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Sue Smith

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Sue Smith last won the day on September 15 2018

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  1. RED DIGITAL CINEMA® announced today that its award-winning HELIUM® 8K S35 and GEMINI® 5K S35 sensors will be incorporated into the RED RANGER® camera ecosystem. These two new alternatives create a robust lineup for creators who prefer an integrated, all-in-one system to the more modular RED DSMC2® camera. The RANGER HELIUM 8K S35 and RANGER GEMINI 5K S35 is available now via RED’s global network of resellers, participating rental houses, and directly through RED. The cameras will be on display for the first time at IBC in the RED meeting room on the fourth floor of the Elicium at the RAI Amsterdam, from September 13-17. Designed to meet the needs of high-end productions, the RED RANGER MONSTRO 8K VV has been well received by cinematographers since its launch earlier this year, and remains a rental house-only product. All three sensor variants of the RED RANGER camera system include the same benefits of the compact, standardized camera body, weighing around 7.5 pounds (depending on battery). The system can also handle heavy-duty power sources to satisfy power-hungry configurations, and boasts a large fan for quiet, more efficient temperature management. The RED RANGER camera system consists of three SDI outputs (two mirrored and one independent) allowing two different looks to be output simultaneously; wide-input voltage (11.5V to 32V); 24V and 12V power outs (two of each); one 12V P-Tap; integrated 5-pin XLR stereo audio input (line/mic/+48V selectable); as well as genlock, timecode, USB, and control. Both V-Lock and Gold Mount battery options are supported. As with all current RED cameras, the RANGER can simultaneously record REDCODE RAW plus Apple ProRes or AVID DNxHD or DNxHR at up to 300 MB/s write speeds. It also features RED’s end-to-end color management and post workflow with the enhanced image processing pipeline (IPP2). RED now offers two separate but equally robust product lineups that give content creators more creative choices. The DSMC2 ecosystem continues to provide the most dynamic and modular cinema camera for users who value maximum flexibility, allowing their imaginations to run wild with configuration options. RED RANGER is the perfect option for those that prefer a less complex and more standardized alternative. “In collaboration with rental houses to bring the RANGER MONSTRO to market, we have heard great feedback from customers, inspiring these two new variants,” said RED Digital Cinema President Jarred Land. “We’re excited to offer the RANGER line-up to a wider variety of professional productions and look forward to seeing the amazing images that are created.” RANGER HELIUM and RANGER GEMINI ship complete with: • New Production Top Handle • Shimmed PL Mount • New LCD/EVF Adaptor D with improved cable routing when used on the left side of the camera • New 24V AC power adaptor with 3-pin 24V XLR power cable, which can also be used with 24V block batteries • Lens mount shim pack • Compatible Hex and Torx tools Additionally, RED plans to introduce Canon EF Mount versions of both RANGER HELIUM and RANGER GEMINI later this year. Pricing for the two new variants is $29,950/€27,450/£24,750 for RANGER HELIUM and $24,950/€22,850/£20,650 for RANGER GEMINI. Go to www.red.com/red-ranger for more information, or visit your local RED Authorized Dealer.
  2. The American Society of Cinematographers (ASC) has chosen 12 nominees in three categories of the 2019 Student Heritage Awards. Recognizing exceptional work by cinematography students, the organization designed the ASC Student Heritage Awards to encourage and support a new generation of visual artists. Winners will be announced on October 12. The ASC Student Heritage Awards also celebrate the memory of an exceptional cinematographer and are named each year in honor of esteemed ASC members. This year’s Undergraduate and Graduate Award is named in honor of Oscar®-nominee Richard H. Kline, ASC (Camelot, King Kong). The Documentary category is enduringly dedicated to Oscar®-winner Haskell Wexler, ASC (Who’s Afraid of Virginia Woolf?, Bound for Glory). The 2019 nominees represent seven universities nationwide. The contenders are: Richard H. Kline Student Heritage Award – Graduate Category: • Lucas Dziedzic from the American Film Institute for Animals • Frances Kroon from the American Film Institute for Balloon • Xiaowen Li from the University of Southern California for Crush • Adam Schneider from Chapman University for Skin Hunger • Mengtao Sun from Chapman University for The Perfumer Richard H. Kline Student Heritage Award – Undergraduate Category: • Agustina Biasutto from Pratt Institute for Philotimo • Nathan Cohen from Florida State University for Existent • Kai Dickson from Savannah College of Art and Design for The Fray • Oscar Ignacio Jimenez from Brigham Young University for Gather Haskell Wexler, ASC Student Documentary Award: • Jazleana Jones from Florida State University for King, Charles • Kathryn Boyd-Batstone from the University of Southern California for God Bless the Cook • Bruce Chiu from the University of Southern California for Life on A String Many ASC Student Heritage Award winners have gone on to have successful careers in filmmaking, and several have been invited to be ASC members themselves, including Nelson Cragg, Masanobu Takayanagi, and Lisa Wiegand. For additional information about the ASC, visit www.theasc.com, and follow them on Instagram (@the_asc), or join American Cinematographer on Facebook, Twitter (@AmericanCine), and Instagram (@american_cinematographer).
  3. Following the widely successful launch of the LEE100 Filter Holder in March, LEE Filters has introduced two new products to further enhance the system. The new LEE100 Tandem Adaptor proves invaluable on occasions when one filter holder isn’t enough, and the LEE100 Hood is a versatile and sturdy companion to the ecosystem. The LEE100 Tandem Adaptor Unique to the LEE Filters system, the Tandem Adaptor, which is constructed from aluminium, allows the photographer to use more than one ND grad and rotate each independently, so they can be set at different angles. This allows for far more precise creative control of the exposure in complex lighting situations than one holder alone. To fit, the first LEE100 Filter Holder is attached to the lens via the adaptor ring as normal. The LEE100 Tandem Adaptor then slides into the holder’s outermost slot, and the second LEE100 Filter Holder is attached to the adaptor. The holder closest to the lens can be used with up to three filter slots (one must be used for the Tandem), while the holder that’s attached to the Tandem Adaptor can be configured with one, two or three further filter guides. Both holders can be rotated freely until the desired effect is achieved, and then locked in place to avoid any accidental movement of the filters. The LEE100 Hood Designed to shade the camera’s lens and reduce the risk of stray light and flare spoiling the image, the LEE100 Hood can be used with up to three slot-in filters plus the LEE Filters Polariser. Constructed from a water-resistant reinforced nylon in a collapsible concertina design, it is self-supporting, with no need for intrusive and fiddly rails or guides, and can be adjusted to different angles and extensions for maximum versatility. Simple to set up, the hood comes with an attachment ring that is affixed to the LEE100 Filter Holder via four locking tabs. The hood is then locked securely on to the attachment ring with a lever. It is then attached to the adaptor ring in the usual way. The hood can be rotated independently of the LEE100 Filter Holder, allowing the photographer to use ND grads as normal, while still getting the most out of the hood itself. At its fullest extension, the hood can be used with lenses of around 28mm and a two-slot filter guide without the risk of vignetting. Once it is reduced to half extension, lenses as wide as around 20mm can be used without vignetting. Easy to extend and collapse, and quick to attach and detach, the LEE100 Hood is the ideal addition to the photographer’s kit bag. Pricing The LEE100 Tandem Adaptor is available now to purchase from LEE Filters dealers, with a MSRP of $65. The LEE100 Hood is available to purchase from LEE Filters dealers beginning August 19, with a MSRP of $295.
  4. Pixelworks, Inc. (NASDAQ: PXLW), a leading provider of advanced visual processing solutions, today announced that the Company’s award-winning TrueCut® platform was used to present “The Bravest,” an action-packed drama. The movie, which premiered in Beijing, grossed box office sales of approximately US$85 million in just six days and is now released in both HDR and SDR theaters across China. This debut is the fourth film to be released in China using the TrueCut® platform, and a look into the cinematic opportunities to come for filmmakers using this video platform. “Our ecosystem partners in China have been gearing up for the release of The Bravest over the past few months, and we are thrilled to see its success,” said Richard Miller, Executive Vice President of Technology, Pixelworks. “The TrueCut high frame-rate format enabled the filmmakers to deliver an incredible new experience for cinematic motion, consistently across both HDR and SDR screens.” Premiered on August 1st, “The Bravest” is the first action-packed drama using special effects about local fire fighters in China helping citizens in a major fire utilizing the TrueCut platform. The film features incredible motion clarity and high contrast, while still maintaining a cinematic look. About the TrueCut® Platform Announced in March 2019, Pixelworks’ TrueCut solution is a powerful new cinematic video platform. Used as part of the creative process, TrueCut’s tools enable filmmakers and content providers to take full advantage of today’s incredible cinema, home-entertainment and mobile displays, while ensuring consistent delivery, true to creative intent across devices. TrueCut Motion Grading, an award-winning tool suite in this video platform, is the industry’s first solution to give filmmakers the ability to cinematically fine-tune Motion Blur, Judder and Frame-rate appearance. About Pixelworks Pixelworks provides industry-leading content creation, video delivery and display processing solutions and technology that enable highly authentic viewing experiences with superior visual quality, across all screens – from cinema to smartphone and beyond. The Company has a 20-year history of delivering image processing innovation to leading providers of consumer electronics, professional displays and video streaming services. Pixelworks is headquartered in San Jose, CA. For more information, please visit the company’s web site at www.pixelworks.com. Note: Pixelworks, the Pixelworks logo and TrueCut are registered trademarks of Pixelworks, Inc.
  5. Light Iron, a Panavision company, is excited to announce that award-winning colorist Scott Klein is joining the company. As supervising colorist of numerous groundbreaking episodic series, Klein joins a superior roster of Light Iron artists located in both Los Angeles and New York who provide collaborative, creative expertise on feature films, episodic series and music videos. “While Light Iron was historically known for its capabilities with feature films, we have developed an equally strong episodic division, and Scott builds upon our ongoing commitment to providing the talent and technology necessary for supporting all formats and distribution platforms,” says General Manager Peter Cioni of Light Iron. “We are all aware of the significant growth in original content, and Light Iron is focused on expanding its operation to support the needs of clients. Hiring star talent like Scott is a logical step in our continued efforts to expand our industry-leading roster.” Over the past four decades, Klein has accrued a remarkable list of credits, including Fox’s “Empire,” HBO’s “Deadwood: The Movie,” and Showtime’s “Ray Donovan.” He collaborated on the award-winning series “Bosch,” “True Blood,” “The Affair,” “Halt and Catch Fire,” “Entourage,” and “The Sopranos.” Klein is already a familiar face to many filmmakers who regularly turn to Panavision for its innovative production expertise, optimized camera systems, and unparalleled optics. Klein is also an associate member of the American Society of Cinematographers (ASC). “I really enjoy the artistic collaboration with filmmakers,” Klein says. “It is great to be part of a facility with such a pure passion for supporting the creative through technology. Colorists need strong technology that serves as a means to best express the feelings being conveyed in the images and further enhance the moods that draw audiences into a story. “Light Iron’s association with Panavision further augments the supportive culture – there is amazing fusion between the two companies,” he adds. “It’s an exciting time to join the company as it continues to grow.” Also joining Klein are his colleagues and fellow colorists Daniel Yang, Jesús Borrego, and Ara Thomassian. They join Light Iron after three years together at Warner Bros. and 11 years at Technicolor. The robust roster of bi-coastal Light Iron colorists includes Ian Vertovec, Steven Bodner, Corinne Bogdanowicz, Jeremy Sawyer, Sean Dunckley and Nicholas Hasson, among others. At Light Iron, colorists contribute to projects early in pre-production and closely collaborate with filmmakers to fully understand the creative intentions being conveyed and to be a resource from capture to finish. In addition to growing its team of artists to support the expanding market and client needs, Light Iron has also expanded its physical footprint with a second Hollywood-based location a short distance from its flagship facility. A full breadth of creative finishing services for feature films and episodic series is available at both locations. Light Iron also has locations in Atlanta, Albuquerque, Chicago and New Orleans. For more information, visit www.lightiron.com.
  6. RED DIGITAL CINEMA® today introduced a new DSMC2® GEMINI® Kit offering a comprehensive solution for cinematographers who shoot in a variety of environments. At the heart of the new system is the DSMC2 camera BRAIN with the GEMINI 5K S35 sensor, which leverages dual sensitivity modes to provide greater flexibility in a variety of lighting conditions. Filmmakers can shoot in standard mode for well-lit conditions or low-light mode for darker settings, and operators can easily switch between modes through the camera’s on-screen menu with no down time. RED’s GEMINI delivers incredible dynamic range and produces cinematic quality images. The new DSMC2 GEMINI Kit features: • DSMC2 GEMINI 5K S35 • DSMC2 RED® Touch 7.0” LCD • DSMC2 Outrigger Handle • DSMC2 V-lock with I/O Expander for a variety of input/output selections • S35 AI CANON Mount • IDX Duo C98 Battery and IDX VL-2X Battery Charger • RED Mini-Mag (960 GB) with G-Technology EV Series Reader • Heavy-Duty Camera Case The kit provides a premium bundle that is “ready to shoot” when paired with the user’s chosen lens. The newly packaged system is available for purchase on RED.com and RED Authorized Dealers priced at $27,500/£21,700/€24,950.
  7. Panavision, the world-class provider of end-to-end solutions, will return to Cine Gear Expo (May 31-June 1) at The Studios at Paramount to showcase the latest innovations in the company’s ever-expanding production and post production ecosystem. Panavision, Light Iron and LEE Filters will display an array of integrated technologies and systems at booth S408 on Stage 3 – ranging from lenses, cameras and filters, to state-of-the-art production and post production workflows – that illustrate Panavision’s commitment to providing the most versatile and powerful storytelling tools. “At Panavision, our vision is to support filmmakers with solutions that expand creativity and efficiency,” says Kim Snyder, president and CEO of Panavision. “We’re always focused on adapting the tremendous power of technology to the needs of the visual artist. We’re proud and excited to demonstrate our latest advancements.” Among the breakthroughs on display are Panavision and Light Iron’s new LINK HDR system. Creatives are producing for HDR-capable distribution platforms more than ever before as consumers seek premium viewing experiences. LINK HDR was developed to address the challenge of viewing HDR (high dynamic range) images throughout the production and post production process. Offering HDR and SDR viewing options in tandem, LINK HDR provides cinematographers, directors, editors and creative talent throughout the imaging chain the ability to view their image at the same quality delivered to consumers. The LINK HDR system consists of: Panavision LINK HDR On-Set Cart – a modular cart outfitted with various monitoring configurations that offers creatives the ability to view HDR and SDR live from the camera. Light Iron LINK HDR Dailies – an NLE process that creates HDR and SDR deliverables simultaneously, which allows editors to cut, toggle between, and export in either format. Light Iron LINK HDR Finish – a combination of creative talent, technical expertise, and leading technologies that link the creative decisions made on-set to the HDR mastering process for delivery to various HDR platforms. “As adoption rates of the HDR format rapidly grow, it is more critical than ever for creatives to view a consistent image from on-set through the finishing suite,” notes Light Iron Supervising Colorist Ian Vertovec. “We want filmmakers to have all the tools they need for this new deliverable. The components of LINK HDR were designed with them in mind.” Panavision’s Millennium DXL2 and DXL-M camera systems will also be showcased at the Panavision booth, demonstrating the value of this expanding ecosystem. With new industry developments, the DXL2’s 6G 4K SDI outputs, which allow direct connection to a Teradek Bolt 4K with a single SDI cable, can now be fully utilized. The latest enhancements to the DXL2 also include: an integrated C-Motion F.I.Z. module allowing the use of Arri WCU4 wireless lens control handsets with full lens mapping support; a proxy workflow that allows easy creation of traditional dailies while archiving 8K files for DI and VFX; a wireless audio module adding expanded audio capabilities; and DXL Control for iPhone and Android. The DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED’s DSMC2 cameras, is now available to filmmakers. In addition to the Primo HDR viewfinder, DXL menu system and LiColor2, the DXL-M now offers 2x2 SDI outputs delivering two independent monitoring paths across 4x HD-SDI outputs. Along with added accessories, battery elevator and control upgrades, these advancements add to the efficiency and flexibility of the kit. The result is a fully-equipped camera that is conveniently adaptable to any shooting scenario, including drone, remote head shots and situations where space is at a premium. Panavision’s LCND, a variable liquid crystal neutral density filtration system, will be presented with expanded new features. LCND is now wirelessly controllable via the Preston handset and offers functionality that translates to creativity on the set. The ability to maintain a given stop under changing lighting conditions by riding the ND filter instead of the iris adds powerful image control options at the moment of photography. LCND also has manual controls and a 24-hour internal battery built into the single filter tray. Panavision’s longstanding emphasis on delivering superior lens quality and unmatched selection continues to be a priority as it serves the artistic needs of today’s creative community. At Cine Gear, filmmakers can examine the company’s proprietary portfolio of optics, including the Primo-X (weatherproof and compact drone and gimbal solution), Panaspeed (large format, high-speed T1.4 with the classic Primo look), H-Series (vintage portrait look for spherical large format), and UltraVista (1.65x large-format anamorphic) lines, as well as other lenses in Panavision’s large-format offerings. In addition to exhibiting, Panavision, in partnership with RED Digital Cinema, will present a panel featuring Oscar®-nominated cinematographer John Schwartzman, ASC. Panavision’s SVP of Optics Dan Sasaki will join Schwartzman as he discusses his approach to visual storytelling and explores the fusion between visual concepts and tools. Schwartzman will reveal his decision-making process from pre-production to post on such projects as The Highwaymen and the upcoming Last Christmas, on June 1 at 11:45 a.m. in the Sherry Lansing Theater. LEE Filters will highlight the LEE100, a newly updated 100mm filter mount system that boasts lighter weight and improved performance. The LEE100 Filter System incorporates a rotation lock as well as a newly designed clip-on polarizer filter for ease of use. Additionally, LEE’s full collection of lighting gels, including the expanded range of Zircon gels specifically designed for fine-tuning LED fixtures, will be touted, as well as the ProGlass CINE IRND range of neutral-density filters, precisely built to meet the exacting needs of cinematographers. “The advancements on display at Cine Gear exemplify our commitment to providing end-to-end solutions that put creative flexibility in the hands of filmmakers,” says Snyder. “Each tool is conceived as an element of a unified ecosystem designed to deliver customizable solutions to meet any need or budget. We’re looking forward to the opportunity to present the results to our friends and colleagues in the filmmaking community, and we can’t wait to see how they’re used in the visual storytelling of tomorrow.”
  8. Light Iron, a Panavision company specializing in post production services, is again playing an important collaborative role with notable episodic series this season. Customized workflow offerings from Light Iron for BETTER THINGS, THE GOOD FIGHT, THE OA, RAMY, SHRILL, THE MARVELOUS MRS. MAISEL, and WHAT WE DO IN THE SHADOWS, included dailies, digital intermediate, archive, and data services, among other creative and technical contributions. From San Francisco and Los Angeles to New York and Toronto, Light Iron serviced the productions from a range of locations with color and front-end teams involved from pre-production for a smooth and efficient experience. “We are honored to support these outstanding projects,” says Peter Cioni, Light Iron’s General Manager. “Our unique understanding of the demands of episodic schedules coupled with our technical skills in file-based workflows fuels our ability to fulfill the creative vision on time and on budget. Light Iron at its core is focused on innovation and, as part of the Panavision family, we offer our expertise from pre-production through finishing, creating efficiencies throughout the imaging chain.” A closer look at the projects demonstrates the possibilities for end-to-end solutions from Light Iron and Panavision: • BETTER THINGS, season 3 (FX) – Already renewed for a fourth season, BETTER THINGS follows the trials and tribulations of Sam Fox (Pamela Adlon), a single mother and working actor with no filter, raising her three daughters in Los Angeles. The season was shot by Paul Koestner who collaborated with Light Iron’s dailies colorist Gregory Pastore and DI colorist Corinne Bogdanowicz. Panavision Hollywood provided the camera and lens package. • THE GOOD FIGHT, season 3 (CBS All Access) – Entertainment Weekly hails the third installment of THE GOOD FIGHT as “the best show on TV.” Shot by Fred Murphy, ASC, this season was supported by Light Iron with dailies by Andrew Hodgdon and final color from Steven Bodner. The production is also serviced by Panavision New York. • THE OA, season 2 (Netflix) – The first season of THE OA quickly developed a cult fan base. For the highly anticipated second installment, Light Iron worked closely with series DPs Steven Meizler and Magnus Nordenhof Jønck to ensure the work done by dailies colorists Andrew Hodgdon and George Thomas was reflected in the final color grade with Ian Vertovec. Services included location support in San Francisco and Los Angeles. • RAMY, season 1 (Hulu) – Winner of the 2019 SXSW Audience Award, RAMY stars actor-director-comedian Ramy Youssef as the son of Egyptian immigrants in New Jersey. Light Iron worked closely with cinematographers Adrian Peng Correia and Ashley Connor to establish the look in dailies, which transferred seamlessly into the DI where the final color grade was performed by Steve Bodner. Cameras and optics were supplied by Panavision New York. • SHRILL, season 1 (Hulu) – From executive producers Lorne Michaels and Elizabeth Banks and showrunner Ali Rushfield, SHRILL stars Aidy Bryant (from SATURDAY NIGHT LIVE) as Annie, an overweight young woman who wants to change her life — but not her body. Based on the 2016 memoir by Lindy West, Vox calls the series “a quietly tender portrayal of learning how to love yourself.” Light Iron colorist Nick Lareau provided the final color grade in collaboration with cinematographer Joe Meade. • THE MARVELOUS MRS. MAISEL, season 2 (Amazon) – Light Iron worked alongside cinematographers M. David Mullen, ASC and Eric Moynier, returning for the second season of this award-winning series created by Amy Sherman-Palladino. Light Iron’s Aaron Burns handled dailies color and Steve Bodner collaborated with the two DPs during finishing. For camera and lens options, Panavision New York was the go-to resource. • WHAT WE DO IN THE SHADOWS, season 1 (FX) – Based on the feature film of the same name, WHAT WE DO IN THE SHADOWS is a documentary-style look into the lives of four vampires who have “existed” together for hundreds of years on Staten Island. The film’s cinematographer D.J. Stipsen returned for the series, which has earned a 96% rating from Tomatometer critics on Rotten Tomatoes. Christian Sprenger lensed the pilot. Light Iron dailies colorists Gregory Pastore and Jacob Doforno supported early look development in Toronto via the local Panavision facility, which carried over into finishing in the DI by Ian Vertovec. For more information, visit www.lightiron.com.
  9. Light Iron, a Panavision company, has announced Jeremy Sawyer is returning to its Los Angeles facility as a senior colorist. The highly regarded Sawyer brings over 20 years of color finishing experience to his role. He joins Light Iron’s formidable talent roster as the facility manages a growing list of feature and episodic projects. Sawyer previously worked at Light Iron from 2015 to 2018 on such notable projects as I’m Dying Up Here, Easy, The First, Goliath, Mr. Mercedes, and The Walking Dead. His extensive skills in post as well as a passion for photography bring a unique aesthetic to his visual approach. Sawyer’s arrival reunites him with an artistic group of Light Iron colorists, which includes Ian Vertovec, Steven Bodner, Corinne Bogdanowicz, Sean Dunckley, and Nick Hasson, among others. “We are thrilled to have Jeremy back with us,” says General Manager Peter Cioni of Light Iron. “His vast experience managing innovative workflows in combination with his inspired visual instinct marries perfectly with our passion to serve the creative.” “Light Iron fosters a collaborative, artistic environment,” notes Sawyer. “Their dexterity in response to constantly advancing technology and the relationship with Panavision offers an uncommon ability to bring post production to the set, where the intersection of art and science is happening. And being involved early on projects helps to produce an incredible end product. Panavision and Light Iron are at the forefront of making the entire production process smoother, faster, and more efficient, all with a nod toward the creative mindset.” Light Iron colorists integrate with projects during pre-production, working closely with the cinematographer in a unified way to fully understanding the motives for the creative choices being made. “We think of ourselves as artistic partners in the process,” adds Cioni. “Not only can we build complex pipelines with custom tools and applications, but our colorists remain deeply embedded with the decision-making process, ensuring the intended look is carried throughout for maximum benefits to filmmakers.” With multiple locations throughout North America, Sawyer also will be available to remotely collaborate with production teams on location, via the Panavision and Light Iron network. For more information, visit www.lightiron.com.
  10. FotoKem, a leader in digital and film post production, announced today that industry veteran Dana Ross has joined the facility as Senior Vice President of Client Relations. With more than 40 years of experience, Ross will collaborate with FotoKem’s sales and marketing teams to continue to expand its growing creative connections. Ross brings a breadth of experience to this new engagement that encompasses motion picture workflow, production, camera and lens expertise, and decades of relationships with filmmakers. He began his career at CFI Motion Picture Laboratory, first as a projectionist and later as a color timer. After 23 years at CFI, he transitioned to Technicolor, serving as SVP of Feature Film Relations. In 2014, Ross joined the ARRI Rental team as a global marketing executive and embarked in the development and launch of the Alexa 65 camera system, which has become a leading tool for filmmakers and used on Academy Award®-winning films. Ross, an associate member of the American Society of Cinematographers (ASC), also has a passion for still photography. In particular, he fosters a love for working in the 11x14 plate camera format. This passion, combined with many years working closely with directors of photography, has seen him take studio portraits of numerous cinematographers. Ross says, “FotoKem is renowned for its service, expertise, and numerous credits on highly respected projects. I am excited to join the team to help further inform the broader creative community of the company’s accomplishments and capabilities.” FotoKem Chief Strategy Officer Mike Brodersen adds, “Ross has been supporting filmmakers on projects of every size for many years in the industry. We’re thrilled to have him on board to communicate our offerings to a broader scope of filmmakers.”
  11. BURBANK, CA (May 1, 2019) – There’s nothing small about the bicoastal post-production workflow provided by FotoKem for Universal Pictures’ and Legendary Pictures’ Little. FotoKem’s Atlanta and Burbank facilities supported the production from digital dailies through finishing with a full ACES finish for this fantasy comedy. From blockbuster producer Will Packer (Girls Trip, Night School, the Ride Along franchise) and director and co-writer Tina Gordon (Peeples, Drumline), Little tells the story of a tech mogul (Girls Trip’s Regina Hall) who is transformed into a 13-year-old version of herself (Marsai Martin), and must rely on her long-suffering assistant (Insecure’s Issa Rae), just as the future of her company is on the line. Martin, who stars in the TV series Black-ish, had the idea for the film when she was 10 and acts as an executive producer on the film. She is the youngest person to hold that title on a major Hollywood production. Principal photography for Little took place last summer in the Atlanta area. FotoKem’s Atlanta location provided digital dailies with looks developed by FotoKem colorist Alastor Arnold alongside cinematographer Greg Gardiner (Girls Trip, Night School) who shot with Sony F55 cameras. “Greg likes a super-clean look, which we based on Sony color science, with a warm and cool variant and a standard hero LUT,” says Arnold. “He creates the style of every scene with his lighting and photography. We wanted to maximize his out-of-the-camera look and pass it through to the grading process.” FotoKem responded to the sharp growth of production in Georgia, and entered the Atlanta market five years ago to offer on-the-ground support for creatives. “FotoKem Atlanta is an extension of our Burbank team with colorists and operations staff to provide the upfront workflow required for file-based dailies,” says Senior Vice President Tom Vice of FotoKem’s Creative Services Division. “Atlanta is an exciting place to be, and we’re thrilled to be part of that community.” When editor David Moritz and the editorial team moved to Los Angeles, FotoKem sent EDLs to its nextLAB dailies platform, the facility’s proprietary digital file management system, where shots for VFX vendors were transcoded as ACES EXR files with full color metadata. Non-VFX shots were also automatically pulled from nextLAB for conform. The online was completed in Resolve. The DI and the film conform happened concurrently, with Arnold and Gardiner working together daily. “We had a full ACES pipeline, with high dynamic range and high bit rate, which both Greg and I liked,” Arnold says. “The film has a punchy, crisp chromatic look, but it’s not too contemporary in style or hyper-pushed. It’s clean and naturalistic with an extra chroma punch.” Gordon was also a key part of the collaboration, playing an active role in the DI, working closely with Gardiner to craft the images. “She really got into the color aspect of the workflow,” notes Arnold. “Of course, she had a vision for the movie and fully embraced the way that color impacts the story during the DI process.” Arnold’s first pass was for the theatrical grade and the second for the HDR10 grade. “What I like about ACES is the simplicity of transforming to different color spaces and working environments. And the HDR grade was a quicker process,” he says. “HDR is increasingly part of our deliverables, and we’re seeing a lot more ACES workflows lately, including work on trailers.” FotoKem’s deliverables included a DCP, DCDM and DSM for the theatrical release; separations and .j2k files for HDR10 archiving; and ProRes QuickTimes for QC.
  12. Colorist Aidan Stanford has joined Keep Me Posted (KMP), a FotoKem company specializing in creative and technical episodic post-production services. In his role as senior colorist, Stanford builds upon Fotokem’s roster of creative talent that serves episodic and feature projects. With over 25 years of experience, Stanford brings unique expertise including proficiencies on color grading systems. His experience ranges from photochemical color timing to digital color grading and includes DI, broadcast, commercials and shorts. His varied background includes color timing 65mm film for LAWRENCE OF ARABIA (IMAX 2002 restoration/release); the DI, HDR and all video deliverables for the Oscar-winning GET OUT; and multiple seasons of Emmy Award-winning television series. His credits include the features HAPPY DEATH DAY, INSIDIOUS 4 and BENJI and his episodic credits include MODERN FAMILY, DRUNK HISTORY, YOU’RE THE WORST and FRESH OFF THE BOAT. Stanford noted, “No other facility offers the breadth of service for filmmakers that is available within the FotoKem family of companies. There is a dedication to customers and a meticulous approach to the work that is in perfect sync with my own. KMP is a highly respected facility, and I am delighted to join the talented team here.” Mike Brodersen, FotoKem’s Chief Strategy Officer, commented on the addition of Stanford to the creative services team. “Aidan brings a deep knowledge of film, an artistic eye and a keen technical ability to help our creative customers bring their vision to reality. His comprehensive skill set in combination with his expertise in color have made him a trusted collaborator with many filmmakers and show runners. We are delighted to have him on our team.”
  13. RED Digital Cinema® released its RED R3D® SDK and accompanying REDCINE-X PRO® software with accelerated decode and debayering on NVIDIA CUDA® platforms. By offloading the compute-intensive decoding and debayering of RED R3D files onto one or more NVIDIA GPUs, real-time playback, edit and color grade of 8K footage is now possible. Benefits and efficiencies of this new software-hardware combination during the post-production process include: • 8K real-time 30 fps or greater playback performance • Up to 10x faster transcoding, depending on the format and content • Improved efficiencies and quality control within the content review process • Creative freedom using flexible R3D files instead of proxy files 8K performance is available with NVIDIA Quadro® RTX™ 6000 and 8000, GeForce® RTX™ 2080 Ti and TITAN RTX™ GPUs when coupled with a moderately configured PC. Creators can achieve additional performance improvements with multi-GPU configurations and may see noticeable gains even with older NVIDIA GPUs. Also, new NVIDIA RTX laptops from the world’s leading computer manufacturers, including Razer, Acer, Alienware, ASUS, Dell, Gigabyte, HP, Lenovo, MSI and Samsung, provide real-time playback at up to 8K and offer flexibility in choosing the right tools to fit a variety of budgets. Support from major NLEs and other SDK integrators is expected soon.
  14. Leica Camera has created a fitting tribute to the world of cinema with the new release of the Leica M10-P “ASC 100 Edition”, celebrating the 100th anniversary of the American Society of Cinematographers. Comprised of a Leica M10-P camera and a Leica Summicron-M 35 f/2 ASPH. lens, the memorable set offers two specially tailored Cine Look modes built into the camera’s software that make it a focused professional tool for cinematographers and filmmakers. The set also includes a Leica Visoflex electronic viewfinder and a Leica M-PL-Mount Adapter that allows the use of almost all PL mount cine lenses available on the market. In collaboration with some of the world’s most influential cinematographers and members of the ASC, Leica has developed the new Cine Look feature, which provides directors an exceptional visual experience. The “ASC Cine Classic” mode simulates a classic, analog 35mm motion-picture film look, while the “ASC Contemporary” mode delivers the current digital style of contemporary movies. Additionally, aspect ratios that are used in cinematography can also be selected from the camera’s menu. Once activated, the selected aspect ratio is displayed as a bright-line frame in Live View mode. The Leica M10-P “ASC 100 Edition” offers cinematographers and directors the freedom to view and assess scenes with any desired lens before filming even begins. Founded in 1919, the American Society of Cinematographers is the world’s longest-standing artistic, technical and professional organization dedicated to the advancement of cinematography. Just like Leica, this extraordinary society has influenced and shaped how people of all cultures see the world for more than 100 years. This limited-edition release is a modern take on Oskar Barnack’s original vision of the “Ur-Leica” prototype camera as an aid to cinematography, now reiterated in the unique design of the Leica M10-P ‘ASC 100 Edition’. Reduced simply to the essentials, blacked-out engravings on its black chrome surface accentuates the camera’s minimalistic feel which is further emphasized with the body leathering, similar to that of the Leica SL. The gold-colored anodized finish of the Leica Summicron-M 35 f/2 ASPH. lens reinterprets the brass lens of the original “Ur-Leica” in a contemporary way. The unique aesthetic of the Leica M10-P “ASC 100 Edition” is also complemented by the ASC logo on the top plate. The combination of the included electronic viewfinder, M-PL-Mount Adapter, Cine Look pre-sets and aspect ratio options enables the use of the camera as a director’s viewfinder, making it an extraordinarily versatile and useful tool for filmmakers. And together with the Leica FOTOS App, location scouting can be made much easier, as results can be shared and discussed immediately with everyone involved in the filming project. The Leica M10-P “ASC 100 Edition” will be available in autumn 2019.
  15. RED Digital Cinema® will present a Masterclass featuring Oscar®-winner Guillermo Navarro, ASC at the upcoming BSC Expo in London. Navarro will be discussing his approach to cinematography in the digital age during the seminar that will take place Saturday, February 2, at 16.00. BSC Expo 2019 runs Feb. 1-2 at the Battersea Evolution. Navarro won the Academy Award® for Best Cinematography on Pan’s Labyrinth. His impressive credits also include Desperado, From Dusk Till Dawn, Jackie Brown, Hellboy, Night at the Museum, and Pacific Rim, among many others. He has worked in Hollywood since 1993 and is a frequent collaborator with Guillermo del Toro and Robert Rodriguez. Born and raised in Mexico City, Navarro was a still photographer in his native country before segueing into shooting documentaries and commercials, and directing television. Most recently, he completed principal photography on The Voyage of Doctor Doolitle, slated for release in 2020, using the RED HELIUM 8K S35 sensor. Over at Stand 334, RED will showcase its latest sensor technology, including the MONSTRO® 8K VV and GEMINI® 5K S35. MONSTRO is an evolutionary step in large-format sensor technology with improvements in image quality including dynamic range and shadow detail. GEMINI leverages dual sensitivity modes to provide creators with greater flexibility using standard mode or low-light mode. RED will also demonstrate a real-time 8K workflow using a new REDCODE RAW SDK powered by the NVIDIA QUADRO RTX 6000 GPU. By offloading the compute-intensive decoding and debayering of REDCODE RAW footage onto a single NVIDIA GPU, real-time play back, edit and color-grade of RAW 8K footage is possible. Additionally, RED will display its newest accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides an intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. The DSMC2 PRODUCTION MODULE mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount (DSMC2® Gold Mount will be available soon) and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It’s also available as a kit.
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