Quantel launched LiveTouch sports highlighting system at IBC2014,
integrating editing with highlights. sQ Fileflow 2 file handling engine
launched and Pablo Rio has UHD/4K updates.
Colorfront demonstrated Transkoder 2014 at IBC2014 on 4K/60p broadcast
video from Sony F55 and RED cameras, and processing and outputting
real-time 8K/60p playback from RAW formats.
The Mistika DI and finishing system and the Mamba FX 2.0 compositor are
being demonstrated at IBC2014, including the new Spatial Isolation tools for
control over multi-layer EXR image files.
Cutting Edge’s new TV Unit has delivered a colour grade, online and sound
package for the unabashed Eyeworks Australia documentary series ‘What
Really Happens in Bali’.
Mikros Image purchased a company-wide license for ASSIMILATE
SCRATCH and SCRATCH Lab to standardise all facilities on one workflow
across production and post from dailies to final output.
According to Quantel, 4K formats are gaining hold in Japan for movies, TV and
large format displays, several post houses are using Quantel and Pablo Rio to
handle 4K post production.
Marquise KeyMaster supplies post facilities, studios and distributors with
cloud-based tools for managing and automating KDM duplication, delivery
and control of processing.
Encore’s colourist Laura Jans-Fazio completed the grade for ‘House
of Cards’ in uncompressed 4K on the Baselight TWO, working remotely
via PIX with the DP and director David Fincher.
London’s Goldcrest Post continues to expand its post services with three
new digital intermediate theatrical grading suites equipped with DaVinci
Resolve 11 systems.
die paten production and post facility in Berlin used a new Quantel Pablo Rio
system to colour and finish a demanding HD corporate image film for Daimler
– all in record time.
Rising Sun Pictures in Adelaide created VFX and digital environments
for a new TV mini series about five nurses from Australia and NZ who
served with the Allied forces during World War I.
FotoKem completed the DI and post services for independent film ‘Palo Alto’.
FotoKem’s colourist Alastor Arnold fine-tuned the grade with director Gia
Coppola and DP Autumn Durald.
The Look post facility has launched a remote grading service out of
their studio in London, direct to production companies from three new
DaVinci Resolve DI suites.
The production of TV series 'Cosmos: A Spacetime Odyssey' employed
Joust workflow software to help control the creation of visual effects, view
dailies and allow on-demand editorial pulls.
Digital artist Marty Pepper talks about the evolution of Autodesk’s Flame,
and the changing nature of his work as a post production artist and colourist
at KOJO post facility in Adelaide.
EC3 dailies colourist Adrian DeLude and DP Tom Sigel produced the near
set dailies colour grade on ‘X-Men: Days of Future Past’, using DaVinci
Resolve to develop distinctive superhero looks.
Origin Digital Studios is a new collective of VFX artists, producers and
supervisors in Burbank with long experience, servicing TV, commercial,
feature film and special venue projects.
The Vanity post studio in Toronto, specialising in VFX, is extending its finishing
services with a new FilmLight Baselight TWO colour grading suite and Blackboard
2 control surface.