Kicking off the 2014 season of Canada’s Triple Crown of Thoroughbred Racing, Toronto’s Woodbine Racetrack hosted The Queen’s Plate Stakes last month. The event is the longest continuously run stakes race in North America, and this year marked its 155th anniversary. To ensure not a moment of horseracing action was missed, the production of the event included use of For-A’s FT-One 4K variable frame rate camera, used in conjunction with For-A’s ZE-One 4K extraction system.
The Room, the boutique finishing facility located within Technicolor-PostWorks, New York, recently completed two months of post-production finishing on The Giver, the new film from director Phillip Noyce and The Weinstein Company. In a project involving numerous creative and technical challenges, the facility handled editorial conforming and color grading. The latter included applying the finishing touch to an onscreen world that undergoes a gradual transition from black & white to color.
Based on Peter Rees’ book The Other ANZACs, ANZAC Girls tells the true story of five military nurses from Australia and New Zealand who served with Allied forces during World War I. Witnessing the horrors of war, the women experienced severe hardships while tending to the wounded and formed bonds of friendship that would last a lifetime. As series producer Lisa Scott (who produced the series with Felicity Packard) explains, the series “offers unique insight by showing how the war affected people, other than soldiers on the line.” The first episode premiered on Australian TV earlier this month and got exceptional ratings around Australia and much critical acclaim.
Red Giant has released Primatte Keyer 5.1, an update that adds support for Adobe Premiere Pro, Apple Final Cut Pro X and Motion. Using the same keying technology from films such as Lord of the Rings, Harry Potter and Spider-Man, Primatte Keyer lets users easily remove a blue- or green-screen background, often with the touch of a button.
Luma Pictures has standardized render management and data processing across studios with Thinkbox Software’s Deadline. Having purchased more than 400 seats of Deadline, Luma was able to easily integrate the software into both in-house and off-the-shelf tools within its Linux-based pipeline.
Post-production and visual effects company Encore today announced the promotions of Jay Bodnar to senior vice president, engineering; Tom Kendall to senior vice president, VFX; and Morgan Strauss to senior vice president, operations. In new positions designed to spearhead Encore’s next phase of growth, the executive trio remains in the company’s Los Angeles headquarters, reporting to Encore executive vice president Bill Romeo.
Independent visual effects company Milk has standardized on Shotgun for production management and tracking. Based in London, the boutique studio that recently celebrated its one-year anniversary focuses on delivering high end VFX for television and film.
Today, Chaos Group introduces Chaos Group Laboratories, a new collaborative think tank to explore advances in rendering technology. Located in Los Angeles’ hub of design, visual effects and technology, Chaos Group Labs will serve as a place where artists, industry leaders and academic researchers are invited to contribute to development discussions and help solve key computer graphics challenges.
Tyrant, FX’s new drama produced by Fox 21, tells the story of an unassuming American family drawn into the inner workings of a turbulent Middle Eastern nation, a fictional country Encore VFX helped realize through exotic set extensions, extravagant computer-generated palaces and city skylines, subtle environmental work and crowd duplication. On site in Morocco, where the pilot was shot last fall, Encore VFX supervisor Doug Ludwig worked closely with the show’s production designer and art director to scout locations that conveyed the appropriate level of opulence, which were then further enhanced with VFX.
Kira Karlstrom has been appointed business development executive of Arsenal FX, the visual effects post house specializing in high-end commercial finishing. Previously, she was a manager in the Live Events Division at Marvel Entertainment.