Emmy Award-winning cinematographer Frank Prinzi ASC chose Panasonic VariCam 4K cinema cameras to shoot The Enemy Within, a prime-time psychological thriller that recently premiered on NBC. The hour-long show follows the exploits of a former CIA operative serving a life sentence for treason who is freed by the FBI to help track down a dangerous and elusive criminal.
Production & Post-Production
PIX today announced that it had reached an agreement to acquire London-based Codex, in a move that will enable PIX and Codex to deliver a range of new products and services, including streamlined camera capture to post-production finishing. Serving complementary roles in the production process, both PIX and Codex share an approach to delivering high-end streamline solutions that keep pace with the industry’s rapidly evolving needs.
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.
A coalition of leading trade and professional groups has formed a non-profit organization to provide mentoring services to young people seeking behind-the-scenes careers in the media and entertainment industry. The Entertainment Industry Professionals Mentoring Alliance, or EIPMA, plans to nurture the industry’s next generation of talent by offering expert guidance to high school and college students, military veterans and others seeking to launch their careers, and by hosting job fairs, panel discussions and other public events.
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.
As part of the ongoing expansion of its sound resources, Sony Pictures Post Production Services has upgraded three mix stages on the Sony Pictures lot to support sound mixing for film and television in the immersive Dolby Atmos format. Among them is the 344-seat Cary Grant Theatre, the studio’s largest. Sony Pictures now has seven mix stages that support Dolby Atmos sound and plans to have nine within the next few years. The first project slated for an immersive mix in the upgraded theaters is Sony Pictures’ Spider-Man: Far from Home, which opens July 5.
Lumiere VOD was launched this week at the Council of Europe by Mariya Gabriel, the EU Commissioner for Digital Economy and Society and the Council’s Secretary General, Thorbjorn Jagland in the presence of Silvia Costa, Member of the European Parliament and Rapporteur for Creative Europe and president of the Association of Film Directors and Producers, filmmaker Radu Milaileanu. The database contains information on more than 35,000 European films offered 150,000 times on VOD. This data has been taken from 250 different VOD catalogues available in 28 European countries.
Film Independent, the nonprofit arts organization that produces the Spirit Awards, announced the 13 filmmakers and eight projects selected for its 2019 Documentary Lab. The Lab is an intensive two-week program designed to help filmmakers who are currently in post-production on their feature-length documentary films.
For the 14th year, The Hollywood Professional Association will honor the companies and individuals who draw upon technical and creative ingenuity to develop breakthrough technologies with the HPA Engineering Excellence Award. The call for entries for the Engineering Excellence submissions will close on May 24.
From the earliest days of feature length films until the 1980s, the movie going experience typically happened in a very large theatre with a really big screen. Faced with rising costs and increasing competition from television, exhibitors of that sad era cut their buildings into multi-screen complexes to increase ticket sales and maximize profits on concessions. Today, faced with a different set of economic realities, exhibitors around the world are increasingly responding by creating movie palaces that rival all but the most spectacular theatres of the turn of the last century. One trend at this year’s CinemaCon, which wrapped up last week, was the continuing rise of premium large format theatres. Another trend was the almost comical trashing of Netflix. PLF theatres and Netflix are both here to stay; we’ve been here before