Crawford Media Services has installed Quantum Corporation’s Lattus object storage to build a content repository that supports mass migration of its clients' legacy content to digital formats and provides ongoing media storage and management.
Mumbai, India-based audio/mix engineer and pro audio specialist for Avid, Sreejesh Nair has chosen Nugen Audio's Halo Upmix plug-in for stereo-to-5.1/7.1/9.1 upmixing. Nair uses Halo to produce a powerfully immersive upmix on a broad range of cinema projects, including the sound tracks of well-known Bollywood titles.
Responding to demand from aspiring visual effects artists from across Australia and beyond, Rising Sun Pictures is expanding its visual effects educational program, operated in partnership with the University of South Australia. RSP will now offer a Graduate Certificate in Dynamic Effects and Lighting, modeled after its successful Graduate Certificate in Composting and Tracking. It is also adding to its menu of short courses covering 3D modeling, compositing and other subjects.
International production and post group Umedia has opened a facility in Vancouver. The company has four other facilities around the world. The Vancouver office has installed a Baselight Two grading and finishing suite.
Director Jon Favreau’s The Jungle Book won this year’s Oscar for Best Visual Effects. A Walt Disney Picture, the movie is unique because the only live action character, the boy Mowgli, was shot on bluescreen while everything else was computer-generated. The visual effects team included key talent from Technicolor and its subsidiary, the Moving Picture Company. In the final part of our five-part series, Tim Sarnoff, president of production services and deputy CEO at Technicolor, explains how Technicolor tackled this unique project, and what it means for future of increasingly complex and immersive productions.
Director Jon Favreau’s The Jungle Book won this year’s Oscar for Best Visual Effects. A Walt Disney Picture, the movie is unique because the only live action character, the boy Mowgli, was shot on bluescreen while everything else was computer-generated. The visual effects team included key talent from Technicolor and its subsidiary, the Moving Picture Company. In part four of our five-part series, Steven J. Scott, Technicolor’s vice president of theatrical imaging and supervising and finishing artist in Los Angeles, talks about his experience working with Legato and other artists in the making of The Jungle Book.
Burbank, California post house Roundabout has purchased a Quantel Rio 4K online editing, color and finishing tool from SAM for editorial and restoration work on multiple films.
Director Jon Favreau’s The Jungle Book won this year’s Oscar for Best Visual Effects. A Walt Disney Picture, the movie is unique because the only live action character, the boy Mowgli, was shot on bluescreen while everything else was computer-generated. The visual effects team included key talent from Technicolor and its subsidiary, the Moving Picture Company. In part three of our five-part series, Rob Legato lead VFX supervisor, and second unit director on The Jungle Book explains how creating a movie that was totally dependent on VFX demanded a completely different approach to production, and opened the door to a greatly expanded role for VFX in real-world movie-making.
Continuing its momentum of attracting regional and international productions, Abu Dhabi Film Commission has secured a new Indian production for which the capital will serve as the second filming location for two weeks. The upcoming Telgu feature film, Duvvada Jagannadham (also known as DJ), is written and directed by Harish Shankar and will shoot in various locations across the Emirate including the Abu Dhabi Global Market, Abu Dhabi National Exhibition Centre, Intercontinental Hotel, Yas Links Golf Club and Galleria Mall, with access to twofour54’s production services.
The Society of Motion Picture and Television Engineers is seeking proposals for technical papers for the SMPTE 2017 Annual Technical Conference & Exhibition (SMPTE 2017), Oct. 23-26, 2017, in Hollywood, California. Proposed papers must be informational and address technical theory, research, innovations, applications, or practices specific to an evolving technology relevant to the media industry. Abstracts must be submitted online no later than May 15.
