MPC – Still Life Animation

MPC – Still Life Animation

MPC animated a decomposing classical still life painting in real-time, recreating a Dutch painter’s brush strokes and realistic behaviour of flies and maggots. Read more

Psyop Battles Toxic Trash

Psyop Battles Toxic Trash

Psyop applied their 3D animation skill to a PSA raising awareness and encouraging the public to think about tobacco trash in a new way. Read more

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Authority FX After Effects & Fusion Plugins Line Up for Action

Authority FX in Canada started building their plugins, sold separately instead of as a suite, Authority-fx-plugin-glow
as an internal project to fill gaps in their compositing pipeline

FOR-A Multi-Matrix Colour Corrector Matches Footage in Real-Time

The FOR-A DCC-7000 is a new real-time, multi-matrix HD/SD-SDI colour corrector For-A-DCC-7000-dig-color-corrector
designed for live sports and post production applications.

Vizrt DigitalGlobe Catches ‘FirstLook’ at Satellite Images

Vizrt has launched DigitalGlobe Online that gives Vizrt users access to DigitalGlobe’s satellite Vizrt-DigitalGlobe-London-Olympic1
imagery library for use directly in their own content.

Maxon Cinema 4D Clocks London Olympics for Swiss TV

Swiss Television unpacked a dozen track and field athletes on Big Ben for the 2012 Maxon-c4d-02
Olympic Games in London into their national campaign titled ‘It´s Time for London’.

Imagination’s Caustic Visualizer Creates Ray Traced Viewport for Maya

 At SIGGRAPH, Imagination Technologies introduced the Caustic Visualizer interactive Imagination-Caustic-Visualizer-5
viewport plug-in for Autodesk Maya 2013, ready for CPU desktops.

Sound Devices 788T Goes for Gold on Games Documentary

Capturing world-class athletes in action, ‘Beat 2012’ is a documentary chronicling Sound-Devices-Beat-2012-2
Mark Ronson’s creation of Coca-Cola’s anthem for the 2012 Summer Games.

DigiSPAA Winner to Fly to 2013 American Film Market

DigiSPAA independent digital filmmaking competition has partnered with the American DigiSPAA-10Metres
Film Market as part of the prize pool for the winner of this year’s SPAArtan Award.

Deluxe to Acquire Omnilab’s Creative and Media Services

Following an agreement between Deluxe Australia and Omnilab Media, Deluxe Australia Deluxe-iloura2
will acquire Iloura, Digital Pictures, Cornerpost, Flagstaff, Boffswana and PAX Entertainment.

APDG - From Concept to Construction

Expert Art Directors take you behind the scenes for a close-up look at the design APDG-Leong-star-wars
processes and tools behind a variety of film and stage productions.

Atomos Shows Ninja-2 and Samurai in New Workflows

IBC  Atomos is showing Ninja-2 and Samurai field recorders and Connect converters Atomos-ninja-2
in use with several different DSLRs, camcorders and cinematic cameras at IBC.

AJA Io XT and ToolsOnAir Fuel Live Action Sports Broadcast

Action Sports Productions now uses a workflow based on AJA Io XT with Thunderbolt and AJA-IoXT-Action-Sports1
ToolsOnAir to produce live HD webcasts for action sports events.

Animal Logic Expands Commercials Team

Animal Logic has expanded its advertising creative team with the addition of director Animal-logic-SimonRobson
Simon Robson and VFX supervisor and lead Flame artist Jonathan Hairman.

Resolve 9 Corrects Viral Colours for ‘Share It Maybe’

Colourist and online editor Juan Salvo finished and colour corrected the wildly Resolve-9-Shot_24_graded
viral Cookie Monster music video ‘Share it Maybe’ using Blackmagic Design’s
DaVinci Resolve 9.

Colorfront Express Dailies Supports File-Based Dailies & Playback

IBC Colorfront is now shipping Express Dailies on-set dailies system for commercials, Colorfront-express-dailies
movies and broadcast with wide support for digital cinema cameras and deliverables
formats.

OASYS Demos Automated Playout for Live Broadcasts

IBC OASYS automated playout will demonstrate on-the-fly software setting adjustments -Without scrubbable media thumbnails, how would you have navigated through the shots? Without the scrubbable thumbnails we would have had to load each clip into a viewer and scrub there. It's a small change, that makes it really easy to be sure you're grabbing the right version/clip. -What type of information were you storing in the metadata fields, and how do you access and use it quickly while you work? As far as metadata information in that particular project, the applications were limited. We did use markers and flags which are particular kind of metadata to track versions and key shots in the sequence. When dealing with more of a dailies workflow the metadata fields become really useful for entering all kinds of information. Including scene/take/shot, locations, performers... etc, etc. With VFX work it's a good way to track versions. -On a quick, short-form project like this, about how many gallery stills would you need to keep? I do a fair amount of commercial work which tends to be on the order of 10 shots or so, and for those I'll sometimes have as many as 20-30 stills with different versions of grades or different looks. The stills page is a great way to keep a broad range of presets and grades at the ready. On a music video like this, where there were only two cameras I would normally have about 25-30 stills, sometimes more. -What camera was the data coming from, in what format and specs? I understand that Resolve will keep the original bit depth and resolution of the camera files in the conform, through to final render. Josh and Jason Diamond are big fans of the RED EPIC, so they shot with two of those. The cameras were set to use 4K HD resolutions which is 3840x 2160. We used the original R3D files in the grade, with Resolve doing a live debayer. Using the RAW data gave us the ability to change color handeling, ISO and white balance easily. Also gave us a lot more latitude. THis meant we were able to save every bit of detail all the way through finishing and delivery. -Why is so useful to label the nodes and use markers and pins while you work? Node labeling within grades allows me to keep track of what I'm doing within each grade as I go. Generally within a grade I'll have different nodes performing different functions: balance, isolating Cookie Monster, vignette, overall colorcast, an aperture adjustment, etc. Being able to label the nodes allows me to know exactly what each node is doing at a glance. So when I want to modify a particular aspect, I can just jump directly to the indicated node. Markers and flags allow for handy organization in the timeline. Two examples in particular: Markers allow me to pin specific frames within a clip. So as I'm grading if I get caught up trying to address a particular issue, it can often ruin the flow and momentum of a session. I find it useful to put a marker down and come back to the shot later, when the really productive and attentive portion of the client session has run it's course. Flagging an entire clip allows me to separate it out. It's a good way to differentiate clips durring a review session that will need further work. Grading frequently requires moving on and coming back to a shot for the best results. Flags make it really easy to do just that. Additionally I use flags to track shots that get changed and will require rerendering, or shots that I know will be replace down the line, such as those going into VFX. -As you had a locked cut for this project, was there any need for you to use the editing tools in your timeline? If so, how did they help? Loading the locked cut was incredibly easy and worked perfectly. Even though our editor, Jesse Averna, worked from ProRes proxy files that had been created for him. I was able to instantly conform his cut back to the original R3D files in just a few clicks! This thankfully did not require any use of the editing tools. However once we had done the first grade pass, we sent the greenscreen shots over to a compositing session to pull the final keys. These were then rendered out into ProRes 4444, we were able to then manually insert these new final VFX shots back into the sequence using the Resolve editing tools. Which worked flawlessly. -For the tracking/exclusion task, what was the node configuration that resulted in an operation approximating (or taing the place of) a tracking-roto-compositing job? For the LCD screen shot, I used 1 node to track the screen and create an accompanying matte. I used a second node with a qualifier to isolate the performer in the foreground who obscures part of the screen. I then used a key mixer node to subtract the performers matte from the screen matte. Thereby isolating just the LCD screen that was visible in the shot. Allowing me to correct it without modifying the rest of the image.
at IBC 2012 that result in instant, live broadcast configuration changes.

Cooke Shows Panchro Lens Prototypes for PL Mounts

IBC Cooke Optics will bring a prototype of a 65mm lens for their Panchro range of lenses Cooke_5i_2
to IBC 2012, with products from its three ranges - S4/i, Panchro/i and 5/i.

V-Ray Lights a New Fire in Iloura’s Pipeline

Lead Lighter Drew Wood Davies at Iloura in Mebourne talks about working on the V-ray-iloura2
lighting pipeline for some of the facility’s recent feature film projects.

Autodesk Smoke 2013 Reveals the Third Dimension

Rob O'Neill, ANZ Creative Finishing Specialist, leads a live webinar to show functions that Autodesk-smoke_action1
set Smoke apart with true 3D for effects, compositing and stereoscopic projects.

Sony NEX-FS700 To Co-Star with Cinematographers and DPs

Sony will host cinematographers and directors of photography in Melbourne and Sydney
at an information night on the new 4K-ready NEX-FS700.

Blackmagic & Sky TV Broadcast Live Water Polo Junior Olympics

Sky TV webcasters handled a live broadcast of the 2012 USA Water Polo Junior Olympics Blackmagic-water-polo2
using a workflow based on Sony HD cameras and Blackmagic Design ATEM switchers.

AJA Ki Pro and Second Sight Reach DJ Tiesto’s Remote Fans

Second Sight Video in the UK, working on a recent brand experience event for SKODA UK, AJA-Skoda-second-sight
tested the AJA Ki Pro recorder to deliver live and recorded concert footage from DJ Tiesto.