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.
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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.
A celebration of Canadian cinema will take place in Los Angeles April 18-23 with a variety of screenings at The Cinefamily and The Aero. The Los Angeles marathon of screenings will kick-off on the evening of April 18 with Polytechnique (Denis Villeneuve) and continue on, April 19 with screenings of The Saddest Music in the World (Guy Maddin), Meatballs (Ivan Reitman), Strange Brew (Rick Moranis and Dave Thomas) and Incendies (Denis Villeneuve).
Ymagis today reported its consolidated financial results for the 2016 fiscal year, ending December 31, 2016, as approved by the Group’s Board of Directors following its meeting April 4, 2017. In 2016, Ymagis Group maintained its strong growth momentum, reporting revenues up by +13 percent at €178.2 million, primarily due to the acquisition of businesses completed both in 2015 and 2016.
Green Day and Abramorama are collaborating to distribute the upcoming film Turn it Around: The Story of East Bay Punk to be released across the USA in tandem with Green Day’s Revolution Radio World Tour during the summer of 2017. Abramorama will release the film, which was executive produced by Green Day, in theaters across North America and will work with the filmmakers on the global release across all platforms.
National CineMedia has named Scott Felenstein to the role of executive vice president and chief revenue officer in time to kick off the 2017-18 Upfront season. He joins NCM from Discovery Communications where he spent the past 17 years rising through the ranks in various management positions.
Firefly Cinema has unveiled V6 of its comprehensive color grading software suite which includes: FirePlay (for playback), FireDay (for digital dailies) and FirePost (for color finishing). Used on hundreds of feature films (La La Land, Planetarium, The History of Love, Belle and Sebastien), FireFly Cinema provides an integrated and production-wide approach to managing color workflows on-set, through dailies and post-production.
New York City-based art and technology company The-Artery is expanding its operations into Los Angeles. Concurrently, the creative studio has named industry veteran Karin Levinson as its head of features and television content. Levinson will helm the new LA office, and will spearhead new business initiatives across the mediums of film, television, advertising, virtual reality and augmented reality.
Responding to the increasing need for character-driven, large-format optics, CW Sonderoptic has introduced the Leica Thalia series of prime lenses. The set of nine spherical lenses provides an image circle of 60mm diagonal, which covers Arri Alexa 65, VistaVision, and Super 35 film and digital formats while maintaining a consistent look and feel through all focal lengths.
The European Audiovisual Observatory is focusing on the impact of video-on-demand on the film value chain in this year’s Cannes conference. This year’s topic Is VoD growing the film pie its impact on the film ecosystem. The discussion will take place May 20.
Award-winning animation studio Laika has tapped Striker Entertainment to serve as its worldwide licensing agent.
After standardizing its portfolio on Sony 4K, Vue International has upgraded the remaining DLP projectors across its estate in the UK, Ireland and Germany (CinemaxX) with 44 Sony SRX-R515DS dual projection systems.
Grasshopper Film has acquired the U.S. distribution rights to Last Men in Aleppo, directed by Feras Fayyad and co-directed and edited by Steen Johannesen. The film had its world premiere at the Sundance Film Festival, where it won the World Documentary Grand Jury Prize, then went on to screen as the Opening Night selection of CPH:Dox where it won the Dox:Award.
If there is one thing for which the recently opened Odeon Sambil Dolby Atmos multiplex in Madrid stands out, it is the number of technological firsts clocked up by its twelve theatres. It is the first multiplex in Spain with all its screens equipped with 4K projectors – all from Christie – and also the first to include Dolby Atmos and Christie Vive Audio sound in all its theatres, and the only multiplex in Spain with more than one laser screen. In this case, Sambil has two screens equipped with laser projection, both with Christie Solaria CP42LH RGB projectors.
Cinesa UCI has signed a new agreement with Unique Digital for theatre management remote hardware and software support across all its Spanish sites.
FuseFX Vancouver has hired visual effects veteran Chris Ryan as CG supervisor as part of a general expansion of its presence in British Columbia. Ryan will lead the facility’s enlarged 3D team on television projects including Zoo and Timeless. He brings more than 20 years of senior level experience in CG and credits on more than 75 motion picture and television productions.
Coming off of a record year for the movies, the U.S. cinema advertising industry continues to thrive and reinforce its position as the ultimate premium video offering, with revenue topping $750 million for the first time. The Cinema Advertising Council said 2016 revenue increased 5.8 percent year-over-year, with revenue among CAC members climbing to $758,320,000, up from $716,436,000 in 2015.
Adults fifty and older make up more than 30-percent of all visits by moviegoers, according to a new study conducted by marketing data analytics firm Movio on behalf of The American Association of real Possibilities (AARP). The study, entitled, The 50-plus Moviegoer, An Industry Segment That Should Not Be Ignored found that mid-life and older moviegoers—in particular, those ages 50 and older—are a powerful force at the box office.
CinemaCon 2017 featured a dizzying array of technology possibilities that, depending on who you talked to, were exciting, intimidating or overwhelming. The trade show, held at Caesar’s Palace in Las Vegas, is the National Association of Theatre Owners’ annual gathering of exhibitors from around the world. More than one attendee labeled the show Digital Cinema 2.0. The digital cinema transition was not the end of anything; it was very much the beginning of something even bigger. That was because this year’s CinemaCon made it perfectly clear that the days of the basic 2K-projector, server and vanilla theatre management software package are numbered. To remain competitive, perhaps even simply to stay in business, exhibitors must learn to fully embrace new technology.