Digital Domain Holdings Limited, the parent company of Digital Domain 3.0, has entered into an unprecedented ten-year agreement with TNT Production Limited to produce 3D virtual performance holograms of Miss Teresa Teng for concerts, movies and all manner of media.
Digital Domain Holdings Limited has named Daniel Seah executive director and CEO. Seah had been serving as CEO of the company’s visual effects division Digital Domain 3.0.
Visual effects studio Atomic Fiction has opened a facility in Montreal.
Post-production and visual effects company Encore has appointed Jennifer Tellefsen as vice president of business development, VFX for Encore offices worldwide. Having served as vice president of business development, post at the Hollywood location since 2009, Tellefsen helped Encore complete its transition to file-based workflows and will now focus on piloting the company's thriving visual effects department under senior vice president, VFX, Tom Kendall.
Pakistan post house Darkroom Asia has won a major contract with ARY Films as a strategic partner in providing post-production and VFX-related services. Darkroom Asia CEO Salman Hasan credits the company’s new SGO Mistika 4K system with sealing the deal. The first project was the feature film Main Hoon Shahid Afridi, which some say marks the rebirth of the Pakistan film industry.
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.