The triumphant start to October delivered new cinema recovery successes around the world, according to the latest box office report from London-based analytics firm Gower Street. China’s Golden Week brought blockbuster juggernaut The Battle at Lake Changjin, which by Monday (October 11) had already grossed $650 million to rank as China’s seventh biggest film of all-time. Combined with number two title My Country, My Parents, which has made $185 million so far, the holiday openers finally put Chinese box office back on the upswing after a concerning four months.
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Visual effects house Ghost VFX, part of the Streamland Media community of post-production businesses, has appointed Patrick Davenport as president. Former president Tom Kendall has taken on the new role of head of business development, sales, and marketing for the company. Rounding out the team, Paul Richards has joined Ghost as executive vice president of technology and Crys Forsyth-Smith has been named executive vice president of global production. All four will be based at the company’s Burbank, California location.
Arri Rental has introduced two new large-format lens series—Alfa anamorphic lenses and Moviecam spherical lenses. Both series were conceived and constructed by Arri Rental’s global lens development team, which was also responsible for the company’s DNA lenses for full-frame and 65 mm cinematography.
SMPTE, the home of media professionals, technologists, and engineers, today announced that registration is open for its annual technical conference, SMPTE 2021 ATC, a virtual event with daily four-hour sessions offered November 9-11 and November 16-18. The society's annual technical conference is the world's premier peer-reviewed forum for media and entertainment technology, and this year's format and schedule, including a day of sessions presented in APAC-friendly time zones, are designed to make participation more convenient for busy industry professionals everywhere.
GDC Technology announced today the option to upgrade the award-winning GDC SX-4000 Standalone Integrated Media Block to DTS:X supporting the immersive audio bitstream. This upgrade is designed to support SMPTE’s immersive audio bitstream standard ST 2098-2, which represents a major milestone towards the goal of delivering a single interoperable immersive audio format for theatrical distribution.
Digital Cinema United, a content services company specializing in digital cinema package production and delivery services, has hired Ronnie Ycong to lead the company’s North America and Latin America region as executive vice president and general manager – Americas. At the same time the company announced the addition of Premiere Cinemas and Epic Theatres to its DCU Connect network.
With the film and television industry rebounding from the pandemic, now is a great time to begin a career in visual effects. Production activity, in Australia and worldwide, is expanding quickly as studios and streaming services rush to meet pent up consumer demand for new content. That, in turn, has caused a labor shortage, especially for professionals with specialized training, such as visual effects artists. Studios that produce VFX for film and TV can’t hire qualified talent fast enough.
Last month, the much-anticipated Academy Museum of Motion Pictures opened to the public. Its stated mission is to advance “the understanding, celebration, and preservation of cinema through inclusive and accessible exhibitions, screenings, programs, initiatives, and collections.” The museum and its opening gala received a lot of well-deserved media attention. What hasn’t been so widely reported, however, is the important role that the Dolby family and company have played, and will continue to play, in the museum’s conception, design, and ongoing cinema efforts.
“When you’re preparing a film you can indulge in dreamy conversations –– it’s an essential part of the process that gets infused into the work,” says cinematographer Sam Levy. “But once you’re on set, and the clock is ticking, you find yourself a passenger on a moving train. Sometimes it’s a slow-moving train, but that train is moving. This was very much the case when we shot Karen Cinorre’s new film Mayday.”
Adobe has completed its acquisition of Frame.io, the cloud-based video collaboration platform. The combination of Adobe’s video editing offerings—including Adobe Photoshop, Adobe Premiere Pro and Adobe After Effects—with Frame.io’s cloud-based review and approval functionality will radically accelerate the creative process and deliver an end-to-end video platform, the companies said.