Éclair today announced the launch of ÉclairSend, its new, pay-as-you-go online large file transfer and transcoding service developed with film and audiovisual industry professionals. The browser-based ÉclairSend platform enables producers, distributors, filmmakers, broadcasters and non-industry professionals anywhere in the world to easily manage their files and assets, convert videos and deliver any type of content, without size restriction.
Christopher Ray, colorist at Picture Shop, joined director Albert Hugues’s epic adventure last year on Alpha, setting the looks on-set with FilmLight Daylight. His collaborative work with Technicolor senior colorist Maxine Gervais relied heavily on creativity and on the Daylight-Baselight Base Linked Grade exchange. Digital Cinema Report recently spoke with Ray about the experience.
On Saturday night at its annual Scientific and Technical Awards Presentation, the Academy of Motion Picture Arts and Sciences honored PIX with a Technical Achievement Award. The award recognized Eric Dachs, founder and CEO; Erik Bielefeldt, director of research and development; Craig Wood, technical director; and Paul McReynolds for the design and development of the industry leading security mechanism for distributing media. Prior to the awards ceremony, Digital Cinema Report spoke exclusively with Bielefeldt and Wood to talk about the company’s continued innovation in the evolving world of content collaboration from film to digital to next-generation data rich requirements.
Éclair today announced that its Éclair Preservation initiative, which is dedicated to the secure conservation and management of digital and analog media for the film & television sectors, is in accordance with France’s new National Centre for Cinema and the Moving Image (CNC) bylaws. In effect since January 1, the regulation related to feature film production funding requires all recent and upcoming productions applying for financial support from the organization to subscribe to CST-compliant (RT 043) conservation contracts to safeguard the media’s long-term viability.
The New York facility of Eurofins Digital Media Services has been granted a Certification in Dolby Vision Quality Control Services. Eurofins is the first dedicated Dolby Vision quality assurance facility on the East Coast, meeting the growing demand for quality control and testing services in New York City.
Technicolor PostWorks New York and Prasad Corporation have formed a strategic partnership to provide full-service film scanning and digital restoration services in 8mm, Super8, 16mm, 35mm, 65mm, 2K, and 4K for archival preservation purposes for classic independent films readying for re-release.
The Fraunhofer Institute for Integrated Circuits IIS presents its new software development kit with optimized functions to code images with the new JPEG XS codec. JPEG XS is suited for use in production environments where high-resolution image data of up to 8k/60p UHD video must be transferred via Ethernet. The coding specialists of Fraunhofer IIS will demonstrate the JPEG XS codec as complete live stream with real-time playback.
The Hollywood Section of the Society of Motion Picture and Television Engineers will review emerging storage and workflow systems for 4K post-production at its monthly meeting September 19 in Hollywood.
Deluxe has launched the Content & Key Manager to replace their existing Cinema Portal platform. The Content & Key Manager has been integrated as a service within Deluxe One – the company's flagship cloud-based platform that unifies each stage of the content supply chain, creating an end-to-end ability to manage assets and requirements from creation to delivery.
Arts Alliance Media first opened its doors in London June 17, 2003. In those very early days of digital cinema, the new company and its ten employees carved out a space in technology and what was then called alternative content. The company divested itself of the alternative content business a few years ago to focus on what has long been its core strength: cinema technology. AAM launched its first theatre management system in 2007 and, in 2008, completed the first virtual print fee rollout in Europe with French chain CGR. Today AAM has more than 140 employees spread over three offices in London, Amsterdam, and Guangzhou, China. I recently spoke via email with AAM’s chief executive officer Patrick Foley, and chief technology officer Richard Phillips about those early days of the company and, more importantly, to get their thoughts about the future of digital cinema technology.