Labspace in Sydney is holding a 3-day training program for VFX,
animation and games artists who want to gain skills and proficiency
in MARI, The Foundry’s 3D painting and texturing tool.
Adventuring into off-road locations across Australia, cameraman Gavin
Rawlings captures TV/Blu-ray series ‘LowRange’ in 4K on the Sony PMW-F55
CineAlta from a 4WD.
The new VariCam LT is a lightweight, compact version of Panasonic’s
cinema camera with many of the functions in the 4K VariCam 35, including
4K/UHD recording and wide dynamic range.
PluralEyes v4.0 audio/video syncing software for NLEs works directly
inside Premiere Pro without leaving the editor, increases automation
and integrates with Offload for on-set backups.
To cover the Singapore and Mumbai marathons, Broadcast RF managed
complex wireless camera coverage over diverse terrain using the Domo
PRORXD 8-Way Diversity RF system.
Adobe Animate CC 2015.1, replacing Flash Professional CC, integrates
Creative Cloud Libraries, has improved onion skinning, stage scaling,
HTML5 Canvas and a new Paintbrush tool.
The Sydney Animation Production Group, helping artists to turn their
concepts into productions, has invited managing director Barbara
Stephen of Flying Bark Productions to their next event.
intoPIX TICO video compression can now handle workflows in HD, 4K
with full 8, 10 or 12-bit in 4:2:2 and 4:4:4 colour spaces, resulting in
high image clarity at low-cost and low latency.
Cinegy launches a new initiative, ‘Cinegy Open’, opening up their tools
and APIs to digital video developers with creative ideas who lack
workplace resources to develop and test them.
Nagoya TV built a 4K edit and grading suite, capable of HDR workflows,
based on Blackmagic DaVinci Resolve Studio with Smart Videohub 40x40
and Smart Control to manage media feeds.
AJA’s RovoCam is a compact block camera with an integrated HDBaseT
interface supporting uncompressed video, power, stereo audio and RS-232
control over a single CAT 5e/6 cable.
Cinesite is investing in a new animation studio in Montréal, intending
to launch nine animated feature films into production, potentially
employing 500 permanent staff by 2020.
DP Andrew Shulkind uses the Zylight IS3c LED soft light Color Mode in
commercial work to bring colour on set. The IS3c also controls colour
temperature and variable colour correction.
Dolby purchased one of the first Baselight X systems, built with high-
bandwidth internal storage and high resolution, wide dynamic range
functionality, for its Dolby Vision suite.
At Super Bowl 50, pylon cameras, based on Marshall’s tiny CV500-MB-2,
were deployed for the first time at a Super Bowl, resulting in previously
unavailable views of action near the end zones.
Canon’s EOS-1D X Mark II DSLR camera has a 20.2MP 35mm CMOS
sensor, and captures high-res still images at up to 14 fps, and HD video
up to 4K 60p - both with dual pixel CMOS AF.
MPC Creative’s Mike Wigart and Dan Marsh tell what creating imagery
for VR viewing means for production and post teams, and describe their
approaches on two very different projects.
Sony’s new mirrorless, interchangeable lens camera has high speed
AF with 425 phase detection AF points, a 24.2 MP APS-C sensor and
4K video recording to the XAVC S codec at 100 Mbps.
The VES held the 14th Annual VES Awards, recognising visual effects
artistry and innovation in film, animation, television, commercials,
video games and special venues.
Korea Telecom plans to launch 20 new HD channels over the next three
years, using Ericsson’s AVP 400 MPEG-4 HD encoders to achieve picture
quality and control transmission delay.