Virtual Post put the Snell Alchemist OD standards converter to work on
a challenging low frame rate conversion for ‘Where We Are: The Concert
Film’ shown in cinemas worldwide.
LA Productions' Patrick Hall talks about changes to the new fast-turnaround
ProRes workflow for the BBC’s top-rating drama ‘Moving On’, now shot on
the Blackmagic Production Camera 4K.
Director Peter Chan's first digital production was graded and finished
at PO Group in Hong Kong on their Mistika 4K system backed by the
Mistika Assist Station and SGO SAN.
Cornucopia Films built a new movie DI platform from scratch,
choosing the Mistika system to give the company an edge on
colour grading and compositing for film and broadcast.
‘Lord of the Rings’ and ‘Hobbit’ dialogue editor Ray Beentjes uses iZotope’s
RX 4 audio repair to clean up and neutralise the best performances from
original material the actors deliver on set.
Goldcrest Post has bought two Quantel Pablo Rio 4K colour and
finishing systems and Pablo PA conform and prep software as part
of a new post workflow supporting 4K material and above.
Irish independent production company Screentime ShinAwiL is using Forscene to speed up post-production on the fourth series of the reality
singing competition ‘The Voice of Ireland’.
Encore took on the dailies, conform, colour and supportive VFX for HBO's
four-part miniseries ‘Olive Kitteridge’, which was shot on film requiring
full DI on top of custom post services.
SCRATCH v8.2 and Lab v8.2, now released, increase metadata support
and introduce Live View, allowing DPs and DITs to capture metadata from
live camera feeds and apply live grades.
Quantel showed a Pablo Rio working in realtime at 8K 60p at InterBEE
2014. The new system, incorporating new AJA and NVIDIA hardware,
helps make 8K 60p post more practical.
Deluxe Australia’s post studio, DDP Studios, recently completed upgrades
to their two SGO Mistika systems to prepare for high resolution and high-
frame rate work, including 4K UltraHD.
Light Iron upgraded one of its Pablo Rio finishing systems with extra GPUs
to support an 8K workflow on GE 2 shared storage for the 6K colour
correction on ‘Gone Girl’, all in real time.
Digital Vision has been acquired from Image Systems by its management
team for 6.1 Million SEK to preserve the company’s 26-year heritage and
to fund future investment in R&D.
Spanish thriller ‘La Isla Mínima’, cinematography winner at San Sebastian Festival, was recorded in ARRIRAW to Codex and post produced in 3K
entirely in the SGO Mistika system.
FotoKem developed 35mm and 65mm film finishing pipelines for the
new movie ‘Interstellar’ negative processing to film, digital and video
finishing and distribution.
Development between SGO and Legend3D has resulted in a depth grade
node in the Mistika post system that uses data from the conversion to
interactively design depth in real-time.
Panavision has agreed to acquire post, on-set dailies and DI company
Light Iron. They plan to work together to develop turnkey systems
handling tasks from pre-production through delivery.
Doug Delaney used the Baselight DI theatre at Sony Pictures Colorworks
for VFX reviews to gain a technical relationship with vendors and let
the director and DP see the FX work graded.