Disguise has launched Virtual Production Workflows, a free virtual production course available to anyone online. The course was created by disguise experts after twenty years of experience helping to power virtual stages for Netflix and Amazon Prime shows, ITV and TUDN broadcasts, and more.
In October 1948, Jesse Brown became the first African American to complete the U.S. Navy’s flight training program and received his Naval Aviator Badge. The feature Devotion, directed by J.D. Dillard and based on the bestselling book by Adam Makos, recounts the true story of Brown’s distinguished service, focusing on the year 1950, at the onset of the Korean War, when he and his fellow pilots in Fighter Squadron 32 deployed aboard the aircraft carrier USS Leyte, first to the Mediterranean Sea and then to the East Sea, off the coast of North Korea.
LED video processing products manufacturer Brompton Technology has released Tessera v3.3 with software features that company says optimize the performance of LED panels to further streamline professional workflows. A beta version of the v3.3 software is now available for download from the Brompton website. New features include Operating Modes, and Per-Batch PureTone. Additionally, the Tessera SX40 and S8 now have a preset to support the Academy Color Encoding System AP1 color space, as used by ACEScg. Finally, in collaboration with Mo-Sys, Brompton has added support for the company’s StarTracker camera tracking system when using panels fitted with the Tessera R2 or Brompton’s new Tessera R2+ and an SX40 or S8 processor with Frame Remapping.
The American Society of Cinematographers has completed its Standard Evaluation Material II project. The short film is an initiative by the organization to provide standardized viewing material designed to aid in the development and calibration of technology impacting the modern imaging chain. StEM2 test packages will be available in early 2022 to download for free in all common theatrical and home TV formats.
Cédric Lejeune is vice president of technology for ÉclairColor, part of the Ymagis Group. He is also the founder of Workflowers, a recently formed consulting company that offers training services to media companies including quality management, color management, human resources and environmental topics. I wanted to learn about his new dual role and, in particular, hear his thoughts on how the motion picture industry can be more environmentally responsible.
The cloud-based video supply chain company OwnZones is helping studios and post houses around the world respond rapidly to the growing global consumption of content through its remotely compatible cloud-based platform Connect.
The way it’s supposed to work, a cinema should be able to acquire DCI Compliant equipment with the assurance that first release movies would not be withheld for reason of having the wrong gear. With the recent release of its DCI Memorandum Regarding Direct View Displays, it is no longer clear where DCI is heading.
Crazy Rich Asians is one of the summer’s biggest success stories. Shot by cinematographer Vanja Černjul, ASC, HFC (The Perfection, The Deuce, Marco Polo) with VariCam Pure cinema cameras, the film is based on the best-selling novel by Kevin Kwan, and tells the story of an Asian American woman who meets her boyfriend's family, only to find out they are one of the richest families in Singapore. The Warner Bros film was directed by Jon M. Chu (Now You See Me 2, G.I. Joe: Retaliation) and features an all-Asian cast, including Constance Wu, Henry Golding, Ken Jeong, Michelle Yeoh, and many others. It is the first Hollywood studio film to feature Asians in leading roles since director Wayne Wang’s 1993 film, The Joy Luck Club.
Wonder Wheel, from Amazon Studios, reunites Allen with veteran cinematographer Vittorio Storaro, who was behind the camera for Allen’s Café Society, where his cinematography earned the biggest raves from critics reviewing the film. The movie also reunites colorist Anthony Raffaele of Technicolor PostWorks New York and DIT Simone d’Arcangelo.
The ASC Technology Committee has been renamed the ASC Motion Imaging Technology Council. Established in 2003, the committee has helped organize efforts to study and assess subjects ranging from digital cameras and lens optics to motion imaging workflows, advanced color management, virtual production techniques digital archiving and more recently virtual reality.
