Steve Jobs could see the future, but he always seemed to have trouble with the present. “My job is not to be nice to people,” he said. “It’s to make them better.” And so, when you worked for him or with him, you couldn’t just get some things right, you had to get everything right.
Picture this: it’s a summer morning back in the days of your youth, nothing much going on, nothing planned. One by one, your friends – they all live in the neighborhood, as they did back then – drop by, looking for something to do and you find it and it involves physical activities that are mostly out of doors. You had days like that, right?
As has been widely reported and even more widely discussed online, yesterday in a post on the Red Digital Cinema website founder Jim Jannard announced that, “I have finished my mission. I will no longer be the face of Red.”
Digital Arts NY provides 4K picture and sound finishing services for feature films and high-end TV productions within its 12,000 square foot facility. The company recently launched what Axel Ericson, the founder and owner, feels is the first true 4K infrastructure on the East Coast for full 4K digital cinema finishing, including a new, landmark audio mixing environment.
Jerusalem, a new film that explores on a grand scale the intersection of science, history and religion in this ancient, enigmatic place, will premiere in giant-screen, IMAX and digital 3D cinemas in the USA and worldwide beginning September 20.
Sky-Skan's educational, 25-minute documentary, To Space & Back, which first opened in March to critical and public acclaim at the Fels Planetarium (The Franklin Institute, Philadelphia), will be re-released in September in a new version that, at 8K resolution, stereoscopic 3D and 60 frames per second.
Cinematographer James Mathers often chooses projects that have passion, heart, and a positive message. Such was the case of his latest production, 1000 to 1: The Cory Weissman Story.
I write as someone whose adult life has (for the most part) been immersed in holography. It has been a grand passion. Walking into the International Center for Photography in 1975 for the show Holography '75: The First Decade July 3–September 19, 1975, and seeing my first hologram was a mind-blowing experience.
Paul Rees, an experienced still photographer for globally respected advertising agencies and magazines, relied on his instincts as he transitioned to digital cinema to document the North American Eagle Project, a joint U.S.-Canadian initiative to challenge the world land speed record (763 mph, or Mach 1.02) for rocket-powered automobiles. Rees’ camera of choice for this task was the Canon EOS C300 digital cinema camera.
The program has been set for the Art House Convergence’s first-ever regional seminar, Thursday and Friday August 22-23 at the Cinema Arts Centre in Huntington, New York. The seminar will cover topics from fundraising to repertory programming to digital cinema.