Troublemaker Studios used Avid Everywhere on the new 3D movie ‘Sin
City: A Dame To Kill For’, basing the workflow on the MediaCentral Platform
and Avid’s sound and editing software.
Avid Media Composer | Software is now updated to version 8.1 with
new tools and improvements to the timeline to speed up editing and
working with variations and audio.
The team at Creative Post developed the finishing workflow for IMAX
documentary ‘Wonders of the Arctic 3D’, using a Mistika system for online,
colour correction and titling.
Dirty Looks Baselight colour grading studio in London handled the finish of
the film ‘Under the Skin’, working alongside their partner at the same location,
One of Us, who completed VFX.
Grass Valley EDIUS v7.3 Pro and Elite now incorporates several updates
for editors in I/O, data exchange and audio, and has new capabilities for
working with Sony and Panasonic cameras.
At NAB 2014 FilmLight will be focusing on colour management as part of
collaborative workflows, on set or in post, with four partners – Codex, Dolby,
The Foundry and Sony.
Square Box Systems’ CatDV now supports content creation across many
industries with tools for searching, metadata and review, and integrating
into editorial workflows from ingest to archive.
The Diamond Bros. produced a documentary series for FILA sports shoes,
travelling between 10 cities with RED EPIC cameras and completing the edit
with EditShare Field 2 shared storage.
Post facility FORWARD LLC in Nashville has acquired two new Quantel
Pablo Rio colour and finishing systems for music videos, commercial
and broadcast work.
Lady Antebellum’s ‘Compass’ music video combines stills, multiple video formats
and even stop motion light writing. Colourist Gavin Fisher used DaVinci Resolve
10 to achieve a vibrant grade.
To complete a recent TV campaign on time, South African studio Embassy
ran remote approval sessions on cineSync and Frankie review software between
Johannesburg and Cape Town.
Production company Start S.r.l. is adding the Quantel Pablo Rio 2KO colour and
finishing system to its HD and 2K post workflow for television and corporate
NAB The Foundry’s NUKE STUDIO incorporates tools for VFX, editorial and
finishing into one application for independent artists as well as teams working
on fast turnaround projects.
Producer and post supervisor Peter Millington talks about his post workflow
company Blue Post, and the recent and upcoming changes he sees in
broadcast and film production.
NAB Red Giant is rebuilding Magic Bullet Looks treatments for video,
PluralEyes automated audio/video analysis and sync tool, and Trapcode
Mir motion graphics plug-in for After Effects.
EditShare Lightworks 11.5 non-linear editing software now works
across both Linux and Windows, and recognises AJA ioXT or Kona
cards on Windows.
The Blackmagic Design MultiDock docking device now has Thunderbolt 2
connectivity for high enough transfer speeds to support editing and colour
correction directly from source disks.
Imagineer and CoreMelt have developed the TrackX plug-in for FCP X
editors, powered by mocha to precisely track camera motion, objects
and people for VFX and screen composites.