On Saturday night at its annual Scientific and Technical Awards Presentation, the Academy of Motion Picture Arts and Sciences honored PIX with a Technical Achievement Award. The award recognized Eric Dachs, founder and CEO; Erik Bielefeldt, director of research and development; Craig Wood, technical director; and Paul McReynolds for the design and development of the industry leading security mechanism for distributing media. Prior to the awards ceremony, Digital Cinema Report spoke exclusively with Bielefeldt and Wood to talk about the company’s continued innovation in the evolving world of content collaboration from film to digital to next-generation data rich requirements.
London-based post-production company Envy, which has six separate facilities and more than 180 edit suites, has standardized operations on Telestream Vantage for mastering and deliverables.
The Fraunhofer Institute for Integrated Circuits IIS presents its new software development kit with optimized functions to code images with the new JPEG XS codec. JPEG XS is suited for use in production environments where high-resolution image data of up to 8k/60p UHD video must be transferred via Ethernet. The coding specialists of Fraunhofer IIS will demonstrate the JPEG XS codec as complete live stream with real-time playback.
The Hollywood Section of the Society of Motion Picture and Television Engineers will review emerging storage and workflow systems for 4K post-production at its monthly meeting September 19 in Hollywood.
Deluxe has launched the Content & Key Manager to replace their existing Cinema Portal platform. The Content & Key Manager has been integrated as a service within Deluxe One – the company's flagship cloud-based platform that unifies each stage of the content supply chain, creating an end-to-end ability to manage assets and requirements from creation to delivery.
Tower 3, a new documentary short from Irish filmmaker and artist Marcus Robinson, commemorates the massive construction project behind the latest addition to New York’s World Trade Center site, an 80-story structure that is now the city’s fifth largest building. Commissioned by Silverstein Properties for ribbon-cutting ceremonies marking the building’s completion, the five-minute film was produced by Robinson with technical and creative assistance from Technicolor PostWorks New York.
[Editor’s Note: Mark Smith is the owner and director of photography for Oh Seven Films, the production company he started in 2001. In this exclusive guest column he talks about the documentaries he's made about the search for Amelia Earhart.]
Over the years, my company has been involved in productions that span the gamut, from creating ads and television programs to documentaries and indie feature films. Though there’s certainly a lot of variety in our work, we focus heavily on documentary projects. For example, for the past 17 years, I’ve been the documentarian for TIGHAR (The International Group for Historic Aircraft Recovery) on an ongoing project to discover what happened to pilot Amelia Earhart — work that has resulted in a couple of Discovery Channel programs.
Donbass, a new movie by Ukrainian writer/director Sergei Loznitsa, is to be shown as a work-in-progress version at the 2018 Cannes Film Festival. Post-production was to a tight timescale – shooting only wrapped in March – and Bucharest facility Digital Cube used a Baselight grading suite to ensure delivery while retaining full creative control over the look.
FotoKem was the facility of choice for providing comprehensive creative and technical services from pre-production through final deliverables on the critically acclaimed Star Wars: The Last Jedi from Disney/Lucasfilm. The facility built technically advanced solutions that supported the creative team through their interplanetary production from dailies to color grade.
With the astounding popularity of the animated feature films from Paris-based Illumination Mac Guff, it would seem the whole world already knows about the secret lives of pets and the villainous plots of Gru and his goggle-eyed minions. But few moviegoers—or even the studio’s own digital artists—would guess the inner workings of the production systems behind the stories.