so seamlessly marries masterful cinematography with incredible visual effects ” said Greg Estes media and entertainment industry executive Nvidia. “The effects in this film from skies to water to a living breathing tiger are entirely photo-real and deeply complex from a computing standpoint and we’'re pleased that the Nvidia GPU contributed to the success of this feat of digital artistry.” ,3734
Rodeo FX Contributes 50 VFX Shots to New Twilight Film,2012-11-30,Rodeo FX contributed 50 VFX shots to The Twilight Saga: Breaking Dawn—Part 2 said president/VFX supervisor/founder Sébastien Moreau. He added that the company previously provided VFX to an earlier edition of the Twilight Saga series The Twilight Saga: Eclipse. Founded in 2006 Rodeo FX has created designed and produced digital visual effects featured within dozens of hit movies. In addition to the two Twilight Saga films the company’s other recent such projects include The Amazing Spider-Man Mission: Impossible – Ghost Protocol Underworld Awakening Rango Mirror Mirror and many others. For The Twilight Saga: Breaking Dawn – Part 2 Rodeo FX provided a number of digital background scenes depicting various jungle and city locations around the world. The company also produced a number of green-screen comps and headshot replacements. “We’re delighted to have contributed VFX to two editions of the Twilight Saga series one of the most successful motion picture franchises in Hollywood history ” Moreau said. Terry Windell VFX supervisor for The Twilight Saga: Breaking Dawn – Part 2 said “Rodeo FX delivered to us a number of terrific environments in particular a sequence depicting a scene from the Volturi’s past taking place in a Medieval Russian village for which Rodeo created the establishing matte painting. We had actors on a partial exterior set and Rodeo provided set extensions and matte paintings as seen at dusk with a castle in the background. They were able to extend the village with great continuity all against very dramatic red skies. They also added fires and interactive light to this village scene to give it a truly ominous feel. In another scene in which an image of Brazil is projected into Edward’s mind by another character they provided a matte painting and a waterfall. The Rodeo FX team is excellent at presenting us with material that depicts a particular mood and sensibility. They did a wonderful job.” Karen Murphy VFX producer for the newest Twilight Saga film said “Rodeo FX stands at the top of my first call list for matte paintings regardless of the Canadian tax breaks that are offered by the fact that they are based in Montreal. Their quality of work is truly excellent; their photo-realism for environments is A- list. They are easy to work with and the time zone factors (West Coast for us and East Coast for them) are seamless no problems. They are great collaborators and their team is comprised of really great talent.” ,3735
Sachtler Announces Customer Contest to Shoot New Catalog Picture,2012-11-30, Sachtler is planning its 2013/14 catalog and because a cover should represent what a company is all about Sachtler wants its users to show how they perceive the brand and its values by offering a photo competition. The best shot will be shown on the cover of the new Sachtler catalog and its contributor will get a free FSB 8 tripod system with a Speed Lock tripod. Ace M MS tripod systems will be given-away to two participants in a random drawing.

 Global brand manager Tobias Keuthen says ”Sachtler users can rely on 50 years of German engineering and high quality standards. We focus on technologies that allow particularly fast and easy set-up of our camera support on repeatability of settings and whenever possible our equipment is light in weight for easy and comfortable transport. These are the values that Sachtler hopes to portray on the cover of the upcoming 2013/14 Catalog.”

 The Sachtler Catalog Cover Competition will take place until December 10. To join participants are asked to upload up to three behind-the-scenes photos and a description of the most impressive filmmaking project they realized with Sachtler equipment. A jury consisting of Keuthen cinematographer Richard Ladkani and the creative director of Sachtler’s communication agency Sommer Kommunikation Frank Bernhard Übler will choose the winning shot that will make it on the cover of the 2013/14 Sachtler Catalog.

 For more on the competition visit: www.sachtler.com/CatalogCoverCompetition ,3736
Seman Takes Cine Xenar III Lenses Through Extremes

,2012-11-30, Director of Photography Colt Seman is always looking for the latest tools to enhance the variety of high-profile projects that come to his Long Beach California based company Sweatpants Media.  When Seman and partner director Jonny Zeller heard about Schneider’s new line of Cine Xenar III lenses they had to put them through their paces. “We chose a variety of projects with a variety of challenges ” says Seman. “We did a 30-second spot for NBC and The X-Games in LA. We also do an ongoing series for Red Bull where the lenses have to keep pace with a racecar driver. We also did a spot for mophie juice pack Pro where they went one-on-one with a machinist’s sparks. And when we went to Nicaragua for a Panasonic launch they had to endure the endless rainforest. In every case the results were outstanding.

“Jonny and I are extremely tough on our gear since we rarely shoot in a studio and are almost always on location ” he explains. “Plenty of equipment doesn’t last a day with us let alone a month. So when we pushed the abilities and durability of these lenses to the max we were extremely happy with the results. They took everything we threw at them and got us gorgeous pictures too.”

 For a Toyota shoot Seman and Zeller needed to capture several different locations with varying lighting situations. “The Cine Xenar IIIs performed excellently ” says Seman. “We used the 18mm to get great interior shots of the cars. The close focus is so much closer than what we’ve used in the past. We got such a pure image.” For traveling to remote areas in Nicaragua the team needed a lens that was portable but also built like a Sherman tank says Seman. “Hands down the Cine Xenar III lenses are built to take a heavy beating ” he adds. “We were in environments like the rainforest and we didn’t have to worry about moisture getting into the lens and making it stick. On this shoot there was a downpour twice a day every day and we never had any issues. It isn’t waterproof true and you don’t want to take the lenses swimming but they handled a Central American rainforest without any problems.”

 The team’s final shoot was probably the most challenging. It was for mophie phones – in really low light. “The close focus ability of the lenses was key to the success of the shots ” Seman explains. “We mounted the camera to a motion capture rig to get precise camera movements. The studio was almost totally dark with three 2Ks lighting it. We threw water dirt and at one point a jet of flaming hairspray all of which needed to be captured at an extremely high frame rate. The low T-stops all the way down to a 2.0 allowed us to do just that.” ,3737
Cinesite Completes Bond Franchise First for Skyfall,2012-11-30,Cinesite completed visual effects for the 23rd Bond film Skyfall and used its digital environment expertise to enhance physical stunts and effects. For Skyfall  Cinesite was awarded four sequences that showcase its award-winning environment and CG creature techniques – the creation of the first ever CG creature to feature in a Bond film a CG Komodo dragon and three sequences on the London Underground consisting of digital environments and set extensions. Cinesite’s visual effects supervisor Jon Neill led the work and spent time on set at Pinewood Studios and on location at Charing Cross Underground station to oversee the shoots and ensure Cinesite’s digital visual effects complemented the physical effects and stunts. To create the first ever CG creature to feature in a Bond film Neill’s team staged a shoot at London Zoo to capture footage and stills of Komodo dragons interacting. Using this reference material Cinesite’s character animation team modeled the creature in Maya and textured it using Mudbox and Mari before compositing it into the live-action plate using Nuke. The challenge was to ensure the creature interacted with the live-action plate and looked photo-real to portray the sense of realism the franchise prides itself on. CG dust and gravel that mirrored the action within the dragon’s pit were also added while the lighting and shading had to be carefully angled to ensure the correct depth of field. For the three sequences staged on the London Underground comprising escalator and platform chases and catacomb destruction Cinesite was tasked with creating digital environments and set extensions to boost the look and feel of these high-octane scenes. The platform chase sequence features shots filmed on location in Charing Cross Underground and on set at the Pinewood 007 stage cut together. The scene follows Bond running and jumping on the back of a tube carriage. Two practical train carriages were built by production on the Pinewood 007 stage and rigged to travel down the rails. Neill’s team augmented the physical effects by extending the carriage adding other CG carriages with passengers composited in and compositing the train driver into the scene. The catacomb sequence features an explosion and a dramatic train crash that was devised by Skyfall’s special effects department. Shot on the Pinewood 007 stage a practical train was rigged to the ceiling and crashes into the scene from the corner. To enhance the look Cinesite’s team created a digital set extension to expand the arches in the catacomb and give it a greater sense of depth. They also digitally removed the camera crew that was positioned in front of Bond as the train comes crashing down as well as the rig the train was suspended on and enhanced the practical dust and debris with 3D particles. Antony Hunt managing director of Cinesite said “It’s always a privilege to work on a Bond film and Skyfall marks our sixth contribution to the franchise. The physical stunts and effects are what set it apart from other films and to be able to complement them with digital visual effects is a real honor.” ,3738
New Study Considers New Rules Versus Old Rules,2012-12-01, The first phases of digital cinema and HDTV have matured. Companies are now assessing what to do next for growth and are making their moves now. The transition from the analog world of entertainment to a digital media world was based on Old Rules. That is digital media solutions have been focused on substituting digital for analog. It is like when TV was first available and old radio shows were moved to TV. It wasn't until TV got a bit more established that TV became its own medium. A new study looks at five elements of the digital entertainment experience in the theater and the home. The report summarizes the current situation and rules that the industries have followed so far. It then goes on to list 14 New Rules that point to how the industry is (or may be) moving into the next phase. Now that the entertainment world is comfortable with the transition to digital media people are now asking why some of the old rules are there. A simple example is the Old Rule that movies should be shot at 24 frames per second which is an Old Rule from the 1920s. The Hobbit is the first tent pole movie shot in 48 fps. It is helping to set a New Rule that movies don't have to adhere to 24 fps. But the New Rule is a bit more complicated than just saying 48 fps is coming. There is a paradigm shift that is now possible to think about that provides a better experience without having to incur the costs the Hobbit absorbed. The New Rule we are hinting at is explained in this report.

 For more information about the report:
http://www.researchandmarkets.com/publication/5t5tye/3d_and_beyond_chang... ,3741
Principal Photography Underway on Broken Horses,2012-12-01,Principal photography has begun on Broken Horses written and directed by Vidhu Vinod Chopra. Acclaimed Indian filmmaker Chopra’s first English language film stars Vincent D’Onofrio (Full Metal Jacket Men in Black) Anton Yelchin (Like Crazy Star Trek) and Chris Marquette (Alpha Dog The Girl Next Door). The supporting cast includes Spanish star Maria Valverde Thomas Jane and Sean Patrick Flanery. Reliance Entertainment is financing the independent film which is shooting on locations in the greater Los Angeles area. Broken Horses is produced by Vidhu Vinod Chopra Subhash Dhar and Mandeville Films partners David Hoberman and Todd Lieberman. Based on an original story by Chopra the screenplay for Broken Horses is written by Chopra and award-winning writer Abhijat Joshi (Eklavya – The Royal Guard 3 Idiots). Set in the shadows of the US–Mexico border gang wars  Broken Horses is an epic thriller about the bonds of brotherhood the laws of loyalty and the futility of violence. Chopra’s Broken Horses team includes Oscar-nominated Tom Stern (The Hunger Games Changeling and Million Dollar Baby) as the Director of Photography Toby Corbett (Crossing Over Bad Lieutenant) as Production Designer and Emmy-nominated Mary Vogt (Men in Black 3 Batman Returns) as Costume Designer. “I am delighted to be part of an exemplary collaborative effort between the cast and the crew of Broken Horses said Chopra. “I am honored to be working with such a talented group of people. This is special.” Chopra’s last production  3 Idiots is India’s all-time highest grossing film. Chopra is the recipient of India’s prestigious National Awards and was nominated for an Oscar for his first documentary feature. Vinod Chopra Films is one of India’s leading film production companies having produced and presented some of India’s most iconic feature films over the last three decades.  Since its founding in 1977 the company has produced and released a total of 12 films. Since its founding in 1995 Mandeville Films has produced feature films that have grossed well over $1 billion in domestic box office receipts.  Their recent productions include the critically-hailed Academy Award-nominated feature The Fighter starring Mark Wahlberg Christian Bale Melissa Leo and Amy Adams directed by David O. Russell. The film earned a host of awards including an Academy Award nomination for Best Picture.  Mandeville also produced the hit film The Muppets and earned the Academy Award for Best Song. They are currently in pre-production on The Muppets 2.  Reliance Entertainment is a media and entertainment company in film production distribution and exhibition including broadcasting and new media ventures engaged in Film Services: Motion Picture Processing and DI; Film Restoration and Image Enhancement; 3D; Digital Mastering: Studios and Equipment rentals; Visual Effects; Animation; and TV Post Production with presence across India the US UK Russia and Japan. Reliance Entertainment has partnered with Steven Spielberg and Stacey Snider on the formation of DreamWorks Studios.