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Scandinavian Media Giant Nordic Film Chooses ioGates Cloud-Based Video Platform for Secure Media Workflow Posted: 26/02/2020
Scandinavian Media Giant Nordic Film Chooses ioGates Cloud-Based Video Platform for Secure Media Workflow

ioGates, provider of cloud-based tools for sharing and distributing professional media files, today announced that Nordic Film is using its professional-grade cloud-based video platform and easy-to-use web interface to share media and collaborate securely across departments and with external partners. One of Scandinavia's largest private media organizations, Nordic Film has implemented the ioGates video platform across multiple sites and in departments ranging from production to sales and distribution to guarantee a highly secure workflow for handling high-value media assets.

 

 

 

Tags: ioGates | Cloud-Based Video Platform | Nordic Film | Digital Rights Management
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Composer Steve Kilpatrick Makes AMS Neve The Centrepiece Of His Manchester Studio Posted: 11/02/2020
Composer Steve Kilpatrick Makes AMS Neve The Centrepiece Of His Manchester Studio

Composer and producer Steve Kilpatrick has made an AMS Neve 8816 16-channel summing mixer a central part of his new studio in Manchester, where he provides bespoke music for film, TV and radio projects.

Best known for his compositions for the Resident Evil 6 and Racoon City trailers, as well as the award-winning BBC Radio 4 dramas Amazing Grace and Cottonopolis, Kilpatrick’s music has been broadcast around the globe, including on the BBC, Channel 4, ITV, MTV and VH-1. His opera Flight Paths was commissioned as part of the 2012 London Olympics celebrations and he also composed the music for the feature film A Coven of Evil.

Kilpatrick, who owns Soundfrackery Productions, says incorporating a hand-built and hand-wired Neve 8816 into his new studio was a ‘no brainer’ from the moment he started planning it.

“I wanted a bit of kit with mojo, which is what attracted me to the unit in the first place,” he explains. “But what made the 8816 stand out amongst the other summing mixers was that it had monitor control and headphone monitoring covered, without my having to purchase further separate units.”

Once he had the Neve 8816 in his set up, all Kilpatrick had to do was add a Neve 8804 fader pack that allows channel and main audio levels to be controlled by faders. Everything he records now passes through the units, which he says have become an essential part of his workflow.

 

Tags: AMS Neve | Steve Kilpatrick | Neve 8816 Summing Mixer | Film Composer | Resident Evil 6
Submitted by White Noise Public Relations Ltd
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X2X Media Group Provides Award-Winning Services for Oscar Nominated Films Posted: 11/02/2020
X2X Media Group Provides Award-Winning Services for Oscar Nominated Films

CODEX and PIX, under the X2X Media Group brand, provided their award-winning services for a number of Oscar nominated films. Many of the films utilized PIX’s award-winning production solutions as well as CODEX’s high-performance recording and workflow tools.

Tags: CODEX | PIX | X2X Media Group | Oscar Nominated Films
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Sundance Nominee This is Not a Burial, Its a Resurrection Edited in DaVinci Resolve Posted: 07/02/2020
Sundance Nominee This is Not a Burial, Its a Resurrection Edited in DaVinci Resolve

Blackmagic Design today announced that DaVinci Resolve Studio was used to edit, grade and finish Lemohang Jeremiah Mosese's fiction feature debut, “This Is Not a Burial, It's a Resurrection.”

The film, which has its international premiere at Sundance Film Festival, was nominated for the Grand Jury Prize in the World Cinema Dramatic competition. Global sales rights have now been picked up by Memento Film's cinema arthouse label, Artscope.

"This project was very personal to me, as it drew on real events from my grandmother’s life in southern Africa for inspiration," explains Lemohang, who directed, edited and delivered the feature in just six months.

Normally based in Berlin, he traveled to his birth country of Lesotho to complete production, before finalizing the edit at Uhuru Productions in Cape Town. The grade was then delivered by colorist Nic Apostoli, at nearby Comfort and Fame Studios.

“Using Lesotho as a location was wonderful, but it did bring its own set of challenges. Largely made up of locals, most of the cast had never been in front of a camera, and there was no electricity or other infrastructure to speak of," said Lemohang.

To get around this, Lemohang and his assistant acquired a generator for power and set up a temporary edit suite on location using quad core Mac Pros. It was here that they transcoded all of the rushes, and assembled a rough cut.

“With no electricity or working infrastructure to speak of, we really put DaVinci Resolve through its paces. It's testament to the software's overall stability that we didn't experience any performance related issues while on set. I also like how modern and fresh the UI is; it actually makes the process of editing fun.

"Going into post production, I had so many ideas, and Resolve made the job of pulling together the cut, so much simpler. I was then able to shape the story once back in Cape Town, using the NLE and retiming tools in Resolve to finesse the story’s narrative, building in tension subtly.

"A few years ago, I'd actually stopped editing altogether," Lemohang concludes. "My previous NLE had become too difficult to use, and very prone to crashing. When I tried DaVinci Resolve for the first time, I rediscovered my passion and enthusiasm for editing. It's a whole other world! Being able to complete post production using a single piece of software makes so much more sense to me creatively. I haven't looked back since."

Tags: Blackmagic Design | Blackmagic | Sundance | Film Festival | DaVinci Resolve | Editing | NLE | Post Production
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Dinner In America Rides Through Suburbia With DPA Posted: 06/02/2020
Dinner In America Rides Through Suburbia With DPA

Indie film Dinner in America takes viewers

on a precarious journey with a punk rocker and his fan-turned-love interest as

they travel through middle America. Written and directed by Adam Rehmeier, the

film was shot in many different suburban locations, which often presented unique

audio challenges for the sound team. Rehmeier appointed Daniel S. McCoy, CAS, owner

of production sound company, ToneMesa, to provide his trademark sonic fidelity

for the project. To capture pristine audio despite sometimes noisy locations,

McCoy turned to his trusted 4061 Miniature Omnidirectional, 4017B Shotgun Microphone

and 4018B Supercardioid Microphone, along with the newly launched 6061 CORE

Subminiature Mics from DPA Microphones.

 

 

 

Tags: DPA Microphones | Indie film | Subminiature
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FilmLight teams up with ARRI in Paris creative community Posted: 24/01/2020
FilmLight teams up with ARRI in Paris creative community

Following the appointment of Matthieu Straub as the company’s technical and operational consultant to France and the Benelux countries in the summer of 2019, FilmLight is delighted to announce that it has now established a permanent presence in Paris. By sharing premises with ARRI France, FilmLight is developing a strong hub for creative and technical knowledge and events.

The hub will host the first of FilmLight’s Colour Day workshops in 2020, on 28 January. One of the advantages of sharing the centre with ARRI is that it underlines the seamless workflows from camera to finish, using the BLG format for render-free viewing and creativity. The BLG grading metadata is stored in the ARRIRAW and QuickTime headers, ensuring the content and its look are permanently linked.

The Paris Colour Day on 28 January, aimed at creatives and technicians in production and post production, will see FilmLight’s workflow specialists, Straub and Thomas Eberschveiler unveil new FilmLight tools. Attendees will also hear from guest colourist Stéphane Azouze about his collaboration with directors Anastasia Mikova and Yann Arthus-Bertrand on the recent award-winning documentary ‘Woman’. Finally, colour scientist Florine Bel will share her image expertise and discuss her work developing film aesthetics, colour spaces and conversions.

The shared space has already hosted successful events, including a workshop day for DITs. Led by Straub, with guest speakers from Netflix and from post house Mikros, the group discussed the latest developments in colour space management and workflows. ARRI’s presence allowed the discussion to include ARRI Looks and how they can be incorporated into FilmLight BLG post production. In the demonstration area, they featured an ARRI ALEXA camera feeding Prelight and Daylight software, allowing the delegates to experiment with look development and make comparisons between standard and high dynamic range colour spaces.

Explaining the importance of bringing together creative artists and technicians, FilmLight’s Matthieu Straub said “My background is as a digital image technician, and I know how directors and cinematographers are increasingly relying on DITs to find technical solutions to their demanding creative requirements. “Our intention is to use our demonstration and meeting space here on the Rue René Boulanger to be a place where we can encourage the sharing of knowledge and experiences, to help the French cinema industry achieve ever greater things.”

Tags: FilmLight | ARRI | Paris | Colour Day | Matthieu Straub | workshop | Thomas Eberschveiler | Stéphane Azouze | colourist | colour science | BLG format | Baselight | Prelight | Daylight | MKM Marcomms | MKM Marketing Communications
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Baselight helps to polish Uncut Gems Posted: 14/01/2020
Baselight helps to polish Uncut Gems

Uncut Gems is the latest movie from directing duo, the Safdie Brothers. The movie tells the story of a charismatic New York City jeweller and gambler (Adam Sandler), and is set in the diamond industry of New York. So it is appropriate that the colour palette was created at The Mill NY by colourist and director of DI, Damien Van Der Cruyssen.

Van Der Cruyssen collaborated closely with cinematographer Darius Khondji, as well as the Safdie Brothers, all of whom he had worked with previously on the Jay-Z video for Mercy Me. “At that point I got a good understanding of their relationships and how I could fit into the equation.”

Visually, Uncut Gems has a classic New York City look, but with a modern twist. “The Diamond District hasn’t changed much over the last forty years, so it automatically had that 70’s ‘noir’ feel,” commented Van Der Cruyssen. “But we wanted to break away from the steely, gritty New York to a more real-life aesthetic – less forced and contrived.”

Around half of the movie was shot on 35mm film to give it a more natural look, which meant Van Der Cruyssen had to treat the digital footage to match. “Marrying the film footage with the digital scenes was quite challenging,” he explained. “So I asked the crew to shoot some grain elements that could be overlaid in Baselight and adjusted per scene.”

 

Tags: FilmLight | Baselight | Uncut Gems | Safdie Brothers | Adam Sandler | The Mill NY | colourist | Damien van der Cruyssen | Darius Khondji | Diamond District | New York City | BLG metadata workflow | colour grading | Netflix | MKM Marcomms | MKM Marketing Communications
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Technicolor uses Baselight to create light and shade in His Dark Materials Posted: 18/12/2019
Technicolor uses Baselight to create light and shade in His Dark Materials

One of the most awaited drama series of 2019, His Dark Materials, produced by Bad Wolf for BBC and HBO, was finished at Technicolor in London. With a story set in a parallel universe that seems like the Britain of a century ago, and with fantastic elements such as giant armoured polar bears and ever-present “daemons” – animal representations of the human soul – the production is a tour de force of visual effects, and therefore somewhat demanding of the colourist, Jean-Clément Soret.

“Over the eight episodes of series one there were four directors and DoPs,” Soret explained. “Justin Brown was DoP for the first two episodes, and I had worked with him a lot in the past on commercials so we had a strong understanding of where we wanted to go. I was really happy to be able to collaborate with him again.

“Justin shot some tests – with the real locations, actors and costumes – in both 35mm and digital,” he continued. “It always surprises me how different film looks! What the tests did was allow us to create a core feel. The decision was also made to add a bit of subtle film grain throughout the episodes. The Technicolor colour science team in LA then created a LUT for Baselight, which gave us that same film feel with the digital footage.”

One of the challenges of the story – based on a trilogy of novels from Philip Pullman – is that each human character has a daemon, and humans are rarely seen on screen without their daemons around them. That meant a large number of VFX shots to insert the CGI daemons. “I found that when it came to the integration of the VFX, contrast and colour was key. The film LUT, together with the control of sharpness and softness from Baselight, was a great help.”

The first series – based on Northern Lights, the opening novel of the trilogy – moves from an Oxford college bathed in warm sunshine to “The North”, Pullman’s name for the Arctic, where the first battles take place. “We may have set the feel in the first episode, but the story develops through different worlds and different eras, so the grade naturally develops,” Soret said.

“With different directors and DoPs across the series, the colourist has to provide the backbone of the look, to create consistency while respecting each cinematographer,” he added. “Baselight allowed me to set the key looks then develop them naturally, freeing me from a constrained palette and allowing us to create a convincing visualisation of this rich and complex story.”

As well as remarkable creative control, the Baselight grading facilities at Technicolor also provided critical support in the workflow, by giving free access to all the raw footage from the series as well as the VFX shots as they developed. The practicalities of creating eight hours of premium drama in a television timescale meant that grading on specific episodes took place when directors and DoPs were available for supervision. That meant that Jean-Clément Soret could be working on three or four episodes at any one time.

The result is an engaging, enthralling drama that looks ravishing and chilling in turn. This first series is broadcast on BBC1 and HBO in November and December, while the second series is already in production.

Tags: FilmLight. Technicolor | Baselight | His Dark Materials | colour grading | Jean-Clément Soret | Justin Brown | Philip Pullman | colour science | creative control | colour consistency | convincing visualisation | MKM Marcomms | MKM Marketing Communications
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Medialease wins best Asset Finance Intermediary at the 2019 Leasing Life awards Posted: 12/12/2019
Medialease wins best Asset Finance Intermediary at the 2019 Leasing Life awards

Medialease has won best ‘Asset Finance Intermediary’ at the Leasing Life 2019 awards, which brings together the most successful and innovative businesses throughout Europe in the leasing industry. 2019 has been a busy year for Medialease and the company was delighted to have been recognised for this award by industry-leading panellists.

The award judges commented that Medialease showed excellent growth and had a highly-targeted asset/industry focus, providing strong value to a very specialised end user. Medialease were also deemed to have very clear empathy and support to its chosen market, which is reflected in its exceptionally-high repeat customer statistics.

Medialease arranges asset funding tailored to the needs of the broadcast, film, television, AV and live events markets. Its relationships with many of its customers go back several years, with broadcasters and post-production companies returning to Medialease at each phase of their business plans to upgrade equipment or improve facilities. With a deep understanding of audio and video-based industries, the company supplies editing, grading and audio equipment for post-production facilities, along with the latest 4K cameras and location playout equipment for the world’s biggest sports and motorsports broadcasters. For further information, please contact us on 01327 872531 or visit www.medialease.com.

Tags: Medialease | awards | asset finance | broadcast | post production | broadcast | film | television | TV | audio | post | AV | events
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Atomos Shogun 7 and Apple ProRes and reg; RAW gives a low budget feature film a cinematic edge Posted: 12/12/2019
Atomos Shogun 7 and Apple ProRes and reg; RAW gives a low budget feature film a cinematic edge

New action comedy, School Fight, uses the Shogun 7 HDR monitor/recorder to give the Sony FS7 a new lease of life

How do you make a full-length feature film, with flawless, cinematic values when your camera budget only stretches to the Sony FS7 cinema cameras already owned by the crew? It’s a conundrum the production team behind new action comedy, School Fight, solved by adding cutting edge recording technology from Atomos and Apple to their arsenal.

School Fight is a low budget, independent feature film, but you’d be forgiven for assuming the investment in the on-screen image was far more high-end. This comes from the crew’s unwavering commitment to achieving the highest possible production values by squeezing everything they could out of the camera equipment they had available and a minimal budget.

The concept for the film was the brainchild of seasoned stunt professional Damien Walters, so it’s no surprise that action sequences, fight scenes and all manner of carefully choreographed carnage is all featured heavily. He joined forces with producer Joby Stephens to bring this vision to life in full cinematic glory.

 

Tags: Atomos | School Fight | Sony FS7 | Film | Canon | Shogun 7 HDR
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Fusion Studio Used to Create Animated Feature, Latte and The Magic Waterstone Posted: 11/12/2019
Fusion Studio Used to Create Animated Feature, Latte and The Magic Waterstone

Blackmagic Design today announced that Grid VFX relied on Fusion Studio throughout its in house compositing pipeline to deliver newly released children’s animated feature, Latte & The Magic Waterstone.

Directed by Regina Welker, the team’s latest project ‘Latte & The Magic Waterstone’ involved the completion of more than 1,200 visual effects shots, including the complex compositing of background and foreground plates and CG render layers for 3D assets, lighting, procedural effects, and more.

“Latte was a huge project for us. It’s a feature animation with a limited budget, so we knew we had to work as efficiently as possible,” begins compositing supervisor at Grid, Laurens Bekaert.

“Fusion’s GPU accelerated render engine was amazing at being able to handle geometry and 3D space compared to alternative compositors. We could add smoke and particles behind our characters and see a good representation of how they would look in 3D instantly, without needing to re render.”

Tags: Blackmagic | Blackmagic Design | BMD | Fusion | Fusion Studio | VFX | Compositing | Post Production | Filmmaking | Animation
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NUGEN Delivers Deeper Workflow Control for Producer Mixer Alvin Wee Posted: 20/11/2019
NUGEN Delivers Deeper Workflow Control for Producer Mixer Alvin Wee

For as long as he could remember, Producer/mixer Alvin Wee loved music and film; and he was fortunate enough to cut his teeth working with composers and record producers in Los Angeles on film projects such as Kung Fu PandaKingsman and Eddie the Eagle. Having such a strong background in the industry, Wee takes pride in knowing that when someone hands a project off to him, it will be done correctly, and well. In order to achieve those results, Wee relies on NUGEN Audio’s Producer bundle and Halo Upmix solutions.

 

Wee’s introduction to NUGEN began as it often does, by word of mouth. “I was talking with industry friends and colleagues. I mentioned that I was looking for a specific product for a project I was working on, and one of them recommended NUGEN,” he says. “Then, I was at a GRAMMY® party and an engineer who is a monster in the business told me that NUGEN’s meters are incredible, so I decided to check them out. I started using the NUGEN plug-ins and, right off the bat, they did exactly what I needed. So, I just kept using them.”

 

Ideally suited for both mixing and mastering situations, NUGEN’s Producer software provides Wee with a collection of highly flexible award-winning cross-platform plug-ins designed to increase the quality and efficiency of his productions. “The Producer software has been incredibly useful for me,” he adds. “I love the Stereoizer; it’s my go to plug-in that I use on all my mixes and checks. It allows me to control all the low-end and make sure that a recording doesn’t get too wobbly or crazy. I can even make the high-end feel wider and more exciting. It works really well and is very intuitive.The Visualizer tool included in the bundle is also excellent as its meters are tremendous in helping me see what I’m doing.”

 

 

Tags: NUGEN Audio | audio-plug-ins | software | film | music | post-production | Alvin Wee | Producer Bundle | Halo UpMix
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Pocket Cinema Camera 6K Shoots Rare Show Content for Mumford and amp; Sons Posted: 15/11/2019
Pocket Cinema Camera 6K Shoots Rare Show Content for Mumford and amp; Sons

Blackmagic Design today announced that award winning live director, Steve Price, used the Blackmagic Pocket Cinema Camera 6K to create a cinematic, slow motion backdrop for Mumford & Sons’ recent appearance at the iHeart Radio music festival in Las Vegas.

Although the rise of LED technology has seen screens become an essential creative element of concert and festival productions, some artists, including the British indie folk band, prefer the focus to be on the live performance, with some clever staging and lighting to help lead the atmosphere.

With two weeks to go till the band were due to headline the festival, where the stage was almost entirely built from LEDs, a new approach was critical. “Other acts on the bill included Miley Cyrus, Alicia Keys, Def Leppard and Chance the Rapper, so it was important to stand out visually and create a unique identity for the set given the diverse lineup,” begins Steve.

“We decided to keep things simple with a classically beautiful ‘analogue’ aesthetic, with some slow motion, based around nature and people,” he reveals. “Time was tight as we were also in the midst of a US tour, and I needed to get back to the UK to pick up kit.

“I needed a camera that was capable of 120fps, that also wasn’t too bulky for a one-man shoot. That brought me to the Blackmagic Pocket Cinema Camera 6K which allowed me to travel as light as possible, while still being able to produce the stunning image that I like in Blackmagic’s larger cameras.”

Tags: Blackmagic Design | Blackmagic | Pocket 6K | BMPCC6K | Filmmaking | Mumford & Sons | Show Content
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[FUTURE OF FILM] SUMMIT ANNOUNCES BRAND CREATE PITCH Posted: 07/11/2019
[FUTURE OF FILM] SUMMIT ANNOUNCES BRAND CREATE PITCH

[Future of Film] Summit 2019 has announced today Brand / Create Pitch. The first ever [Future of Film] Brand/Create Pitch is a unique opportunity for filmmakers and storytellers to pitch their story idea (across film and any medium) to a panel of leading brand-funding experts who will provide immediate live feedback.

Brand / Create Pitch is part of [Future of FIlm] Summit’s wider focus to empower storytellers to unlock the opportunities of brand funded filmmaking and will take place during the Summit at BFI Southbank on 26th November 2019.

As well as the opportunity to hone their project with immediate expert feedback, the winning team will have the unique opportunity to take their project to the next level through exclusive 1-2-1 development and brand-funding mentoring with Ad Age’s Production Company of the Year, UNIT9.

The winner will also receive a year's subscription to Adobe Creative Cloud All Apps (worth £600) and all entrants shortlisted for the Pitch will also receive a complimentary ticket to the Summit (worth £179).

Tags: Future of Film Summit | Film Festival
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Chimney Uses DaVinci Resolve Studio for Real-Time Collaboration on The Dead Dont Die Posted: 07/11/2019
Chimney Uses DaVinci Resolve Studio for Real-Time Collaboration on The Dead Dont Die

Blackmagic Design today announced that Chimney relied on DaVinci Resolve Studio to collaborate in real time across its New York, NY, and Gothenburg, Sweden, locations while delivering visual effects (VFX) for the hit zombie movie “The Dead Don’t Die.” The international post production company also used Fusion Studio for select VFX work on the film.

“The Dead Don’t Die” follows the peaceful town of Centerville as it finds itself in a battle against the undead as zombies begin to rise from their graves. Directed by Jim Jarmusch, the zombie comedy stars Bill Murray, Adam Driver, Chloë Sevigny, Tilda Swinton and more.

The Chimney team produced more than 300 VFX shots for the film, with work happening simultaneously at its New York and Gothenburg locations. With Jarmusch and the film’s DP, Frederick Elmes, located in New York, Chimney needed to be able to collaborate in real time across locations so both teams could work closely with the filmmakers to discuss and implement changes during the VFX process.

“Since this film was Jim’s first VFX heavy project, we wanted to ensure that he felt comfortable and connected to the team throughout the entire process,” explained Chimney’s VFX Supervisor Sam O’Hare.

Chimney turned to DaVinci Resolve Studio’s collaboration capabilities for its ability to review EXR sequences in real time.

Tags: Blackmagic Design | Blackmagic | BMD | DaVinci Resolve | Resolve | Fusion | Post Production | Chimney | Filmmaking | Zombies
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