Atomos Limited has introduced Neon, an all-new line-up of precision 4K HDR field monitor-recorders for on-set or in-studio production where reliable and trustworthy monitoring is essential. Neon comes in four screen sizes, 17-inch, 24-inch, 31-inch and 55-inch, ensuring that no matter the critical production usage, every crew member sees an accurate image representation so directors know with confidence that they have got the shot, that cinematographers ensure consistent exposure, focus pullers maintain the sharpness of an actor's eyes, and so editors and color graders can lock down the creative intent from shot to shot.
Films at 59, one of the UK’s leading post houses, has installed a Pixit Media PixStor scalable storage platform to support its 4K high-end grading and finishing work. Founded in 1990, Films at 59 is an award-winning pre- and post-production house, with sites in Bristol and Cardiff and collaborative working relationships worldwide. Delivering across all genres, the company is renowned for its achievements in high-end broadcast, particularly in factual entertainment and natural history.
Light Iron, a Panavision company, has announced that Jeremy Sawyer is returning to its Los Angeles facility as a senior colorist. Sawyer brings more than 20 years of color finishing experience to his role. He joins Light Iron’s talent roster as the facility manages a growing list of feature and episodic projects.
The latest free firmware upgrade to Panasonic’s AK-UC4000 4K/HD HDR-capable camera system has added V-Log output, incorporating the full power of the colorimetry of the company’s line of VariCam and AU-EVA1 cinema cameras and making the camera useful for post-production workflows. With the inclusion of V-Log, the AK-UC4000 has earned approval of the Netflix Post Alliance for creating Netflix-approved content, joining the VariCam 35, VariCam LT, VariCam PURE and EVA1 on the sanctioned list.
Red Digital Cinema has released its Red R3D SDK and accompanying RedCine-X Pro software with accelerated decode and debayering on Nvidia CUDA platforms. By offloading the compute-intensive decoding and debayering of Red R3D files onto one or more Nvidia GPUs, the company says that real-time playback, edit and color grade of 8K footage is now possible.
Post facility Goldcrest Post is expanding its footprint in independent film and documentary finishing through key additions to its creative roster. The company has forged a partnership with Glue Edit, the finishing boutique led by colorist and Emmy award-winning editor Ken Sirulnick. Sirulnick, along with his long-time post-production coordinator Jordan Thompson-DeSon, will take up residence at Goldcrest. Additionally, Goldcrest has signed freelance colorist/editor Evan Anthony, whose credits include Sundance Grand Jury Prize nominee Moonlight Sonata, to a staff position.
Distributor Neon has released The Beach Bum in Éclair Color high dynamic range at select Alamo Drafthouse Cinema locations across the United States. This marks the first title available in Éclair Color HDR across the U.S. The movie opened in Germany (Constantin Film) in Éclair Color in March and will open in France (Mars Films) in July.
The next in the series of acclaimed FilmLight Color Day master classes will be held April 8 during the National Association of Broadcasters convention. Presented by industry leaders in creative grading, this intensive day will introduce colorists, DPs and the wider production and post industry to the opportunities and challenges of modern color finishing and delivery.
Éclair today announced that it has completed a high dynamic range remastering of the Spanish version of Hans Petter Moland’s Cold Pursuit. It is the second feature film color graded and mastered at 300 nits for Onyx Cinema LED screens through its Éclair Color HDR technology.
Post house DigitalFilm Tree CEO Ramy Katrib congratulated CBS and producers Christopher Molnar and Erik Whitmyre on the 10th season of NCIS: Los Angeles. Katrib said that in nearly 250 episodes DFT has averaged 250-400 effects per show. He thanked producers on NCIS: Los Angeles for giving DFT their trust and allowing them to achieve several technology firsts