Doremi has upgraded its software-mastering suite, CineAsset, to incorporate all of Doremi’s essential workflow tools including CineExport and CinePlayer into one suite.
Production & Post-Production
The Short Game about competitive junior golfers around the world was shot with Canon’s C300 digital cinema camera.
Hula Post Production provided 3D editorial gear and space for Metallica: Through the Never, the new feature-length 3D concert film released worldwide this month by Picturehouse.
Technicolor-PostWorks New York provided post-production services to five films that screened at this month’s Toronto International Film Festival. They included three narrative films, John Turturro’s Fading Gigolo, David Frankel’s One Chance, and Ned Benson’s The Disappearance of Eleanor Rigby: Him and Her, as well as Alex Gibney’s documentary The Armstrong Lie, and The Weinstein Company’s concert film 12.12.12: The Concert for Sandy Relief.
San Francisco is one of the most beautiful cities to shoot – hills, architectural variety, Mother Nature’s beauty – and the inevitable fog. That fog was something that could have hampered photographer Alex Pitt’s recent time-lapse shoot.
Director of photography Jon Nelson, owner of Production Hero in Orange County, California, recently acquired a new Fujinon PL 19-90 Cabrio (Model ZK4.7x19) Premier PL Mount cinema-style zoom lens
Createasphere has announced the participating speakers for its Post Production Master Class, taking place October 7 at the Westin New York Grand Central.
PPMC offers an afternoon of real-world discussions about the business of post-production, where attendees will have the opportunity to meet with and have their questions answered by working industry professionals. The New York PPMC line-up includes:
Randi Altman, Editor-in-Chief, postPerspective
Jesse Averna, Editor, Director, The School of Visual Arts' Continuing Education
“However, because the Schneider Cine-Xenar III’s are small and light, we felt like we could still shoot and move, shoot and move, shoot and move without slowing down. This was key.”
It was a challenging assignment even for a veteran shooter of car commercials. A major ad agency for a leading automaker asked cinematographer Dana Christiaansen if he could shoot three full commercials in 48 hours on the streets of Atlanta. The spots would include nighttime car-to-car photography of a moving vehicle, close-ups of a celebrity spokesman at the wheel and scripted vignettes. Christiaansen’s solution was to rely on the Canon EOS C300 digital cinema camera.
Submissions are now being accepted online at AFI.com until October 25 for TV and October 31 for film for the American Film Institute’s almanac of the year’s most outstanding achievements in film and television.