Featured Stories

Roland Go:Mixer Available Now

Thu, 04/27/2017 - 12:21 -- Nick Dager

Roland’s Go:Mixer, a compact audio mixer for smartphone video production, is now available. Compatible with iOS and Android smartphones, Go:Mixer connects digitally via an included cable, providing clear stereo sound that’s a marked upgrade over using the phone’s built-in mono mic or analog line input.

Mixing T2 Trainspotting

Wed, 04/26/2017 - 12:30 -- Nick Dager

Acclaimed sound designer and re-recording mixer Niv Adiri has chosen Nugen Audio’s Halo Upmix to create surround 5.1 versions of the music and sound effects on a wide range of cinema projects. Adiri most recently used Halo Upmix on the current film T2 Trainspotting. With Halo Upmix, he was able to work from stereo source tracks to deliver a 5.1 mix that was true to the original sound of the music, but also sounded ideal in a range of surround listening environments.

Futuroscope’s Extraordinary Journey

Wed, 04/26/2017 - 12:21 -- Nick Dager

For thirty years French theme park Futuroscope has been thrilling visitors with its multimedia experiences and unique, dynamic rides. To mark the start of its fourth decade, a new €11million state-of-the-art audiovisual experience has opened. Originally opened in 1992 under the name of The Magic Carpet, the multi-million Euro update of Futuroscope’s IMAX cinema has seen it reinvented as L'Extraordinaire Voyage (The Extraordinary Journey).

U-M Adds to Welles Archive

Tue, 04/25/2017 - 13:07 -- Nick Dager

A new set of materials from Orson Welles’ daughter will make the University of Michigan Library's Orson Welles collection the world's most comprehensive resource for Welles scholars and fans. The daughter of the renowned filmmaker and Italian actress Paola Mori, Beatrice Welles had a particularly extraordinary childhood. She was brought up jet setting to different countries, playing on various film sets, interacting mostly with adults (her parents and their friends), and falling asleep to the rhythmic sounds of her father working on his typewriter late into every night.

Dolby’s Escape Premieres at Tribeca

Mon, 04/24/2017 - 14:25 -- Nick Dager

Dolby’s short animated film Escape, a sequel to two-time Daytime Emmy Award-winning short Silent, premiered last week at the Tribeca Film Festival in New York. Chosen for the Tribeca short film category out of a record number of 4,38 submissions, Escape is the story of a lone space explorer who crash-lands on a desolate planet and must find a way to make her new home habitable.

Two Looks for 13 Reasons Why

Mon, 04/24/2017 - 14:18 -- Nick Dager

One of the most honest portraits of teenage life, 13 Reasons Why is a Netflix series based on the 2007 young adult novel by Jay Asher and adapted by Brian Yorkey. Academy Award winning writer/director Tom McCarthy worked with cinematographer Andrij Parekh (Show Me a Hero, Blue Valentine) with Panasonic VariCam 35 cinema cameras to capture a distinctive look for the first two episodes of the series.

Novo Cinemas Lobbies Set the Tone

Thu, 04/20/2017 - 13:01 -- Nick Dager

Novo Cinemas, part of the Elan Group in Qatar, has launched a new flagship cinema at Mall of Qatar, in Al Rayyan, Doha. The new cinema features 19 screens, including an IMAX Laser theatre that features the largest IMAX screen in the MENA region and seats 530 people. It also includes an upgraded sound system featuring 12 channels plus sub bass that delivers lifelike sound from all directions, including overhead, to fill the cinema with astonishing clarity, richness, detail, and depth. I spoke recently with Novo Cinemas CEO Debbie Stanford-Kristiansen about the new theatre and, in particular, her belief in the importance of lobbies.

Axle Video Releases Axle AI

Thu, 04/20/2017 - 11:44 -- Nick Dager

Axle Video has released axle ai, which it calls “a breakthrough media analysis and search platform.” Post-production teams can use axle ai to save a tremendous amount of time that would otherwise be spent manually tagging their media, and can benefit from the ability to find media that may not have been managed at all, often simply with cryptic multi-digit filenames from camera media.

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