Cooke Optics announced today that Panavision, Red Digital Cinema, Canon, Blackmagic Design, CW Sonderoptic and Sony are embracing an industry-defining project to standardize the collection of lens metadata from PL and selected Panavision mount lenses on the /i Technology protocol.
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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.
FuseFX, which produces visual effects for such shows as Agents of S.H.I.E.L.D., American Horror Story, Luke Cage and Criminal Minds, has launched a spinoff venture to tackle projects in the rapidly expanding field of virtual reality. FuseVR will create visual effects assets for virtual reality projects, including 3D sets, digital environments and CG characters. The effort will be led by Bud Myrick as VR supervisor and John Heller as VR creative director.
Jerome Dewhurst has joined Roundabout Entertainment’s technical staff as chief color scientist. Dewhurst will oversee and manage the color pipeline for the facility’s growing digital intermediate and color correction operations, and set best practices for color company-wide. He will also lead research efforts to develop new software, technologies and services related to color management.
Sony Pictures Imageworks has deployed Avere Systems’ FXT Edge filer 5600 clusters to support the studio’s ongoing render farm expansion and to ensure non-disruptive scalability. Imageworks uses Avere technology to help it deliver award-winning visual effects and animation while staying on budget and meeting demanding production timelines
Beekman Investment Partners, through an affiliate, has acquired select assets from AMC Entertainment and Carmike Cinemas and certain of their subsidiaries to create a movie theatre circuit of 16 locations across the U.S., with 184 screens and more than 500 employees.
Death is not a good guy, he’ll take your soul for all eternity, but even he’s shocked by the kind of stuff that some satellite and phone companies pull on their customers. A new campaign conceived by independent creative marketing agency Something Different for Charter Communications to promote their Spectrum brand casts the black-cloaked merchant of death and other familiar demons, monsters and villains as regular Joes fed up with the really nasty evil practices at their telecommunications providers.
Even though it has space for 350 cars and covers 25,000 square meters and is very near to Madrid’s central Paseo de la Castellana, Autocine Madrid Race is now Europe’s largest drive-in theatre with a screen that measures 250 square meters. With a bar and food trucks reminiscent of U.S. drive-ins from the 1950s, Autocine Madrid Race opened in February – perhaps appropriately – with a screening of the musical Grease.
FireFly Cinema now provides direct integration with axle Gear from axle Video. The integration enables on-set color graded images and metadata from FireFly Cinema’s FireDay dailies management tool to flow seamlessly into the axle media management system.
The American Society of Cinematographers is expanding its presence in the Asia Pacific region with the launch of an International Master Class in Beijing and the availability of the organization’s magazine, American Cinematographer, in Chinese.
Ymagis Group announced today that it has agreed with Dallas-based CinTech to form a new, full-service exhibitor services company in North America. Under the terms of the agreement and subject to the fulfillment of conditions precedent, a new company, CinemaNext North America, will be created with Ymagis Group acquiring a 75 percent stake and CinTech the remaining 25 percent. CinemaNext North America will be managed by industry veteran Stan Hays. Both parties intend to start operations during the second quarter of the year
CinemaCon 2017 demonstrated, once and for all, that this is truly the dawn of the digital cinema era. The installation of digital projection systems in virtually every movie theatre in the world was the beginning of something, not the conclusion, because it opened the door to a wide range of possibilities. The tradeshow floors in Caesar’s Palace demonstrated this fact more than ever before. For the third consecutive year, a host of new companies crowded the exhibit halls. On display were products and services designed not simply to improve the operation of a movie theatre, but, in some cases, to expand the concept of what a movie theatre is. And, for the third year in a row, Digital Cinema Report is presenting the Catalyst Award to those products that we consider to be the best new technology on display at CinemaCon 2017.
Maccs International has announced the integration of CineLab software with Maccs’ online platform DCinemaHub.
Post house Light Iron has appointed Rick Anthony to the newly created role of general manager in its New York facility. The addition comes after Light Iron added a second floor in 2016 to triple its inventory of editorial suites.
The Society of Motion Picture and Television Engineers today announced that Shane Murphy has won the $5,000 grand prize in The Vista Project student filmmaker competition and that Jon Navarro was selected as runner-up. Led by cinema-industry pioneer Bud Mayo, chairman of New Vision Theatres, and by Barbara Lange, SMPTE and Hollywood Professional Association executive director, the judging committee named the winners during CinemaCon week, March 27-30 at Caesars Palace in Las Vegas.
Directed by Andrew Wonder and produced by Something Different and Station Film, the documentary Seed follows three Silicon Valley high school students, five college students from Nairobi and an Uber driver from New York as they hone their pitches and eventually present them to a panel of venture capitalists and industry leaders at AngelHack’s ninth annual Global Demo Day.
Barco is collaborating with Lucasfilm and ReedPOP on the Star Wars Celebration event, being held in Orlando, Florida at the Orange County Convention Center on April 13-16. During the four day event, devoted Star Wars fans will experience the latest in laser projection technology as they gather at the Galaxy Stage to attend high-profile guest panels, including Mark Hamill, Anthony Daniels, Hayden Christensen and more, and watch a special tribute to 40 years of Star Wars.
The Indian post-production house FutureWorks is currently celebrating a decade in business. Senior colorist Rahul Purav spoke with Digital Cinema Report about the process of color grading and about some of the many films projects the company has worked on over the years.
The Motion Picture Academy’s Academy Color Encoding System is now widely used across the movie industry but perhaps surprisingly, it’s also gaining traction in the gaming world. To learn more, Digital Cinema Report recently spoke with Brian Karis at Cary, North Carolina-based Epic Games. The company is known for its industry-leading Unreal Engine, a ground breaking game engine that can be used by other game developers who do not want to develop their own engine.
Hidden Figures recounts the story of three female African-American mathematicians who played an integral role in John Glenn’s successful launch into space and return. Captured on 35mm film, the movie is largely live action, but features nuanced CG throughout. Crafty Apes delivered 328 VFX shots for the film, working out of its Atlanta facility, with founder Chris LeDoux at the helm, Mark LeDoux overseeing local artists and Tim LeDoux guiding the final look out of the studio’s LA facility.