The Association of Moving Image Archivists has launched the AMIA Diversity and Inclusion Fellowship Program a new initiative designed to expand career opportunities, advance learning objectives and guide professionals from groups that have been traditionally underrepresented in the field of audiovisual archiving and preservation.
Whip Media Group has named Pixelogic as a strategic supply chain partner. The companies say the partnership will provide media companies better transparency into their content workflows to maximize revenues, reduce costs, increase efficiencies, and get complete visibility and control over where and how television and movie titles are being distributed, both on a global scale and in real-time.
The Hollywood Section of the Society of Motion Picture and Television Engineers will explore the evolution of video compression, and new ideas for keeping files small, while preserving quality and creative intent, at its monthly meeting, scheduled for March 26 at the Academy of Motion Picture Arts and Sciences.
Ymagis Group has completed the sale of its Éclair Classics subsidiary to L’Image Retrouvée, a subsidiary of the Italian company L’Immagine Ritrovata. The company emphasized that this agreement has no impact on the rest of the Éclair business.
The Norwegian Film Institute has selected Nagra’s media asset management platform DVnor Organizer for secure storage and one-click distribution of its films to more than 170 film festivals worldwide. The system will enable the NFI to receive, store and distribute new cinema titles in high-quality from all the major Norwegian film producers and production companies, as well as store more than 300 catalogue titles. It will also provide subtitling packages in different languages.
CAN Film is a boutique post-production and film company based in the heart of Gothenburg, Sweden. Clas Hakeröd and Nikolai Waldman, two highly experienced and trusted names within the industry, started the company in 2015. For the past 20 years they have been producing and post-producing commercials, features, corporate films, documentaries and TV series, like The girl who played with fire, Olympic Games, Saltön, Ettor & nollor, Americas Cup, Uppdrag Granskning, Volvo, IKEA and many more. Recently, Waldman branched out to start the company DejaSoft and develop the editing software tool DejaEdit. Digital Cinema Report spoke with him about how DejaEdit came to be.
A major pain point for companies using content supply chain tools in the cloud has been having to download an Interoperable Master Format package locally and re-upload it in order to actually deliver it to a platform. Here’s an all-too-common scenario: you’ve already ingested your content into the cloud, made all the required localizations, and performed final quality control procedures, but when it’s time to deliver your content, it could take you hours upon hours to download and re-upload it to the platform.
Software as a service provider Signiant is revamping its sales organization to support the next phase of growth and an increasingly sophisticated customer engagement model.
BAFTA and Emmy award-winning visual effects and animation house Jellyfish Pictures is using Pixit Media’s PixStor’s new secure container services to meet the highest security accreditation standards, while supporting collaborative workflows across its multiple sites.
At this year’s Association of Moving Image Archivists annual conference in Baltimore, four awards will be presented by the organization to individuals and organizations that have demonstrated exceptional work in the areas of preservation. The ceremony will take place on November 14 at the Parkway Theatre in Baltimore, where the convention runs from November 13-16.