Pictorvision has introduced TrussCam by Camera Special Systems, the latest innovation to enable creative and dynamic coverage for stadium, arena, courts, theatres and other events. This one-of-a-kind trolley mounted, gyro-stabilized camera system provides previously impossible shots in large venues. The versatile system features a camera mounted on a completely wireless trolley, which runs on standard 290mm truss.
Production & Post-Production
Versatile Distribution Services today announced exclusive 4K and 2K turnkey workstations that feature Assimilate’s Scratch digital intermediate software running on HP Z820 workstations in North America and Latin America. The Scratch systems enable digital cinema and broadcast artists to generate dailies, conform, color-correct, and complete the finishing of features, documentaries, videos, and episodic TV within a real-time, integrated, user-friendly workflow.
Filmed in 3D, How Cities Work visits London, New York, Barcelona, Las Vegas, Berlin, San Francisco and many other iconic cities following the amazing technological achievements, planning and engineering feats that make life in these great cities possible and pleasurable for the masses. BTV Post handled all the post-production for the TV series How Cities Work, which was commissioned by Discovery. BTV Post worked closely with Electric Sky Productions to ensure How Cities Work retained its 3D visuals and in-depth footage.
Horror films have a certain style: cramped quarters, heat, now-you-see-it-now-you-don’t or did-you-really-see-it. Lighting for the suspense, and horror of the genre is always a particular challenge but one that cinematographer Steve Romano believes he handled nicely the indie feature The Girl, which was directed by Jennifer Blanc-Biehn.
New York Women in Film and Television hosted a reception last night to introduce the organization to online journalists and to promote their annual Muse Awards, which will be held December 12 at the Hilton New York.
Framestore used 16 Vicon T40 cameras on the pre-visualisation for space scenes in Gravity. Framestore integrated the cameras with Blade – Vicon’s data capture and data processing system – to help create complex and extremely realistic visual effects. They will also use the cameras for pre-vis on the upcoming film Jupiter Ascending.
When Devin Lund, director of photography for The Aviators on PBS, goes on assignment, he’s got to be ready for constant change. “Sometimes we’re dealing with the military. Sometimes we’re dealing with private aircraft owners. I’ve got to be ready to deal with last-minute changes. It always happens,” Lund explains.
Schneider Optics has announced a $2500 Rebate on a new set of six Cine Xenar III lenses purchased from November 1 through the end of February 2014.
Keeping a hit television show that’s been on the air for 14 years fresh and interesting is a demanding challenge. As scripts get bigger to sustain audience interest, budgets inevitably get smaller. “When a show reaches syndication, it has primarily done it’s job of crossing the finish line of making money for a very long time,” says CSI: Las Vegas cinematographer Crescenzo Notarile, ASC. “So, why spend more when the networks, at this point, don’t have to. It’s a creative challenge to keep the audience coming back with what we have. It’s not making more – it’s making the freshest.”
Blur Studio, co-founded by Tim Miller, created the three-minute prologue sequence that sets the stage for the highly anticipated sequel Marvel’s Thor: The Dark World.