DigitalFilm Tree uses DaVinci Resolve for remote colour correction within
their post workflow, which connects users via cloud storage and integrates
their file-based workflows into one hub.
Colorfront Transkoder now supports Dolby's object-based Atmos Digital
audio format and can be used to create Dolby Atmos DCPs at up to ten
Pablo Rio 8K will be the basis of Sony PCL’s new 8K post pipeline when
the company launches one of the world’s first commercial 8K production
services in August 2015.
CinePostproduction combines Aspera On Demand with their SHARC distribution
platform for secure high-speed delivery of DCPs directly to theatres across Europe.
ArsenalCreative, founded by Mark Leiss of ArsenalFX, has launched
in LA following their first project, an integrated live action/CG Broadway
musical-style spot for Amazon Prime.
Deadline keeps DK Studios’ render farm running smoothly, rendering
jobs in 3ds Max, V-Ray, After Effects and Fusion, even as the workload
approaches one million frames per month.
Paul Harrison, colourist at Finish post in London, talks about the evolution
of colour grading in the past 20 years, from telecine to the fast, configurable
systems and control panels now in use.
NAB Quantel’s new software for the Pablo Rio colour and finishing system
adds OFX plugin support, improved EXR and alpha channel support and
realtime working and playback at 8K 60p.
MPC is expanding its US remote grading service with a new
partnership with The Work, a production and editorial studio
Marquise TORNADO fast transcoding engine automates multiple renders
of high-resolution content for delivery to digital cinema and broadcast
content distributors and OTT vendors.
THAT Studio is a growing filmmaker’s resource, started by a group
of post artists. From a neat collection of FX and tutorials, they plan
to share their expertise with filmmakers everywhere.
Long-form post house Silverglade specialises in working entirely in native
HD. By adopting the MediaCentral Platform they run a faster pipeline and
can work with clients remotely.
Colorfront has demonstrated recent developments in its on-set dailies
and transcoding systems, which currently support UHD HDR productions,
during the Cine Gear Expo 2015.
FilmLight integrates its grading and finishing tools across dailies,
editorial and VFX using the renderless metadata-based Baselight
Linked Grade and resulting in a colour-managed pipeline.
Sweden’s VFX studio Fido created retro-style looks and 400 effects
shots for comic thriller ‘Kung Fury’, working with Autodesk 3D software
and their in-house production tracking tool, ftrack.
At NAB, Mistika 8.5 will display with new 4K, Ultra HD, HFR and high
dynamic range functionality, hardware changes for performance, and
more format and colour space support.
FotoKem supported production for new TV series ‘Wayward Pines’,
handling production and post simultaneously at several locations with
a colour-accurate, collaborative post pipeline.
Cinedeck’s File-Based Insert Editing allows timely insert editing in
NLE workflows, avoiding re-rendering and re-encoding entire final
program content to a digital delivery file.