One Of Us visual effects studio in London has announced that Matthew
Bristowe has joined the team as Head of Production and Operations.
Premier League Football Club Arsenal in London is using services from
cloud-based video platform Aframe, to improve workflows and processes
on its on-demand online video portal.
Bandito Brothers studio in LA has purchased Avid’s new ISIS | 1000
shared storage, scaled for smaller teams and supporting efficient
project sharing across diverse tools and staff.
Freakworks rebuilt and equipped their post facility to handle projects
at 4K resolution from start to finish, investing in five Teranex Express
converters for 4K to HD SDI down-conversions.
ftrack project management and tracking software now has a dedicated
Android and iOS app, ftrack Go, to support project access, edits and
collaboration from any location.
Gramercy Park Studios in London has tackled the issue of shrinking
timeframes and budgets for TV commercials with GPS Live Edit, a new
workflow that brings editorial on-set, close to video capture.
As a hardware and software cost, Redshift biased rendering is the fastest,
most efficient render option for Outpost VFX, not just economically but also
in terms of their biggest cost, artist hours.
Beyond Productions handles post for new VR content in the TV series
‘MythBusters’, using Resolve to grade, edit, bring in VFX and control
the VR experience within a 32-bit environment.
Brainstorm’s new Tracking Exporter for After Effects works with The
Foundry’s CameraTracker plug-in to generate videos with tracking
data for AR applications inside Brainstorm’s virtual sets.
The new version of Root6 ContentAgent adds CardAgent, an interface
for managing card-based media. Root 6 also now supports fast file transfer,
watermarking and UHD format workflows.
Rotor Film and Storyline establish colour consistency between project
stages, and between VFX and grading pipelines, based on FilmLight’s
set-to-screen, renderless BLG workflow.
After Cognition invested in six Mistika DI and finishing systems
to launch their new studio, their colourist Mike Eaves and team
used them to grade and finish independent film ‘Opening Night’.
Togen Laboratory in Tokyo, a film lab with 60 years of history, has
installed a Blackmagic Cintel Film Scanner to handle real-time, Ultra
HD digital film scanning and keycode telecine.
IBC Marquise Technologies showed updated systems to create,
transcode and control the quality of 4K masters for digital cinema,
broadcasters and OTT services efficiently.
Moonbot Studios’ hybrid render farm combining local and on-demand
nodes on the Google Cloud Platform, employs an Avere vFXT Edge filer
for low-latency access to active scene data.
IBC Colorfront previewed 2016 versions of its dailies and transcoding
software to support upcoming UHD HDR workflows, and camera, colour,
editorial and deliverables formats.
Colourist John Crowley and DP Richard Rutkowski developed special
looks for ‘The Americans’, by exporting ARRI Look files from Baselight
to use on set and align all looks from cameras to post.
IBC SpectraCal HDR-tuned CalMAN Version 5.6 software program and
HDR-certified C6 Color Meter calibrate displays and certify that
equipment is HDR compliant.