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Horse Soldiers 100th Dolby Cinema Title

Fri, 06/16/2017 - 10:56 -- Nick Dager

Dolby Laboratories today announced that Warner Bros. Pictures’ Horse Soldiers is the 100th Dolby Cinema title. "Reaching the 100th announced title for Dolby Cinema is a tremendous accomplishment that couldn’t have been achieved without the support from the directors and filmmakers who want to use the best technology for their storytelling,” said Doug Darrow, senior vice president, cinema business group, Dolby Laboratories. “In 2017 we announced 44 Dolby Cinema titles, more than any other premium format, which is a testament to the ongoing commitment from Hollywood and studios around the world to deliver the best experience to the cinema.”

Unique Digital RosettaPOS Available Now

Fri, 06/16/2017 - 10:33 -- Nick Dager

Unique Digital has announced the availability of RosettaPOS, a fully browser based point of sales system, presented to the user as software-as-a-service. Capable of managing the needs of a multiple territory, multiple language exhibitor chain, or a small independent; all customers receive a full function and flexible POS system that can be deployed quickly and cleanly to any estate. Providing collaborative movie scheduling, real-time reporting, integrated signage and an autonomous web ticketing solution, RosettaPOS provides all of Exhibition’s POS needs from the outset.

Barco Featuring Smart Laser Projectors at CineEurope

Thu, 06/15/2017 - 10:48 -- Nick Dager

Barco is expanding its laser portfolio with two Smart Laser projectors that provide large cinema screens with up to 33,000 lumens brightness and 2K or 4K resolution. Barco’s Smart Laser projectors free exhibitors from all lamp-related hassle and cost, allowing them to cut costs and simplify their operations. What’s more, they also provide superior image quality. The brand-new DP2K-32BLP and DP4K-32BLP bring Barco’s laser projector range to 15 models in total, the widest laser portfolio in the industry.

Avoiding Torn Frames in Ghost

Mon, 06/12/2017 - 12:38 -- Nick Dager

Typically, torn frames appear when a flash or strobe is not properly timed with a camera’s shutter and frame rate. They appear as a flash in the bottom half of one frame followed by a flash in the top half of the next frame. An innovative light source helped Ghost in the Shell cinematographer Jess Hall, BSC avoid the problem and bring a new level of visual sophistication to director Rupert Sanders’ epic feature.

Long Distance Snow Job

Mon, 06/12/2017 - 12:26 -- Nick Dager

For Nissan’s Return of the Snowman spot, visual effects specialists The Embassy in Vancouver banded together with post house Alter Ego in Toronto. The Embassy is well known for its photo-realistic, hard surface VFX work, from creating the digital Iron Man suits for all three films to building massive drop ship hangers for The Hunger Games trilogy. Having worked on countless commercials with Alter Ego, The Embassy made the decision to become part of the creative process for grading, to improve the efficiency and precision of their VFX work and present a consistent preview to their clients.

Why Color Workflows Matter

Fri, 06/09/2017 - 11:05 -- Sarah Priestnall

Designing a precise color workflow during pre-production can save motion picture projects time and money. The larger and more complex the project, the more the potential for savings. Digital imaging technician Francesco Giardello (Pan, Game of Thrones, Ben-Hur, Thor: The Dark World) can accurately be described as a pioneer in the use of the Academy Color Encoding System on-set. He recently designed a set-to-post color workflow using ACES for the movie Life, directed by Daniel Espinosa and starring Jake Gyllenhaal, Rebecca Ferguson and Ryan Reynolds. This space thriller from Sony tells the story of the crew aboard the International Space Station and what happens when they encounter extra-terrestrial life in the form of an organism they name Calvin. On Life, Giardello worked closely with cinematographer Seamus McGarvey ASC BSC. The main cameras used were Arri Alexa 65s although, according to Giardello, several other cameras were also utilized. I spoke with Giardello about the color workflow used on Lif

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