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Sue Smith

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  1. RED DIGITAL CINEMA® has released the new V-RAPTORTM [X] 8K VV and V-RAPTOR XL [X] 8K VV cameras with RED Global Vision, both are available today at RED.com or from any of RED’s authorized premium dealers. Featuring the acclaimed low-light performance, dynamic range, resolutions, high frame rates and form factor of its V-RAPTOR predecessor, the V-RAPTOR [X] introduces RED Global Vision, which includes an all new 8K VV global shutter sensor, enabling innovative features including Extended Highlights and Phantom Track. Additionally, the V-RAPTOR [X] and V-RAPTOR XL [X] systems offer increased exposure times, a further optimized optical cavity and improved audio performance. GLOBAL VISION RED Global Vision uses the global shutter sensor in V-RAPTOR [X] and V-RAPTOR XL [X] to open unprecedented capabilities. Global Vision’s Extended Highlights mode allows the camera to see color and detail into extreme highlights like never before, providing even softer and more subtle highlight roll-off when in uncontrollable environments, and an overall dynamic range of over 20 stops. Phantom Track dual-capture streamlines any virtual production environment employing GhostFrameTM or frame-remapping, capturing distinct R3D clips per LED wall view, as well as allowing for monitoring of either view live on-set over each SDI. The standard V-RAPTOR [X] is priced at $29,995, with the XL version at $44,995. THE NEW DSMC3 FLAGSHIP SYSTEMS The V-RAPTOR [X] compact body is built with the keystone features found in the original V-RAPTOR platform, now bolstered by newly engineered in-camera audio pre-amps and an optimized sensor cavity for improved contrast. The V-RAPTOR [X] has 2x 12G SDI’s, capable of unique monitoring views, a locking Canon RF style lens mount for rigid and flexible lens selection, and CFexpress Type B media for up to 800MB/s formats such as 8K at 120fps. The V-RAPTOR XL [X] is designed to support high-end television and motion picture productions, as well as storytellers requiring an elite all-in-one solution. It features dual-voltage battery support compatible with a wide range of common batteries found on set today, including both 14 V batteries and high-voltage 26 V V-Lock or Gold Mount options. A premier feature remains the built-in electronic ND which allows cinematographers to precisely select their density in 1/4, 1/3, and full-stop increments, providing unrivaled control of exposure and depth of field. The [X] sensor capabilities reach the exceptional frame-rate performance levels of the V-RAPTOR line even with its global shutter readout. Capturing 8K full sensor at up to 120 frames per second (150fps at 2.4:1), 6K up to 160 fps (200fps at 2.4:1), and 2K (2.4:1) at an incredible 600 frames per seconds. As with the other cameras in RED’s ecosystem, it harnesses RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW and leveraging RED’s latest IPP2 workflow and color management tools. "Ever since our sensor team cracked the code for a no-compromise global shutter sensor design in the original KOMODO, customers have been pushing us hard to bring our global shutter technology to our large-format sensors, and today we are happy to deliver beyond our wildest expectations” said RED Digital Cinema President Jarred Land. “We are very proud to not only be at the forefront of global shutter technology but also to be the first company delivering large format global shutter cameras to filmmakers. “Creating a global shutter sensor while maintaining dynamic range is almost impossible and then on top of that is the addition of an optional Extended Highlights mode. It shows we are pushing image processing far past the limits that were once believed and exceeding 20 stops of dynamic range. V-RAPTOR [X] and V-RAPTOR XL [X] are the result of years of incredibly difficult work internally by our world leading engineers and from the ongoing collaborative work with preeminent partners who bring invaluable experience and perspective to the process from cinema technology to virtual production, volumetric capture and live sports.” UPGRADE PROGRAM Along with the introduction of these groundbreaking cameras, RED remains committed to its filmmaker-first approach with upgrade programs available for current V-RAPTOR and V-RAPTOR XL owners to advance into the [X] systems featuring RED Global Vision. Current V-RAPTOR and V-RAPTOR XL owners can upgrade directly via RED. The upgrade program is priced at $12,500 for both V-RAPTOR 8K VV and V-RAPTOR XL 8K VV customers. “Fundamentally important sensor capabilities, Global Vision, internal ND filter, and improved audio, are all why the [X] camera is going to give storytellers in motion pictures and other high-end productions the images they desire," said RED Executive Vice President Tommy Rios. “We are thrilled to put these innovations into the hands of our users, and we are equally enthusiastic about our upgrade program for current DSMC3 V-RAPTOR and V-RAPTOR XL shooters, which should allow them to take advantage of these latest breakthroughs." BRAND NEW ACCESSORIES RED also announced all new accessories including the RED Compact EVF Pack and V-RAPTOR® Advanced V-Lock Plus & Gold Mount Adapter Plus battery adapters. The EVF Pack, currently available to order at $4,950 (standalone EVF: $3,450), is a single cable monitoring solution for all DSMC3 camera systems, featuring a 1080p micro-OLED display, and user assignable buttons to quickly access tools such as peaking and magnify or assignable to control the camera’s setting such as ISO, FPS and White Balance. The Advanced Adapter Plus, available soon for $1768, will be sold with the V-RAPTOR Tactical Top Plate and includes all new features including a 6-Pin DC-IN port for continuous power to camera and auxiliary power outputs for additional flexibility and use with external power sources. For more information on RED V-RAPTOR [X], V-RAPTOR XL [X], RED Compact EVF Pack, and additional accessories, visit RED.com or RED Premium Dealers. Filmmakers can also visit the RED Studios Hollywood Store location or any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products.
  2. RED DIGITAL CINEMA® will spotlight its latest technologies at IBC 2023 in Amsterdam from September 15-18. Attendees will have an opportunity to explore the entire lineup of RED camera systems as well as the latest cinema broadcast and IP-based workflow solutions including RED Connect throughout the duration of the show. RED’s latest update to the breakthrough RED Connect offering is the ability to easily output a standardized SMPTE ST 2110-22 JPEG-XS 4K 60P stream over IP networks. Productions can simply integrate RED into an IP broadcast environment with the help of NMOS camera discovery and management (AMWA), PTP synchronization (SMPTE ST 2059-2) and return video (SMPTE ST 2110-20) with VSF TR-08. In Matrox Video booth 7B15, RED will showcase this latest RED Connect feature in tandem with Matrox ConvertIP two-way SMPTE ST 2110 converters. ConvertIP is plug-and-play with RED Connect for easy setup and integration of RED Connect cameras into any ST 2110 environment. Accessing high quality RED Connect ST 2110 JPEG XS feeds is as simple as adding a ConvertIP unit and a monitor to any network port and automatically connecting using NMOS. ConvertIP effortlessly converts HDMI or SDI signals to and from ST 2110, bridging the gap between traditional baseband video workflows and IP-based transmission. With Matrox ConvertIP, broadcasters can reduce the cost of ownership, ease switching requirements, and gain baseband monitoring flexibility and redundancy. “Integrating RED’s cinematic image quality into low-latency broadcast has just become extremely simple,” said RED Vice President of Product Management Jeff Goodman. “Compliance with SMPTE ST 2110 enables direct-from-camera integration into IP broadcast systems — as easy as connecting the camera into the IP network. With our cameras’ advanced capabilities, you can also generate multiple outputs, allowing for a range of video feeds from a single source. This can take the form of intra-frame capture separated into different feeds, or multiple visual perspectives generated from within the full resolution the camera provides.” Additionally, compliance with SMPTE ST 2110 is enabling other manufacturers to integrate RED’s camera technology into their own products faster and easier. Mo-Sys will be demonstrating its TimeCam product, which achieves zero delay for remote camera operators using RED Connect based on NVIDIA CUDA and NVIDIA Rivermax for uncompressed video streaming over SMPTE ST 2110, at booth 7.C16. RED will also be demonstrating direct-to-cloud workflows using RED’s built-in S3 integration with AWS at booth 5.C90 and 4.C13. Conference goers can ensure an opportunity to experience RED Connect and all its newest enhancements, by emailing REDConnect@red.com to schedule a demo. Attendees can take advantage of many opportunities throughout the show to get up close and personal with the entire lineup of RED cameras. On the show floor will be RED's flagship V-RAPTOR XL 8K all-in-one and production-ready camera body, as well as the smaller and more modular V-RAPTOR system. Both are available with 8K VV or 8K S35 sensors. Additionally, the 6K global shutter-equipped KOMODO and KOMODO-X camera systems will be featured throughout IBC in standard cinema, virtual production, and live broadcast demonstrations. Experience the RED cameras in different configurations and witness their incredible capabilities in diverse settings at the following booths: PARTNER BOOTH AWS — 5.C90 and 4.C13 FUJINON — 12.B20 CMOTION — 12.G34 SIGMA — 12.G57 VOCAS — 12.D25 MRMC — 12.D20 ASUS — 3.D57 BRIGHT TANGERINE — 0.A11 MO-SYS — 7.C16 LG — 3.C48 SKAARHOJ — 11.A30 CYANVIEW — 10.D31 MATROX — 7.B15 2.G106b VIZRT — 10.A41 and 2.G106 To add RED Digital Cinema to your IBC Show Planner, go https://show.ibc.org/. For more information on RED Connect, RED V-RAPTOR XL, V-RAPTOR, or RED KOMODO or KOMODO-X, visit red.com.
  3. RED DIGITAL CINEMA® revealed its KOMODO-X camera today — the newest addition to RED’s popular KOMODO line of small form-factor 6K global shutter sensor cameras for cinema. KOMODO-X builds on the original KOMODO, multiplying frame rates and advancing dynamic range performance while expanding on the versatility of KOMODO. KOMODO-X features a next-generation 6K S35 Global Shutter sensor, expanding on the renowned KOMODO image performance with architecture improvements that allow for increased low-light performance and double the frame rates at 6K 80P and 4K 120P, making KOMODO-X an even more powerful tool for filmmakers across the industry. KOMODO-X is currently being offered in a limited-edition white ST beta version for $9,995 via RED.com or through any of RED’s premium resellers. The black production version of KOMODO-X will be available to order at the same price shortly after the ST beta program ends. The black production version of KOMODO-X will be sold with options for a pre-bundled starter pack or production pack. The KOMODO-X features improvements to seamlessly integrate into any professional workflow while still maintaining the legacy of the small KOMODO form factor at only 4”x4”x5” and 2.62 lbs. The new I/O array features 12G SDI, full-sized DC-IN, USB Type-C, and a phantom powered locking audio connector. In addition, an integrated 2.9” LCD allows for simplified control and image preview, and for even more precise monitoring, KOMODO-X also supports the direct-mounted DSMC3 7” Touch LCD. “We are excited to welcome the KOMODO-X into the new lineup of RED cameras, joining the original KOMODO and the rest of the DSMC3 family,” said RED President Jarred Land. “With its global shutter, increased frame rates and improved audio and power infrastructure, the KOMODO-X is our new all-around workhorse that fills a much-needed gap in our lineup between the 6K KOMODO and our mighty 8K V-RAPTOR.” The new system also shares many features with the flagship DSMC3 lineup, including compatibility with CFexpress, an integrated micro-V-Lock power plate, and a reinforced RF lens mount. The new micro V-lock power option allows for direct attachment of professional micro-V-Lock batteries without the need for adapters. Additional compatibility with the soon-to-be-released RED PRO I/O Module provides auxiliary power outputs and compatibility with full-sized batteries. The new module will be available when the production black version of KOMODO-X launches in V-lock or Gold Mount versions. In addition, a reinforced RF lens mount with locking mechanism on the KOMODO-X maintains the flexibility of switching between multiple lens mount types without a tool, while providing the stability and rigidity professionals need. KOMODO-X is fully compatible with /i PL lenses using the RED RF to PL adapters. Additionally, KOMODO-X provides a robust platform for shooters working in IP-based workflows. With integrated USB Type-C connection and built-in Wi-Fi, there are multiple options to remotely control the camera using RED Control or RED Control Pro, as well as IP media offloading using FTPS or in-camera cloud uploading functionality. KOMODO-X also supports frame-accurate PTP synchronization or tri-level genlock sensor sync with the ability to offset on the fly to support multi-camera LED volume productions. "We are looking forward to sharing the groundbreaking KOMODO-X with our community of filmmakers and partners,” adds RED Executive Vice President Tommy Rios. “This newest addition to the KOMODO family will be available globally through our network of premium dealers and respected rental houses or at RED.com. KOMODO-X, V-RAPTOR, V-RAPTOR XL, and KOMODO are an incredibly powerful and versatile lineup for filmmakers, and it is going to be exciting to see what the community of RED users continues to create with them.” KOMODO-X supports RED Connect, a licensed feature that allows for live broadcasting of 6K images directly from the camera over IP, expanding RED’s cinematic imagery into boundless new uses. RED also announced multiple new accessories that are compatible with the new KOMODO-X system and other cameras in the RED lineup. • REDVOLT NANO-V ($275) • RED Compact Top Handle provides a compact handle solution for KOMODO-X users ($539) • RED KOMODO and V-RAPTOR RF to PL with Electronic ND Filter Adapter Packs are compatible with either the KOMODO systems or V-RAPTOR and integrates the same precise electronic ND control used in the V-RAPTOR™ XL into a robust PL mount solution. ($3,500) • KOMODO-X is also compatible with many original generation KOMODO accessories, including KOMODO Wing Grip and Outrigger Handle. Customers can place orders starting today for the KOMODO-X ST, REDVOLT NANO-V batteries, RED Compact Top Handle, or the KOMODO or V-RAPTOR RF to PL w/ Electronic ND Filter Adapter Packs. The black KOMODO-X and its starter and production packs, the V-lock and Gold Mount versions of RED Pro I/O Module will all be available upon completion of the ST beta program. Stay in touch with RED social channels for more information on all the latest product releases.
  4. Picture Shop, Streamland Media’s picture division, has expanded and extensively renovated its Sunset and Seward picture post production facilities, both located in the heart of Hollywood. The innovative transformations further underscore Picture Shop’s commitment to provide filmmakers globally with first-in-class technology and unmatched talent. “We’ve invested millions of dollars to ensure that we have world-leading technology and optimum environments in place for color grading, editorial, and workflow management, with the goal of serving our clients at the highest level,” says Picture Shop President Cara Sheppard. “We’ve spent our time focusing on their needs, putting the industry’s most advanced tools in their hands, all in a beautiful and stylish environment that fuels creativity. The team has done an incredible job and I look forward to seeing our clients’ work take flight.” Picture Shop’s facility at 6040 Sunset Boulevard sits in 115, 000 square feet located over six floors at the Sunset Gower Studio lot. With five color bays and 11 edit rooms included in the expansion, the Sunset facility now offers filmmakers five first-class D.I. theaters, 13 color bays, 22 online edit rooms and 55 offline rental rooms in a purpose-built, contemporary setting. Architect Bruce Bolander brought his extensive experience in design for the post production industry to the assignment. The common spaces and meeting rooms were also modified to make for a reinvented client experience. Ghost VFX, Streamland Media’s visual effects division, and Picture Head, Streamland Media’s marketing division, are co-located at the Sunset complex, which enables powerful collaboration. The divisions are all securely connected to locations around the world with access to the company’s exceptional global talent pool. Production, operations and support teams will be based at the facility, offering 24/7 client assistance. The building is also Streamland Media’s global headquarters. Nearby, Picture Shop’s facility located at 861 Seward has also been newly renovated. Long recognized as an A-list color grading environment in a smaller, boutique setting, the locations feature two state-of-the art grading theaters with a third theater opening this spring. All have direct high-speed connectivity to the main Picture Shop facility at Sunset, as well as Picture Shop’s facility in Burbank. Production, operations, and support teams at the facilities will be able to offer 24/7 client assistance. Picture Shop’s recent credits include Oscar®-nominees The Fablemans, Guillermo del Toro’s Pinocchio, Women Talking and the upcoming The Little Mermaid. In addition to its Los Angeles facilities, Picture Shop locations include New York, Toronto and Vancouver with international locations in the UK that include London, Manchester, Bristol, Wales and at Pinewood Studios.
  5. RED DIGITAL CINEMA® will bring its latest innovations to the National Association of Broadcasters (NAB) Show April 15-19, including the RED Connect Module and RED Connect, a license-enabled feature that allows delivery of full resolution, live R3D video streaming via RED’s V-RAPTOR and V-RAPTOR XL camera systems. From cinema, virtual production and broadcast, to live events and sports, RED enables creators to complete their mission for incredible production. Conferencegoers can see the latest from RED throughout the NAB show floor, including: • B&H (Booth #C8317) Live Cinematic 8K with The Studio-B&H, in partnership with RED, HP and NVIDIA: The unique RED Connect live 8K workflow brings the power of R3D images to real-time 8K live output. This includes transferring a stream of 8K RAW files from the just-released RED Connect Module for V-RAPTOR cameras via a fiber connection to a high-performance HP Z8 Fury G5. An HP workstation will use a state-of-the-art NVIDIA RTX 6000 Ada to decode the stream and send live 8K images to an 8K display. Eliminate the need for traditional computing platforms: RED Connect will run in conjunction with an SNS/EVO storage server that will transcode R3D files to proxy codecs for direct access by any non-linear editing platform to the transcoded media. This eliminates the need for traditional computing platforms, creating an instant media networking environment and a one-of-a-kind workflow that is a revolution for incredibly efficient on-set workflows. • Magicbox (Booth #C8045) An interactive experience inside the world’s first mobile virtual production Superstudio™ with RED, Adobe, Pixera, SISU Cinema Robotics, DrivingPlates.com and Magicbox: Inside this unique, mobile LED volume, visitors will experience either a car process or a train process setup. Footage will be captured on RED KOMODO cameras mounted on SISU camera robots, then sent directly from camera to cloud using Adobe’s integrated software. Within moments, attendees will receive a message with a link to download an edited, shareable mini movie of their experience. • Microsoft (Booth #W1529) RED Connect and RED Connect Module Showcase: RED will highlight its innovative RED Connect and RED Connect Module in conjunction with Meta’s Open Video Pipeline (OVP) and Microsoft to enable the creation of an end-to-end live 8K60P streaming system for Meta Quest users and provide live streaming content producers unparalleled image quality and ease of use. OVP, a free and open-source reference, eliminates the need to use third-party cloud video infrastructure platforms for processing and packaging that degrade the quality and provides a full end-to-end signal flow design for 8k60+ live video streaming. With Microsoft, OVP can leverage the scalability, security, and reliability of the cloud to deliver high-quality video streams to end-users. A leader in digital cinema capture, RED’s V-RAPTOR, V-RAPTOR XL, KOMODO and the recently released RED V-RAPTOR S35 camera systems will be featured at various partner booths including B&H, ProTech (#C5350) and Videndum (#C5817). Launched last month, the new V-RAPTOR 8K S35 and V-RAPTOR XL 8K S35 features RED’s powerful, new S35 sensor with the same fast cinema-quality sensor scan time as its 8K VV counterpart. Twice as fast as previous generations, it maintains incredible dynamic range with 16.5+ stops and coverage for Super 35mm lenses. The V-RAPTOR XL 8K S35 also includes RED’s new integrated electronic ND system. Stay in touch with RED social channels for more information on exactly where you can check out a demo of RED Connect and other RED products at the 2023 NAB show. For more information on RED Connect, the RED Connect Module, V-RAPTOR or V-RAPTOR XL, visit RED.com or RED.com/RED-Connect or contact redconnect@red.com.
  6. RED DIGITAL CINEMA® has announced the availability of the RED Connect Module for RED’s V-RAPTOR and V-RAPTOR XL cameras. The new module allows users to unlock the capabilities of up to 8K live cinematic streaming via the groundbreaking RED Connect solution. RED Connect enables users the ability to real-time stream RAW R3D files direct from the V-RAPTOR and V-RAPTOR XL camera systems over IP to a camera control unit (CCU), opening an extraordinary range of creative applications from live broadcast to virtual production to true 8K VR. The RED Connect Module is a robust and turn-key solution for customers to access the wide-ranging capabilities of RED Connect. With a compact form-factor and easy connectivity, the module attaches securely to the back of the V-RAPTOR or V-RAPTOR XL via the camera’s V-Lock battery mechanism. The high-speed data connection is created by connecting the module to the camera’s CFexpress media slot. The module allows for live streaming of up to 8K at 120FPS or 4K at 240FPS, as well as all other frame rate and resolution combinations offered by the camera. It also supports simultaneous streaming and recording from the CCU. The module offers Genlock and timecode synchronization of multiple cameras using PTP (SMPTE ST 2059-2) and up to 10 Gbps connection via a single-mode LC connector. “We are extremely excited to officially launch RED Connect and the new module,” said Jeff Goodman, RED Digital Cinema vice president of Product Management. “Live streaming of full-quality R3Ds over IP at every resolution and framerate, combined with RED’s sensor capabilities, creates an entirely new paradigm for content creation and broadcast. In early release testing, our customers have been blowing us away by what they have been able to produce. We’re excited to see what’s next creatively now that RED Connect’s flexible, open ecosystem is available to take content creation to the next level.” The RED Connect system extends the camera’s capabilities in virtual productions and new production environments such as live XR. Users can simplify their camera setup by reducing SDI cables, timecode and genlock devices, and other connections to a single ethernet cable to reduce points of failure. In the world of XR, users can stream 8K 60p content straight from the camera to any end device. The increased resolution pushes the visual experience into an entirely new immersive world, especially when viewed in a VR headset environment. RED’s innovative partners, including COSM, Media.Monks, and NVIDIA, have been deploying and testing RED Connect and the module in real-world applications over the past 18 months. "The opportunity to leverage uncompressed 8K end-to-end presents a tremendous opportunity for broadcasters, filmmakers and immersive video in particular," notes Lewis Smithingham, Media.Monks SVP of Innovation. "Uncompressed 8K delivers on the promise of VR, and when combined with stereo lensing, produces a sense of presence never experienced before." For varying use cases, the RED Connect Module can be deployed by adapting the CCU design. The flexibility of the CCU allows for real-time AI processing using RED’s SDK and NVIDIA professional GPUs for graphic intensive workflows with complete SMPTE 2110 implementation or options for one to two frames of latency for 8K and 4K IP broadcast and everything in-between. The RED Connect Module is priced at $14,995, with RED Connect licenses available for one year or as a perpetual license. A one-month option will be available soon. Pricing for the RED Connect feature varies based on the length of licensing agreement. RED will showcase RED Connect with the module at the 2023 National Association of Broadcasters (NAB) show, including demonstrations of live streaming of 8K60P to VR headsets enabled by Microsoft and Meta at the Microsoft booth (#W1529). Stay tuned to RED.com and RED’s social media channels for more information on exactly where you can check out a demo of RED Connect and other RED products at the 2023 NAB show. For more information on RED Connect, the RED Connect Module, V-RAPTOR or V-RAPTOR XL, visit RED.com or RED.com/RED-Connect or contact redconnect@red.com.
  7. RED DIGITAL CINEMA® has officially announced the availability of the V-RAPTOR 8K S35 and V-RAPTOR XL 8K S35 featuring RED’s powerful, new S35 sensor. The new 8K S35 sensor has the same fast cinema-quality sensor scan time as its 8K VV counterpart, which is twice as fast as previous generations while maintaining incredible dynamic range with 16.5+ stops and coverage for Super 35mm lenses. The V-RAPTOR XL 8K S35 also includes RED’s new integrated electronic ND system, allowing for precise control of density in 1/4, 1/3, and full stop increments, providing never before seen exposure and depth of field control. “The V-RAPTOR and XL have produced some of the best imagery I’ve seen, and now that performance is available to the filmmakers who prefer the Super35 format,” says RED Digital Cinema President Jarred Land. “Not just from the users who love their vintage S35 lenses and the flexibility of 8K, but the shooters working in areas like wildlife filmmaking and broadcast television. We’re excited to start seeing what they create with the new S35 cameras.” RED had released a limited-edition beta V-RAPTOR RHINO 8K S35 in November of 2022, to support the amazing wildlife cinematography community who had been asking for a successor to the DSMC2 HELIUM workhorse. The V-RAPTOR 8K S35 and V-RAPTOR XL 8K S35 are available for order today directly via RED.com or through any of RED’s premium or authorized resellers. The standard V-RAPTOR 8K S35 is priced at $17,995 while the XL, which comes in either V-Lock or Gold Mount, is $34,995. Filmmakers now have even more choices when choosing the Super35mm format. V-RAPTOR 8K VV can capture Super35 in 6K, providing users with the flexibility of seamlessly switching between Large Format and Super35, or the new V-RAPTOR 8K S35 for 8K resolution with all Super35mm glass. By capturing the full 35 megapixels of 8K compared to the 20 megapixels of 6K, filmmakers gain the immense flexibility of 8K image capture while in the Super35mm format. The new systems serve a variety of productions –wildlife, live events, and traditional cinema. Wildlife and natural history shooters who often shoot hundreds of feet from their subjects will benefit from the V-RAPTOR 8K S35’s compact and flexible set-up while still allowing for wide-range zoom lenses. The S35 V-RAPTOR systems are a solution for broadcast productions striving for more cinematic imagery in final delivery. The new 8K S35 sensor provides shallower depth of field, slow-motion playback, and higher resolution in a format that supports the wide range of lenses required for live event coverage. Live 8K workflows using RED Connect — which is compatible with both V-RAPTOR and V-RAPTOR XL, unleashes the power of 8K in these environments, allowing for different framing to be pulled from a single camera position and controlled downstream for a more immersive production. As with the VV versions of these two cameras, they’ll be available in pre-bundled packs, which allow customers to get shooting right away. The standard V-RAPTOR is available in both a Starter Pack and V-Lock and Gold Mount versions of a Production Pack, while the V-RAPTOR XL is available in both V-Lock and Gold Mount versions of the Production Pack. For more information on RED V-RAPTOR XL 8K S35, or V-RAPTOR XL 8K S35, the pre-bundled packs, or other available accessories, visit RED.com or RED Premium Dealers. Filmmakers can also visit any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products. For more product information and additional technical specifications, visit RED.com.
  8. Details Are Unveiled for Highly Anticipated Supersession Program February 19, 2023 (Los Angeles, Calif.) – The Hollywood Professional Association (HPA) Tech Retreat has announced details for the 2023 Supersession, which will present an original, immersive look at the remarkable creative and technical accomplishments of Avatar: The Way of Water. Highlighting the people, companies and workflows that helped create and deliver James Cameron’s brilliant vision to the many screens optimized for this next-generation cinematic experience, the Supersession will take place over a full day on Tuesday, February 21, and will be presented in a theater specifically designed for the event. The HPA Tech Retreat is set for February 20-23 at the Westin Mission Hills Golf Resort & Spa in Rancho Mirage, CA. The Supersession promises to deliver an immersive experience — with incredible visuals and unparalleled insights — from the moment attendees walk into the theater through the last question at the end of the day. Attendees will experience the Supersession in a purpose-built theater, featuring 4K, 3D, high frame rate, RGB laser projectors as well as conventional Xenon projectors, designed by our team to meet the filmmakers’ rigorous standards. The day’s program will include the following: Introducing Avatar: The Way of Water The audience will experience filmmaker-selected scenes from the film in 3D that will provide context for the discussions that follow. Welcome HPA Supersession Chair Loren Nielsen will set the stage for the day. Making Avatar: The Way of Water Attendees will get a look at the breakthrough live-action cinematographic process used for the film, including 48 and 24 fps, 3D capture and astounding underwater cinematography. Panelists include: Russell Carpenter, ASC, Director of Photography (via live remote) Robin Charters, 3D Camera Systems Workflow Engineer Simon Marsh, Sony Venice Product Director Tashi Trieu, Colorist Moderator: Joachim Zell, HPA Board Member and HPA Engineering Awards Committee Chair Planning and Supporting the Vision: The Studio Perspective Studios are accustomed to delivering tentpole films, but Avatar: The Way of Water is no ordinary tentpole. This session will explore how the studio teams worked with filmmakers to understand the timeframes, logistics and planning process that delivered one of the most complex films ever made. The conversation will include: Kim Beresford, Vice President, Integrated Planning & Motion Pictures Operations, The Walt Disney Studios Leon Silverman, HPA Board Member and Past President Delivering the Vision Avatar: The Way of Water revolutionized countless aspects of its production. To deliver the many optimized versions of this film under extremely tight time constraints, the vendors and partners who supported the studio and filmmakers also broke new ground in delivering this film to theaters around the world. Participants will learn about the herculean efforts and new technologies used to deliver the film. Panelists include: Kim Beresford, Vice President, Integrated Planning & Motion Picture Operations, The Walt Disney Studios Mark Arana, Vice President, Product Management, The Walt Disney Studios Bryce Alden, Vice President, Cinema Technology Worldwide, Deluxe Rich Welsh, Senior Vice President, Innovation, Deluxe Jon Gardner, Chief Operating Officer, Eikon Group Sean Romano, Senior Vice President, Eikon Group Andy Scade, Senior Vice President & General Manager, Worldwide Digital Cinema Services, Pixelogic Moderator: Loren Nielsen, HPA Supersession Chair Coming Up for Air: The Wrap Up of What We Learned Today At the end of what is expected to be an extraordinary day, Loren Nielsen and Leon Silverman will moderate a discussion of the audience’s takeaways. Nielsen, who leads the 2023 Supersession committee, commented “From the very outset of planning the Supersession, there was no film or topic as compelling as the creative technology and innovation behind Avatar: The Way of Water. Understanding how this gargantuan project was planned, managed and executed its creative vision is the sort of topic we love to get our heads around at the HPA Tech Retreat. It’s complex, beautiful, challenging and revolutionary. It’s an absolute honor to work with the team behind the scenes of delivering this movie.” The HPA Tech Retreat is known as the pre-eminent gathering of industry-leading thinkers and innovation-focused companies engaged in the creation, management and dissemination of content, bringing together a world-class roster of well-known and emerging leaders in engineering, technology, creativity and business. Further information regarding Tech Retreat sessions, activities, and participants can be found here. The HPA Tech Retreat benefits from the generous support of diamond title sponsor Adobe; platinum sponsors AMD, AWS, and NetApp Berkeley Communications; after party sponsor Ateliere; connectivity sponsor Sohonet; gold sponsor Blackmagic Design; silver sponsors 6P Color, Unreal Engine, NTC, HammerSpace, Keycode Media, and Puget Systems; event sponsors ARRI, Dell Technologies, Like Minded Media Ventures, Panavision, and Signiant; bronze sponsor ZEISS; and star sponsor Avid. Sponsors of the Supersession are Barco, Christie, GDC, and RealD 3D.
  9. Picture Shop, Streamland Media’s picture division, announced that renowned artist Natasha Leonnet has joined its talent roster as a senior colorist. Leonnet, who earned an HPA Award for her contribution to “Spider-Man: Into the Spider-Verse,” brings over 20 years of finishing experience on award-winning features and episodics. “We are thrilled to welcome Natasha to the Picture Shop family,” says Picture Shop President Cara Sheppard. “She is a powerful addition to our exceptional team of artists. Bringing Natasha onboard further bolsters our commitment to offering filmmakers a roster of world class creative talent.” Leonnet most recently collaborated with Polly Morgan, ASC BSC on Columbia Pictures’ acclaimed feature “Where the Crawdads Sing” and with cinematographer John Guleserian on Universal Pictures’ “Cocaine Bear” and on Apple TV’s “Platonic.” Last year, her work could also be seen in Disney’s “Hocus Pocus 2” (DP Elliot Davis), Universal Pictures’ “Bros” (DP Brandon Trost), and Bleecker Street Media’s “Breaking” (DP Doug Emmett). In addition to her HPA Award win, Leonnet has received HPA Outstanding Color Grading nominations for her work on “Billie Eilish: Happier than Ever” (2022), “Candyman” (2021), “Mulan” (2020), “First Man” (2018), “Hidden Figures” (2016), “Whiplash” (2014), “Labor Day” (2013), “Love & Other Drugs” (2010), “Get Low” (2009), and “Defiance” (2009). She has compiled over 100 credits which include such notable titles as “Black Bird,” “La La Land,” “Sin City,” “Juno,” “Blood Diamond,” “Life Aquatic with Steve Zissou,” “Up in the Air,” “Star Wars: Episode II,” and the remaster of George Lucas’ “THX 1138,” among others. “I’m excited to be joining the talented group at Picture Shop,” says Leonnet. “I love being part of the storytelling community and look forward to collaborating with the global Picture Shop team to support filmmakers in pursuit of their vision.” Leonnet fell in love with filmmaking at early age and pursued her passion at Brown University where she earned a BA in Media/Culture. She got her start in Germany on commercials and music videos, then worked on features in Denmark, after which she was ILM’s first digital intermediate colorist. Most recently, she was a supervising colorist at Company 3. Leonnet will be based out of Picture Shop’s Sunset facility in Los Angeles and available via the company’s global network. Additionally, a custom grading environment is being built for Leonnet, equipped with Resolve, in Picture Shop’s Seward facility, also located in Los Angeles. Picture Shop’s global locations include Los Angeles, New York, and Atlanta in the U.S.; Toronto and Vancouver in Canada; and London, Manchester, Bristol, and Wales in the U.K. Picture Shop also has dailies outposts in U.S. production hubs, including Austin, Atlanta, New Orleans, and Albuquerque.
  10. BURBANK, California (December 7, 2022) — FotoKem has announced that two talented final colorists, Jesús Borrego and Ara Thomassian, have joined FotoKem’s Keep Me Posted (KMP). Los Angeles native Borrego grew up loving art and photography, originally setting his sights on a career in music recording. After earning his degree in Sound Engineering, he made the shift to post production, handling film dailies at Technicolor Hollywood. While there, he became a color assistant, and learned the craft of color grading from senior colorists. Most recently, Borrego has worked as a colorist at Warner Bros. and Light Iron/Panavision. His recent credits include numerous features for Blumhouse (The Visitor, There’s Something Wrong with The Children, and Unseen), and episodic tv such as Crypt TV’s Stereoscope and Sacrifice for BET+. His previous credits include Bosch: Legacy (associate colorist) and Halt and Catch Fire (pre-colorist). Thomassian has over a decade of experience in color grading and is a member of the Colorist Society International. His recent credits include the documentaries Women in the Front Seat and Zero Gravity, with additional color credits spanning such diverse titles as Empire, Bosch, Next, American Horror Story, What We Do in the Shadows, and the Deadwood movie. Borrego and Thomassian join a roster of talented artists, producers and technologists based at KMP in Burbank. The FotoKem family of companies includes Keep Me Posted, L.A. Studios, Margarita Mix Hollywood, and Margarita Mix Santa Monica. Headquartered in Burbank, FotoKem also has facilities in Atlanta and New Orleans.
  11. New Categories Include Outstanding Color Grading, Editing, and Sound for Documentary/Nonfiction and Outstanding Supporting Visual Effects The HPA Awards Committee has announced nominees for the 2022 HPA Awards creative categories. Recognized as the standard bearer for creative accomplishment and technical innovation, the HPA Awards honor outstanding achievement and artistic excellence by both individuals and teams. This year’s categories have been expanded to include Outstanding Color Grading, Editing, and Sound for Documentary/Nonfiction and Outstanding Supporting Visual Effects. The awards will return to the historic Hollywood Legion Theater for the second year on November 17, when the winners of the creative category honors will receive their awards in person. Tickets for the event are now on sale for HPA members and nominees at hpaonline.com. Launched in 2006, the HPA Awards creative categories recognize outstanding achievement in color grading, editing, sound, and visual effects for work in episodic, spots, and feature films. The 2022 HPA Awards Creative Category nominees are: Outstanding Color Grading – Theatrical Feature Sponsored by Picture Shop “The Batman” David Cole // FotoKem “Dune” David Cole // FotoKem “Nightmare Alley” Stefan Sonnenfeld, Adam Nazarenko // Company 3 “No Time to Die” Matt Wallach // Company 3 “Top Gun: Maverick” Stefan Sonnenfeld, Adam Nazarenko // Company 3 Outstanding Color Grading – Episode or Non-Theatrical Feature Sponsored by Picture Shop “1883 – 1883” Mitch Paulson // Company 3 “Better Call Saul – Carrot and Stick” Keith Shaw // Keep Me Posted “Billy the Kid – The Rattler” Mark Kueper // Picture Shop “The Marvelous Mrs. Maisel – How Do You Get to Carnegie Hall?” Steven Bodner // Picture Shop “Yellowstone – Half the Money” Bob Festa // Company 3 Outstanding Color Grading – Documentary/Nonfiction Sponsored by Picture Shop “Billie Eilish: Happier Than Ever” Natasha Leonnet // Company 3 “DIO: Dreamers Never Die” Frederik Bokkenheuser // Picture Shop “Harry Potter 20th Anniversary: Return to Hogwarts” John Persichetti // Picture Shop “Our Great National Parks – A World of Wonder” Dan Gill // Picture Shop “The Rescue” Stefan Sonnenfeld, Andrew Geary // Company 3 Outstanding Color Grading – Commercial Sponsored by Picture Shop Amazon – “Kindness, the greatest gift” Damien Vandercruyssen // Harbor Mango – “A Mediterranean Dream” Joseph Bicknell // Company 3 O2 – “The Everyhome” Fernando Lui // Marla Colour Grading Qantas – “I Still Call Australia Home” Mark Gethin // TRAFIK Zara – “Man Spring/Summer 2022” Tim Masick // Company 3 Outstanding Editing – Theatrical Feature Sponsored by Blackmagic Design “Belfast” Úna Ní Dhonghaíle, ACE “Encanto” Jeremy Milton, ACE “No Time to Die” Tom Cross, ACE, Elliot Graham, ACE “Tick, Tick... Boom!” Myron Kerstein, ACE, Andy Weisblum, ACE “Top Gun: Maverick” Eddie Hamilton, ACE Outstanding Editing – Documentary/Nonfiction – Theatrical Feature Sponsored by Blackmagic Design “Flee” Janus Billeskov Jansen “How to Survive a Pandemic” Tyler H. Walk, Adam Evans “The Janes” Kristen Huntley “Lucy And Desi” Robert A. Martinez “Navalny” Langdon Page, Maya Daisy Hawke “Summer of Soul” Joshua L. Pearson Outstanding Editing – Episode or Non-Theatrical Feature (30 Minutes and Under) Sponsored by Blackmagic Design “Barry – 710N” Franky Guttman “Barry – starting now” Ali Greer “Before Dawn, Kabul Time” Shannon Albrink “Fast Foodies – Nikki Glaser” Jason Le, Nathan Belt “Hacks – The One, The Only” John Daigle Outstanding Editing – Episode or Non-Theatrical Feature (Over 30 Minutes) Sponsored by Blackmagic Design “Black Bird – The Place I Lie” Rob Bonz “Moon Knight – The Goldfish Problem” Cedric Nairn-Smith “Severance – The We We Are” Geoffrey Richman, ACE “Stranger Things – Chapter Four: Dear Billy” Dean Zimmerman, ACE, Casey Cichocki “Succession – The Disruption” Brian Kates Outstanding Editing: Documentary/Nonfiction – Episode or Non-Theatrical Feature Sponsored by Blackmagic Design “Dean Martin: King of Cool” Tom Donahue “Harry Potter 20th Anniversary: Return to Hogwarts” Simon Bryant, Jim Clark, Will Gilbey, Jacob Proctor, Pablo Noé, Lior Linevitz-Matthews, James Collett, Bill DeRonde, Asaf Eisenberg, Tim Perniciaro “Prehistoric Planet – Coasts” Richard Ketteridge “Selena + Chef – Kwame Onwuachi” James Ciccarello, Blake Maddox “Spring Awakening: Those You’ve Known” Joshua L. Pearson Outstanding Sound – Theatrical Feature Sponsored by DTS “The Batman” William Files, Douglas Murray, Lee Gilmore, Chris Terhune // Pacific Standard Sound Andy Nelson // Warner Bros. Post Production Services “Dune” Mark Mangini, Theo Green, Doug Hemphill, Ron Bartlett, Mac Ruth // Formosa Group “Elvis” Wayne Pashley, Jamieson Shaw, David Lee // Big Bang Sound Design Andy Nelson, Michael Keller // Warner Bros. Post Production Services “Encanto” Shannon Mills, Nia Hansen, David E. Fluhr, CAS, Gabriel Guy, CAS Paul McGrath, CAS // Walt Disney Animation Studios “The Matrix Resurrections” Dane Davis, Stephanie L. Flack, Lars Ginzel, Matthias Lempert, Frank Kruse, Barry O’Sullivan // Warner Bros. Post Production Services Outstanding Sound – Episode or Non-Theatrical Feature Sponsored by DTS “Barry – 710N” Sean Heissinger, Matthew E. Taylor, Rickley Dumm // Warner Bros. Post Production Services Elmo Ponsdomenech, Teddy Salas // Sony Pictures Entertainment “Baymax! – Kiko” Shannon Mills, Cameron Barker, David E. Fluhr, CAS, Paul McGrath, CAS Kendall Demarest // Walt Disney Animation Studios “Candy – The Fight” Mark Binder, Elliot Hartley, Trevor Cress // IMN Creative “Euphoria – Stand Still Like the Hummingbird” Wylie Stateman, Anne Jimkes-Root, Austin Roth, Beso Kacharava, Bryant Fuhrman // 247SND “The Sandman – 24/7” Aaron Glascock, Christopher S. Aud, Curt Schulkey, Albert Gasser, Walter Spencer // Warner Bros. Post Production Services Outstanding Sound – Documentary/Nonfiction Sponsored by DTS “Becoming Cousteau” Tony Volante, Daniel Timmons // Harbor “The Biggest Little Farm: The Return” Sue Gamsaragan Cahill, Keith Rogers, Steve Bucino, Johanna Turner, Jane Boegel-Koch // NBCUniversal StudioPost “Endangered” Lewis Goldstein, Bennett Kerr, Jerell Suelto, Linzy Elliott, Alfred DeGrand // Parabolic “Prehistoric Planet – Freshwater” Richard Lambert // Films at 59 “The Princess” Andrew Stirk, Jack Cheetham, Simon Gershon, Mike Grimes // The Project Post Ltd Outstanding Visual Effects – Theatrical or Non-Theatrical Feature “The Batman” Dan Lemmon, Russell Earl, Anthony Smith, Malcolm Humphreys, Michael James Allen // Industrial Light & Magic “Doctor Strange in the Multiverse of Madness” Joel Behrens, Alexandre Millet, Kazuki Takahashi, Juan Pablo Allgeier, Bryan Smeall // Digital Domain “Doctor Strange in the Multiverse of Madness” Julian Foddy, Jan Maroske, Koen Hofmeester, Sally Wilson, John Seru // Industrial Light & Magic “Encanto” Scott Kersavage, Erin V. Ramos, David Hutchins, Christopher Hendryx // Walt Disney Animation Studios “No Time to Die” Mark Bakowski, Bruno Baron, Rob Shears, Steve Ellis, Denis Scolan // Industrial Light & Magic Outstanding Visual Effects – Episode or Series Season “The Book of Boba Fett – Complete Season” Richard Bluff, Abbigail Keller, Paul Kavanagh, Peter Demarest // Industrial Light & Magic Bobo Skipper // Important Looking Pirates VFX “Foundation – Season One” Danilo Ivanisevic, Anthony Mimoz, Matthieu Bidault, Maxime Laroche, Lee Brunet // Rodeo FX, Inc. “Foundation – Season One” Adica Manis, Chris MacLean, Mike Enriquez // Apple TV+ Chris Keller, Jess Brown // DNEG “Obi-Wan Kenobi – Complete Season” Patrick Tubach, Pablo Helman, Eddie Pasquarello, David Shirk, Christopher Balog // Industrial Light & Magic “Prehistoric Planet – Deserts” Elliot Newman, Kirstin Hall, Seng Lu, Matt Marshall, Andy Hargreaves // MPC “Stranger Things – Season Four” Julien Hery, Antoine Sitruk, François Couette Karim El-Masry, Philip Harris-Genois // Rodeo FX, Inc. Outstanding Supporting Visual Effects – Episode or Series Season “Love, Death & Robots – Night of the Mini Dead” Thomas Hullin, Josianne Côté, Tim Emeis, José Maximiano // Rodeo FX, Inc. “The Morning Show – My Least Favorite Year” Zsolt Poczos, Gary Romey, Jeremy Renteria, Sean Roth, Chris Stark // FuseFX “See – Rock-a-Bye” Chris Wright, Parker Chehak, Scott Riopelle Javier Roca // El Ranchito Tristan Zerafa // Pixomondo “Severance – Season One” Vadim Turchin, Nicole Melius, David Piombino, David Rouxel, Sean R. Findley // The Mill “The Terminal List – Transience” Jon Massey, Anthony Ceccomancini, Tom Reeder // Amazon Studios Josephine Noh // FuseFX Lawson Deming // Barnstorm VFX Winners of the coveted Engineering Excellence Award were previously announced and include Amazon Web Services for Color in the Cloud; Arri for REVEAL Color Science; LG Electronics for LG UltraFine Pro OLED Monitor; and Mo-Sys Engineering for LED Key. The HPA Lifetime Achievement Award will be presented to Kim Waugh, Executive Vice President Worldwide, Post Production Creative Services, Warner Bros. Discovery at the HPA Awards gala. The HPA Awards are made possible through the generous support of diamond title sponsor Blackmagic Design; award category sponsors DTS and Picture Shop; cocktail reception sponsors Fuse FX, Light Iron, and ZEISS; registration sponsor Creative Solutions; dessert reception sponsors Bubble Agency, MediaSilo, and Warner Bros. Post Production Creative Services Worldwide; and supporting sponsors Avid, AWS, Colorist Society, and Sohonet. HPA thanks its industry partners the American Society of Cinematographers, American Cinema Editors, and Cinema Audio Society for their collaboration on craft categories. HPA thanks judging hosts Fotokem, Pixelogic, and Deluxe Digital Cinema for use of their facilities. For sponsorship or program advertising opportunities, contact Joyce Cataldo at jcataldo@hpaonline.com. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com.
  12. RED DIGITAL CINEMA® officially announced the availability of the new V-RAPTOR XLTM 8K VV camera today during a livestream event. The V-RAPTOR XL system expands on the most advanced RED® camera platform ever, leveraging the current flagship V-RAPTOR 8K VV + 6K S35 multi-format sensor inside of a large-scale-production ready XL camera body. The all-new unified XL body is designed to support high-end television and motion picture productions. The V-RAPTOR XL features the same groundbreaking multi-format 8K sensor found inside the compact and modular V-RAPTOR body, allowing filmmakers to shoot 8K large format or 6K S35. Shooters have the ability to always capture at over 4K, even when paired with S35 lenses. The sensor boasts the highest recorded dynamic range and cleanest shadow performance of any RED camera. The V-RAPTOR sensor scan time is 2x faster than any previous RED camera and lets users capture up to 600 fps at 2K. The V-RAPTOR XL continues to feature RED’s proprietary REDCODE RAW codec, allowing cinematographers to capture 16-bit RAW, and leverage RED’s latest IPP2 workflow and color management. As with the RED KOMODO 6K and standard V-RAPTOR system, V-RAPTOR XL will continue to use the updated and streamlined REDCODE® RAW settings (HQ, MQ, and LQ) to enhance the user experience with simplified format choices optimized for various shooting scenarios and needs. The new XL system features an internal electronic ND system of 2 to 7 stops with precision control of 1/3 or 1/4 stop increments. It has dual-power options with both 14V and 26V battery compatibility, an interchangeable lens mount, wireless timecode, genlock, and camera control for remote and virtual production readiness. The XL incorporates a fully robust and integrated professional I/O array with front-facing 3G-SDI, 2-Pin 12V and 3-Pin 24V auxiliary power outputs, and a GIG-E connector for camera control and PTP synchronization. The unified XL system packs all of the above into a 7.5”x 6.5” body, weighing just under 8 pounds. “The XL is one of the most innovative cameras we’ve launched, and I’m excited to get it into filmmakers’ hands,” says Jarred Land, RED Digital Cinema president. “The XL builds off our mighty V-RAPTOR and adds more outputs, additional power flexibility and an incredible internal ND system. The entire RED team is so proud of the advancements this brings to cinematographers, and we can’t wait to see what they create.” The standalone camera system is available in both V-Lock and Gold Mount options and is priced at $39,500. The pre-bundled and ready-to-shoot Production Pack, also available now, is $49,995. The Production Pack includes: • V-RAPTOR XL camera system • DSMC3 RED Touch 7.0” LCD Monitor with DSMC3 RMI Cable (18”) and Sunhood • REDVOLT XL-V (or XL-G) Batteries RED Compact Dual V-Lock or Gold Mount Charger • RED Pro CFexpress 2TB cards and card reader • V-RAPTOR XL Top Handle with extensions • V-RAPTOR XL Riser Plate • V-RAPTOR XL Top and Bottom 15mm LWS rod support brackets • DSMC3 RED 5-pin to Dual XLR adapter RED worked closely with industry-leading partners such as Angelbird, Core SWX, and Creative Solutions to produce the purpose-built accessories included in the Production Pack, a majority of which will be available to order individually via RED or any authorized RED dealer. Director Zack Snyder, currently shooting his latest film with the V-RAPTOR sensor, got an early look at the new XL system. “The V-RAPTOR XL has everything we need,” notes Snyder. “We already knew the V-RAPTOR sensor produces great images, but with the added features that come with the XL, we're even more excited. The internal ND system has an amazing benefit to our production methodology. We're shooting wide open all the time, so that is just vital. The XL is an amazing studio camera. With technology like this, there are no excuses left, now it’s on you.” Additional features include intelligent focus options such as a phase-detect autofocus system. The XL’s all-new three-stage cooling system with thermoelectric heat exchanger will more effectively maintain sensor temperature in extreme environments. The new system also has continued wireless remote control via the free RED Control or the RED Control Pro apps. “We’re eager for filmmakers and our partners to get the V-RAPTOR XL system and see what it is capable of,” adds RED Executive Vice President Tommy Rios. “This expansion of the V-RAPTOR program, which is already the most powerful and advanced RED camera platform ever, will be available through our network of premium dealers and at the most recognized rental houses globally. Filmmakers can also purchase V-RAPTOR XL at red.com while being assisted by RED specialists. V-RAPTOR XL is a great addition to our already powerful lineup that includes V-RAPTOR and KOMODO.” For more information on RED V-RAPTOR XL 8K VV, or V-RAPTOR XL Production Pack, and the available accessories, visit red.com or RED Premium Dealers. Filmmakers can also visit any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products. For more production information and additional technical specifications, visit RED.com.
  13. Top Honors Go to Amazon Web Services, ARRI, Inc., LG Electronics, and Mo-Sys Engineering August 11, 2022 (Burbank, CA) – The Hollywood Professional Association (HPA) Awards Committee has announced the winners of the 2022 HPA Award for Engineering Excellence. The awards will be bestowed at this year’s HPA Awards gala on November 17 at the Hollywood Legion in Hollywood, CA. The HPA Awards recognize creative artistry and innovation in the professional media content industry. A coveted and highly competitive honor, the Engineering Excellence Award rewards outstanding technical and creative ingenuity in media, content production, finishing, distribution, and archive. Submissions for the Engineering Excellence Award include a video presentation, followed by interviews with a distinguished panel of industry judges. HPA Awards Engineering Committee Chair Joachim Zell said, “The pace of innovation in our industry continues unchecked! This year, we received more submissions for Engineering Excellence consideration than ever before. It’s gratifying to see this record number of submissions, driven by a deep understanding of the true needs and desires of our industry, laying the groundwork for future progress even as they launch us ahead in the moment. Congratulations to the winners, and our deep respect for all of the entrants, who have contributed to the continued evolution of our industry.” The winners of the 2022 HPA Award for Engineering Excellence are: Amazon Web Services: Color in the Cloud Leveraging JPEG-XS, signals are compressed to be suitably transmitted over AWS Direct Connect, AWS VPN or the open internet while maintaining lossless or uncompromised image quality, resulting in a viable and scalable solution for high fidelity, visually lossless color from a cloud provider. Arri: REVEAL Color Science The ALEXA 35 REVEAL Color Science reveals improved dynamic range, color gamut, and superior rendering of skin tones and subtle colors. It separates looks from display transforms, to support dual monitoring of HDR and SDR on set, enabling more efficient grading for multiple deliverables in post production. LG Electronics: LG UltraFine Pro OLED Monitor The UltraFine OLED Pro EP950 reference grade HDR monitor meets color critical needs for content creation in cost-effective small-formats (32in & 27in). The RGB additive OLED UHD panel delivers close to 100% AdobeRGB and P3 coverage with peak luminance of up to 700 nits at 25% APL (HDR mode) and 250 nits full-field white. In-monitor 1D LUTs, 3D LUTs and 3x3 matrices allow accurate user calibration with Calman or LG software. Mo-Sys Engineering: LED Key LED Key makes VP filming affordable by allowing wide shot capture on small LED walls. Virtual Production LED wall based filming is great for mid and close up shots, but wide shots required set builders to build floor and wall extensions or huge LED walls, which increases cost and time. LED Key allows filming with much smaller walls or even projectors, enabling greater location flexibility for filmmakers. Four technologies followed closely, earning honorable mention: Carl Zeiss SBE, LLC (ZEISS CinCraft Mapper), Frame.io (Camera to Cloud), Glassbox Technologies (DragonFly virtual camera) and LucidLink (Filespaces). The Engineering Excellence Award will be presented at the HPA Awards gala on November 17th. Other special awards include the Judges Award for Creativity and Innovation, and The Jury Award for Restoration and Preservation. Kim Waugh, Executive Vice President of Worldwide Post Production Creative Services, will receive HPA’s Lifetime Achievement Award. Creative artistry will be recognized in fifteen categories, which includes new honors for nonfiction post production. HPA Awards tickets are currently available to HPA members only at hpaonline.com. Tickets sales will open to the general public in the coming weeks. The HPA Awards are made possible through the generous sponsorship of Awards Diamond Title Sponsor Blackmagic Design; category sponsors DTS and Picture Shop; cocktail sponsors Fuse FX, Light Iron, and ZEISS; registration sponsor Creative Solutions; dessert reception sponsors Bubble Agency and Warner Bros. Post Production Creative Services Worldwide; and supporting sponsors Avid and Sohonet. For sponsorship or program advertising opportunities, contact Joyce Cataldo at jcataldo@hpaonline.com. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com.
  14. Call for Entries for Creative Categories Now Open June 2, 2022 (Burbank, CA) – The 2022 Hollywood Professional Association (HPA®) Awards call for entries for creative categories has opened with dedicated categories for color grading, editing, and sound in documentary nonfiction. Submissions will be accepted until July 29. The only awards event encompassing the incredible breadth of talent behind the beauty and spectacle of media and entertainment, the HPA Awards are approaching two decades of recognition as the standard bearer for artistry behind the screen. This year, outstanding work in color grading, editing, and sound in documentary nonfiction (both features and episodic) will be recognized in its own categories, joining color grading, editing, sound, and visual effects in feature film, episodic, and commercials. Judged by experts and artists at the top of their careers, the HPA Awards commend the most compelling and important work from around the world. The HPA Awards will return to the Hollywood Legion Theatre on November 17. Details for the event will be revealed in coming weeks. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 8, 2021 through September 6, 2022. Membership in the Hollywood Professional Association is not required, and work from outside of the United States is encouraged. Submissions are now being accepted in the following competitive categories: Outstanding Color Grading – Theatrical Feature Outstanding Color Grading – Episode or Non-Theatrical Feature Outstanding Color Grading – Documentary/Nonfiction Outstanding Color Grading – Commercial Outstanding Editing – Theatrical Feature Outstanding Editing: Documentary/Nonfiction – Theatrical Feature Outstanding Editing – Episode or Non-Theatrical Feature (30 Minutes and Under) Outstanding Editing – Episode or Non-Theatrical Feature (Over 30 minutes) Outstanding Editing: Documentary/Nonfiction – Episode or Non-Theatrical Feature Outstanding Sound (Design, Editing, Mixing) – Theatrical Feature Outstanding Sound (Design, Editing, Mixing) – Episode or Non-Theatrical Feature Outstanding Sound (Design, Editing, Mixing) – Documentary/Nonfiction Outstanding Visual Effects – Theatrical or Non-Theatrical Feature Outstanding Visual Effects – Episode or Series Season Outstanding Supporting Visual Effects – Episode or Series Season This year, the HPA Awards will also honor restoration with the new award for Outstanding Achievement in Restoration, a juried honor which draws attention to work from our industry that preserves our cultural heritage and enlivens our experience. Seth Hallen, HPA President and a founding member of the HPA Awards Committee, said: “As the HPA Awards have matured, we have seen the need to differentiate documentary nonfiction work from scripted. These new categories are in direct response to a significant industry trend, but also to our audience of creatives, who have submitted and promoted this category over the years. At the same time, we see such tremendous work being done in the field of restoration and preservation, and the value of that work to our industry is undeniable. It’s thrilling to announce these additional awards as we open the call for entries for creative categories for the 2022 HPA Awards. This year, as we continue to return to in-person celebration, I look forward to being together again to honor, connect, and enjoy a spectacular event.” The call for entries for the HPA Engineering Excellence Award, honoring products and processes representing outstanding technical and creative ingenuity in media, content production, finishing, distribution, and archive, opened last month and submissions will be accepted until June 24, 2022. The HPA Judges Award for Creativity and Innovation, a juried award, will be announced in advance of the gala. Both special awards, as well as the new award for Outstanding Achievement in Restoration, will be bestowed during the HPA Awards gala. The HPA Awards are made possible through the generous sponsorship of Awards Diamond Title Sponsor Blackmagic Design, sound category sponsor DTS, cocktail reception sponsors Fuse FX and ZEISS, and supporting sponsors Avid and Sohonet. For sponsorship or program advertising opportunities, contact Joyce Cataldo at jcataldo@hpaonline.com. Complete rules, guidelines and entry information for the creative categories and all of the HPA Awards, as well as a list of previous winners, are available at hpaonline.com.
  15. Sohonet, the Emmy®-winning global experts in connectivity, media services and network security for the media and entertainment industry, is introducing ClearView Flex Glow; the ultimate real-time remote collaboration solution featuring High Dynamic Range (HDR) color for creatives at the 2022 Hollywood Professional Association (HPA) Tech Retreat. “Adding HDR to our streaming capabilities gives filmmakers a new set of creative choices for their workflows”, says Sohonet CEO Chuck Parker. “ClearView Flex Glow opens up a whole new way of storytelling with a depth of color experienced in real-time, giving creators a superior ‘over-the-shoulder’ viewing experience.” First in the market, ClearView Flex Glow supports HDR streaming in real time with ultra-low latency, 5.1 surround sound audio. Glow provides storytellers with sub-100 ms remote live streaming capability, with up to 40 viewers in live review with ‘rock solid’ frame rate, color and audio accuracy including HDR. It supports HD and 2K DCI resolution in Rec 709, P3 and Rec 2020 color space with 10-bit color depth for capture and viewing. Currently, Glow supports HDR on multiple devices including the iPad Pro and iPhone 12/13. Support for Apple TV will be available soon. ClearView Flex Glow, and the entire ClearView family of products offer studio grade security and are regularly audited by industry approved third-party security auditors. Security is built in at every level including end-to-end encryption with air-gapped security for pre-release workflows. Sohonet, a sponsor of the HPA Tech Retreat in Palm Springs, Calif. (Feb. 21 -24), will spotlight Clear View Flex Glow for the first time during the Tech Retreat at the Innovation Zone. For more information about Sohonet ClearView Flex Glow, visit www.sohonet.com
  16. From Ireland to Space and Stops in Between, RED Is Behind the Scenes The Giant Screen Cinema Association (GSCA) Film Expo opened this week with a number of compelling films screening for attendees that originated on RED cameras. Continuing its leadership in natural history filmmaking, RED is proud to have supported the filmmakers behind 13 of the seventeen films being presented in the New Films category, including: Ancient Caves Antarctica Astronaut: Ocean to Orbit Cephalopods: Aliens of the Deep Into America’s Wild Ireland Ocean’s Odyssey Secrets of the Sea Serengeti The Secret World of Fungi The Arctic: Our Last Great Wilderness The Last Glaciers The Search for Snow. “We feel privileged that these talented filmmakers chose RED cameras to tell these important stories,” says Brian Henderson of RED Digital Cinema. “We want storytellers to know they don’t have to compromise their vision, and if their story needs to be big, there is no better option for high resolution than RED.” Finished films as well as titles in production are screening this week. The Film Expo runs March 8-9 in Universal City, California, at the AMC CityWalk Theatre and Universal City Hilton, with some optional on-line viewing options available.
  17. January 31 (Burbank, Calif.) – In preparation for an in person return of the annual HPA Tech Retreat, HPA has announced enhanced protocols governing health and safety at the Palm Springs venue. Through extensive research, partnership with experienced health and safety experts, deep collaboration with the event venue (the Westin Mission Hills Golf Resort & Spa), and meticulous tracking and planning, HPA has set the stage for a meaningful event that is focused on both the well-known Tech Retreat experience and health and safety. The event takes place February 21-24. Leading COVID compliance and health safety company InHouse Physicians (IHP), an industry leader that has provided corporate health security and wellness services for global meetings and events for nearly 30 years, has been providing pre-event consultation and will support HPA and Tech Retreat attendees on-site during the event. Health and safety measures in place at the 2022 HPA Tech Retreat include: All attendees must provide proof of vaccination (2 doses of Pfizer or Moderna or 1 dose of Johnson & Johnson). Additionally, boosters are strongly recommended. All attendees must provide proof of negative molecular (RT-PCR, RT-LAMP, NEAR) test within 72 hours OR negative antigen test within 48 hours prior to arrival. The Westin Mission Hills Golf Resort & Spa has created a “Safe Zone” for all Tech Retreat attendees. No outside guests will be permitted in the conference area. Separate, outdoor hotel check-in and registration for Tech Retreat attendees only KN95 or N95 masks will be required indoors at all times when not actively eating or drinking. Cloth masks will not be permitted. Whenever possible, sessions, meals, and breaks will take place outdoors Attendees will also have the option to enjoy select live presentations outdoors via the use of large displays The hotel features a state-of-the-art HVAC with MERV 13 filtration system Continuous fresh air is circulated into all event and conference spaces IHP COVID compliance officers will be present on site Nightly electrostatic sanitizing of conference and event spaces Complimentary COVID testing kits available to attendees Hand sanitizing stations throughout the venue Christina DeJesus, MSN, RN, FNP, LHP and Director of Clinical Innovation and Operations at IHP commented, “We at IHP are honored to be supporting HPA on health and safety for the upcoming Tech Retreat. We have tested protocols in place and are closely monitoring case numbers locally, regionally, and globally so that we can act nimbly if there are changes." Seth Hallen, HPA president, noted, “It’s in HPA’s DNA to pay painstaking attention to every single aspect of our events, and that’s how we’ve consistently presented the incredible Tech Retreat that our community loves and expects. We analyzed in minute detail what would be needed to bring the Retreat back to a live event; with a highly critical eye in terms of health and safety.” He noted “Both our hyper-engaged board and the dedicated HPA staff, led by Phil Kubel, are focused on being fully prepared for a live event that is as safe as possible while preserving the proximity and access that has been an indelible part of the Tech Retreat.” Phil Kubel, Executive Director of HPA, commented, “Palm Springs’ vaccination rate has been consistently among the top in the state. We’ve been diligent in our instructions and relationship with the venue to provide as safe an environment as possible and they have been great partners. We continue to closely monitor the COVID situation and keep a careful eye on public health recommendations. We have continuously adjusted our protocols to reflect the most up-to-date thinking so that we can provide our attendees with a healthy and safe event that exemplifies the Tech Retreat experience of connection, conversation, and networking.” Hallen concluded, “There is so much pent-up demand for gathering and learning this year at the Tech Retreat. This year’s TR-X, Supersession, and main program are incredible. I can hardly wait to be in Palm Springs together, seeing colleagues and re-connecting and networking in that way that makes the Tech Retreat experience so special. And with the diligence of our team, the expertise of IHP, and each of us doing the very best we can to take care of ourselves and our colleagues, we are going to experience all that the Tech Retreat has to offer.” Any health-related questions or concerns should be directed to HPA at hpa@hpaonline.com. To view the HPA event policy, visit hpaonline.com. Registration is open for the 2022 HPA Tech Retreat and is expected to sell out. The Tech Retreat takes place thanks to the generosity of diamond title sponsor Adobe; platinum sponsors AMD, Equinix, and Grass Valley; after party sponsor Ateliere; connectivity sponsor Sohonet; gold sponsors Blackmagic Design, Mo-Sys Engineering, Ross Video, and Wasabi; silver sponsors Epic Games, FPT Software, HammerSpace, Key Code Media, Puget Systems, and Spectra Logic; event sponsors Dell Technologies, ROE Creative Display, SDVI, and Signiant; bronze sponsor ZEISS; and star sponsor Avid. For information on sponsoring the 2022 HPA Tech Retreat, please contact Joyce Cataldo at jcataldo@hpaonline.com. For more information about the HPA Tech Retreat, visit hpaonline.com.
  18. January 24, 2022 (Burbank, Calif.) – The Hollywood Professional Association (HPA) has announced further details for the much-anticipated 2022 HPA Tech Retreat Supersession, this year focusing on virtual production. The Supersession will take place in person on Tuesday, February 22 during the four-day Tech Retreat. Programmed this year by respected industry experts Kari Grubin and Erik Weaver, the Supersession boasts an impressive lineup of speakers, demonstrations, and case studies from leaders in the adaptation and evolution of virtual production and in camera VFX. The program presents an unusual opportunity to see what happens when the major technology innovators and manufacturers collaborate in real time. Speakers are still being added and further updates will be available at hpaonline.com. LED walls for the Supersession will be provided by AOTO, Planar, and Sony; case study participants also include Disguise, Epic, Unity, Brompton, Sony, ARRI, Mo-Sys Engineering, OptiTrack, Silverdraft, ICVR, RED Digital Cinema, and others. Attendees will be able to compare combinations of technologies at work in three different volumes and learn from experts who have direct experience with a variety of products and processes. Grubin, an HPA Board member who is currently spearheading the SMPTE Rapid Industry Solutions initiative, notes, “Clearly, virtual production is one of the most talked about developments of the past few years, impacting our industry in countless ways. What we aim to accomplish during the Supersession is a multi-disciplinary, non-commercial, immersive dive into what VP is, what the costs and benefits may be, and what it means to all of us. We are delighted that the most important companies in the space are going to be on hand with virtual production tools and volumes.” The Supersession will offer attendees a well-rounded, hands-on, unbiased look at the state of VP as it stands for productions of every size, speaking to participants who run the gamut of production roles. Additional announcements of keynotes and speakers will be forthcoming as the program continues to evolve. For the latest information visit hpaonline.com. Virtual Production: Beyond the Hype Kari Grubin, Erik Weaver A stage setting outline of what attendees can expect in the day ahead. Introduction to the VAD and Final Pixel Felix Jorge (Happy Mushroom), Ben Baker (FatHead) & Dane Smith (Third Floor) Diving into building worlds from concept to creation, previs to final pixel. AI Assisted Artistry Using an Example Based Workflow Brian Gaffney and Ron Martin, Unity A comparative exploration of the procedural and machine learning artistry using AI and the argument for a scan-based workflow. Who Owns the Image? Viewpoints and Insight from Cinematographers, VFX Supervisors, and Key Creatives The question of ownership has become more complicated with the move to digital and virtual productions. Learn from industry leading creatives’ experiences and insights on this crucial topic. Demo: The Future of Synthetic Beings in Film Tom Thudiyanplackal, Producer, Virtual Production (Fathead), ETC@USC What is possible with synthetic beings? Explore how the boundaries of what is possible, from 3D scans to marker-less tracking, digital clothing, and more, are being pushed. Case Study: Alter Ego Michael Zinman, Lulu; Brad Rochon, Pixotope Go behind the scenes of Alter Ego, a singing competition like no other featuring avatars performing for celebrity judges. Optimizing dvLED Performance for Virtual Production in Any Camera Usage Noted imaging expert Gary Feather A display used for virtual production or xR is referred to as dvLED, direct view LED display. The system design and performance of the selected dv LED display can enhance or hinder the utility for your production, with controller as an essential element. Considerations of optical, electrical, display and physical characteristics will be discussed. On-Set and the VP Techs: So, You Want an Image? Greg Ciaccio, Chair, ASC Workflow Committee, Motion Technology Council Engineering complexities of the Volume. LEDs/Panels, system playback, color space, and lighting are just a few engineering challenges we face in virtual production. The Final Sample: The Challenges of Sound Eric Rigney, Virtual Production Producer and Researcher Putting it All Together: FatHead c.Craig Paterson, Director and Writer After a day of seeing and exploring all the parts, the screening and final case study shows how it comes together. The New World Ahead: The Industry Perspective A meeting of industry minds: where is virtual production today and where is it going? Erik Weaver, who brings extensive experience in virtual production and demonstrative events to this effort, notes, “In previous years the Supersession has looked at the process starting at the point of shoot through post and final. Now we’re examining the creative process through shooting onstage – upstream of where we’ve focused in the past. Virtual production demands structure and discipline in the real world, and that means planning and preparation and execution. We’ll be taking attendees through what steps are required and why, and we’ll put that preparation into action on three setups onstage so they can see how each works through demonstrations.” The 2022 HPA Tech Retreat will take place February 21-24 at the Westin Mission Hills Golf Resort & Spa in the Palm Springs area. In addition to the previously announced TR-X and main program sessions, Tech Retreat attendees will enjoy roundtable discussions of a wide range of important topics guided by industry experts, a reimagined Innovation Zone offering first looks at cutting edge technologies, and top tier networking throughout the week. The schedule for the entire event is available at hpaonline.com and will be updated regularly. Seth Hallen, President of HPA, commented on the event and the plans. “Fluency in virtual production is indispensable knowledge in 2022, whether you are working on a shoestring or a tentpole budget. The HPA Tech Retreat is the most important place to access critical information, and this year’s Supersession offers attendees an efficient, engaging, and most of all informative opportunity to lay the groundwork for understanding and working within one of the most important topics of our industry right now. Kari and Erik have created an incredible day, and I look forward to being part of it.” HPA Tech Retreat Health and Safety Protocols Bringing the Tech Retreat back live to Palm Springs was a carefully considered decision. In compliance with governmental guidelines and with guidance from a leading Covid Compliance company, stringent, proper protocols are in place. HPA is pleased to be able to provide an unforgettable Tech Retreat experience in person once again. The greater Palm Springs vaccination rate has been consistently among the top in the state, with Rancho Mirage reporting 94% of residents vaccinated as of the end of 2021. Additional health and safety measures in place at the 2022 HPA Tech Retreat include: • Proof of full vaccination is required for all participants • Proof of negative molecular (RT-PCR, RT-LAMP, NEAR) test within 72 hours OR negative antigen test within 48 hours required prior to arrival • Venue will create a “Safe Zone” for all Tech Retreat attendees, no outside guests will be permitted • Separate outdoor hotel check-in and registration for Tech Retreat attendees only • KN95/N95 (no cloth) masks are required at all times indoors when not actively eating or drinking • Outdoor sessions, meals, and breaks when possible • State of the art HVAC with MERV 13 filtration • Continuous fresh air circulated into all event and conference space • Covid Compliance Officers on site • Electrostatic sanitizing of conference and event spaces, nightly • Complimentary COVID testing kits available to attendees • Hand sanitizing stations throughout venue HPA continues to monitor the COVID situation and public health recommendations closely. With guidance from IHP, protocols will be adjusted on an as-needed basis to reflect the most up-to-date thinking. Any health-related questions or concerns should be directed to HPA at hpa@hpaonline.com. To view the HPA event policy, please visit hpaonline.com. Registration is open for the 2022 HPA Tech Retreat and is expected to sell out. The Tech Retreat takes place thanks to the generosity of diamond title sponsor Adobe; platinum sponsors AMD, Equinix, and Grass Valley; after party sponsor Ateliere; connectivity sponsor Sohonet; gold sponsors Blackmagic Design, Mo-Sys Engineering, Ross Video, and Wasabi; silver sponsors HammerSpace, Key Code Media, Puget Systems, and Spectra Logic; event sponsors Dell Technologies, SDVI, and Signiant; bronze sponsor ZEISS; and star sponsor Avid. For information on sponsoring the 2022 HPA Tech Retreat, please contact Joyce Cataldo at jcataldo@hpaonline.com. For more information about the HPA Tech Retreat, visit www.hpatechretreat.com.
  19. Picture Shop, part of Streamland Media, announced it will open a new dailies facility at Pinewood Studios, just west of London, in early 2022. The new lab will offer a full range of dailies services, including four grading rooms, opportunities to collaborate with creatives from Pinewood’s world-class theatres, and secure, high-speed connections to a cloud-based content management and collaboration system. “Picture Shop Pinewood will bring a global network of talent and technology to the historic Pinewood Studios lot,” says John Fleming, UK managing director for Streamland Media’s Picture Shop. “Based on the growing need for front-end production support, we are building an innovative dailies facility to serve our clients at the highest possible level in an ideal location.” The new lab will be led by Picture Shop Head of Front-End Services (UK) Chris Barrios, who previously led dailies operations for Picture Shop in Los Angeles. Barrios brings more than 20 years of post production experience to his new role; from dailies processing and color, to engineering and facility management. “This is an amazing opportunity to envision, then to build, what we know is needed by a creative community at work around the world,” says Barrios. “Picture Shop services at Pinewood will be supported by a tremendous depth of global talent, backed by our own technological approach all in a new, purpose-built facility.” Picture Shop’s nearly 4,000 square-foot space at Pinewood will initially be able to run up to 10 projects concurrently under studio-level security protocols. The facility will be securely connected to Picture Shop locations around the globe, offering access to the company’s exceptional talent pool. Streamland’s Pulse will offer filmmakers a cloud-based collaboration tool with a worldwide reach. Production, operations, and support teams will be based at the facility, offering 24/7 client assistance. Maintaining the focus on talent and client services, a global roster of award-winning colorists will give filmmakers access to artistry, technical expertise, and industry-leading support from set to screen. Picture Shop’s recent credits include Black Widow, Operation Fortune, Andor, Willow, His Dark Materials and Aladdin.
  20. The Hollywood Professional Association (HPA) has announced the main program for the 2022 HPA Tech Retreat, which returns to an in person event from February 21-24 at the Westin Mission Hills Golf Resort & Spa in Rancho Mirage, CA. Comprised of the main conference program, Supersession, TR-X and the Innovation Zone as well as extensive networking and meeting opportunities that are incorporated throughout the four day event, the Tech Retreat is a limited-attendance event that draws the most prominent creatives, technologists, and executives working in entertainment technology and content creation. Returning to in-person for the first time since February 2020, the 2022 HPA Tech Retreat will adhere to strict health protocols. In cooperation with the venue, the Retreat will be presented in a hotel “Safe Zone” staffed by COVID compliance officers. All attendees must show proof of full vaccination. Masks will be required when not eating or drinking. Attendance is limited and onsite registration will not be permitted. The main program, which will take place the Wednesday and Thursday of the Tech Retreat, is a guided exploration of the issues of importance and concern to the industry and a look at exciting developments in relevant technology. Curated by the Tech Retreat’s legendary technologist Mark Schubin, the program has set the agenda for the industry in many ways over the past 25+ years, and conversations at the event have sparked many advancements. The 2022 main program sessions will include: Wednesday, February 23 Introduction & Technology Year in Review – Mark Schubin CES Review – Peter Putnam, ROAM Consulting Decoding CES 2022: The Consumer Trends That Will Impact the Media and Entertainment Industry – Mark Harrison, DPP Hub Not Home: Why New Ways of Working Aren’t About Covid – Mark Harrison & Rowan de Pomerai, DPP Remote, Mobile, and Live Workflow Innovation Updates – Moderator: Mark Chiolis, Mobile TV Group Media in the Cloud: A Reality Check – Chris Lennon, Ross Video; Renard Jenkins, Warner Media; Mike Strein, Disney/ABC; Mike Palmer, Sinclair Broadcasting; Shawn Maynard, Florical Systems Academy Digital Preservation Forum (ADPF) – Andrea Kalas, Paramount Pictures The Five Golden Rules of Media AI – Rowan de Pomerai, DPP The Creative Impact of AI-Assisted Color Pipelines – Moderator: Michael Chambliss, International Cinematographers Guild; Dado Valentic, Color Intelligence; Michael Gioulakis, Director of Photography; Von Thomas, Digital Imaging Technician; Maxine Gervias, Picture Shop AI-Based Video Codecs and Semantic Video Search – Rob Gonsalves, Avid ML/AI: Pitfalls, Progress & Opportunity – Moderator: Renard Jenkins, Warner Media AI - Winning Bet or Existential Threat? – Rich Welsh, Deluxe Broadcast HDR – Mark Aitken, Sinclair Broadcast Group Display Mapping for Versions – Kevin Wines and Tom Graham, Dolby Laboratories ASC Presentation of Standard Evaluation Material II - The Mission Thursday, February 24 MovieLabs Vision 2030 Update The Definitive Guide to Modern Cloudspotting – Michael Cioni, Frame.io Special Cloud Collaboration Editorial Project – Moderator: Dave Hoffman, Blackmagic Design What Does System Integration Look Like in the Cloud? – Dave Van Hoy, Advanced Systems Group Picture Post in the Cloud: A Case Study – Coordinators: Katie Fellion and Seth Hallen, Light Iron Carbon impact of production – Cedric Lejeune, Workflowers ACES Roundup – Coordinator: Annie Chang, ACES Project Chair Color Processing with OpenColorIO v2 and the Academy/ASC Common LUT Format – Doug Walker, Autodesk Quality Control Across Multiple Grades and Displays – Amaury Louarn, Joachim Zell, & Ronan Boitard, Barco Test Patterns for Reference Monitors – Norm Hurst, SRI International New Pseudo-Logarithmic Function and a New Color Space for Encoding of High-Dynamic-Range Camera Data – Harald Brendel, ARRI SMPTE Update – Thomas Bause Mason, SMPTE Technical Foundations of Non Fungible Tokens for Video Engineers – Michelle Munson, Eluv.io Production WiFi Best Practices – Patrick Sumby, Sohonet Changes to the program and speakers may occur and will be noted on the HPA website. In announcing the program, Mark Schubin said, “I’m always amazed at the submissions we receive, and it’s hard to narrow them down. We’ve got the latest in artificial intelligence and cloud production, of course, but also everything from explanations of the new work environment beyond Covid to the technical foundations of NFTs. Low-earth-orbit satellites? The carbon impact of production? The Academy’s Digital Preservation Forum? It’s all in there.” The main program sessions are the foundation of a full conference offering. HPA has previously announced that the Supersession, taking place on Tuesday, February 22, will focus on virtual production. Further details, including an announcement of the TR-X program (taking place February 21) and breakfast roundtable topics, will follow. The week’s schedule is rounded out with a reimagined Innovation Zone, a welcome dinner, and an afterparty. The schedule for the entire event is available online and will be updated regularly. Seth Hallen, president of HPA, said, “Once again, the Call for Proposals generated more than 100 submissions from the vanguard of the industry. After more than 25 years of the Tech Retreat, experts, creatives and technology companies are waiting for their moment to introduce exciting new work, and Mark, who always has his finger on the pulse, creates a vigorous and vibrant program that generates productive conversation and further discoveries from the material that’s introduced. And of course, we are thrilled to go back to our traditional in-person event and we can’t wait for the community to get together again for an exciting week of networking, learning and collaborating.” Registration is now open for the 2022 HPA Tech Retreat, which takes place thanks to the generosity of diamond title sponsor Adobe; platinum sponsor Equinix; after party sponsor Ateliere; gold sponsors Blackmagic Design, Ross Video, and Wasabi; silver sponsors HammerSpace, Key Code Media, Puget Systems, and Spectra Logic; event sponsor Dell Technologies; and bronze sponsor ZEISS. For information on sponsoring the 2022 HPA Tech Retreat, please contact Joyce Cataldo at jcataldo@hpaonline.com. For more information about the HPA Tech Retreat, visit www.hpatechretreat.com.
  21. December 9, 2021 (Burbank, Calif.) – HPA has announced that the 2022 HPA Tech Retreat Supersession, a daylong immersive exploration of a topic of critical interest to the industry, will focus on virtual production. Helmed by post executive Kari Grubin and ETC’s Erik Weaver, the event will engage participants in a hands-on experience of the promises and challenges of virtual production, from conception through post. Attendees will have direct access to the latest virtual production example environments, including multiple LED walls, cameras and game engines. Attendees will study different pitches, cameras and sensors and their impacts, and examine the engines that power virtual production. The 2022 Supersession will be an invaluable experience for anyone hoping to work in virtual production at any budget in the near future. The Supersession is set for Tuesday, February 22, the second day of the 2022 HPA Tech Retreat (February 21-24). The entire Tech Retreat will take place exclusively in person at the Westin Mission Hills Resort & Spa in Rancho Mirage. Attendees are required to be fully vaccinated and current COVID safety protocols will be enforced. Supersession discussion topics will include: · Understanding the full scope of virtual production: more than the wall · Conception to execution: how to get to stage 1 in the process · Storyboards, animatics, previs, techvis, remote scouting, and more · Introduction to the Virtual Art Department (VAD) and final pixel · The cinematographer and practical considerations · Optimizing dvLED performance for virtual production · On set and the virtual production techs · Practical considerations in virtual production lighting · Post production of virtual production projects from dailies, VFX and sound · The role of trade organizations in supporting virtual production development Grubin said, “It’s critical to embrace the full picture of virtual production and how it affects every stage of production from conception through post. The Supersession we are developing will present an opportunity to experience firsthand the virtual production workflow and allows attendees to experiment with different technologies they may encounter in the field. We are excited to be working with the thought and technology leaders at work in virtual production, and they will be with us at the Tech Retreat to guide the conversation.” Seth Hallen, president of HPA, noted, “The HPA Tech Retreat, and the Supersession in particular, has long offered prescient programming that has prepared our attendees for the technological leaps that await. This program, conceived with great creativity and insight by Kari and Erik, will serve as a launching pad for those of us just getting our feet wet in VP. I’m already looking forward to seeing what people do with the insights gained from Supersession 2022 when we come back together in 2023.” The 2022 HPA Tech Retreat will begin on Monday, February 21 with TR-X, which this year will be a deep dive into the increasing use of cine cameras in sports, event, corporate, and other live productions. Following the Supersession, attendees will enjoy the main program presentations, curated by HPA Tech Retreat Maestro Mark Schubin. In addition to the conference, roundtable discussions guided by industry experts are scheduled, as well as a reimagined Innovation Zone offering first looks at cutting edge technologies. Networking, always integral to the Tech Retreat experience, will be abundant during the four-day event. The schedule for the entire event is available online and will be updated regularly. Registration is now open for the 2022 HPA Tech Retreat, which takes place thanks to the generosity of diamond title sponsor Adobe; platinum sponsor Equinix; after party sponsor Ateliere; gold sponsors Blackmagic Design and Wasabi; silver sponsors HammerSpace, Puget Systems, and Spectra Logic; event sponsor Dell Technologies; and bronze sponsor ZEISS. For information on sponsoring the 2022 HPA Tech Retreat, please contact Joyce Cataldo at jcataldo@hpaonline.com. For more information about the HPA Tech Retreat, visit www.hpatechretreat.com.
  22. HPA (Hollywood Professional Association) has opened the call for applications for the 2022 Young Entertainment Professionals (YEP) program. Since its inception in 2015, the growing YEP program has supported the careers of talented creative, technical, project management and administrative professionals between the ages of 21 and 32 through mentorship, community building and educational offerings. Applications are due Monday, November 8 and applicants will be notified of their status in early December. The 2022 YEP class will begin in January 2022. HPA developed the YEP program to nurture the critically important pipeline of young professionals growing into leadership positions, and YEP alumni continue to move into influential roles in the industry while maintaining their relationship with the program and HPA. An important evolution of the program has been its ability to connect program participants to each other, building a community of peers and a vibrant professional community for its alumni and entering classes. “It has been nothing short of thrilling to see our YEPs making connections with program mentors that may help position them to contribute so much to our industry,” said Kari Grubin, who co-created the YEP program with fellow HPA board member and Women in Post Co-Chair Loren Nielsen. “Each year’s class builds on the work of the previous years which ensures a meaningful return on the investment of their valuable time.” Nielsen noted, “And, equally important, we see that YEP has truly become a community in and of itself where these talented individuals connect and share with each other.” The YEP program provides immersion into HPA’s offerings and the M&E industry. During the first phase of the program (January through June), newly selected YEPs will attend the virtual YEP Orientation Program, followed by a variety of in-person and virtual events throughout 2022 including the celebrated HPA Tech Retreat February 21-24, 2022. YEPs will receive an invitation to all HPA events. YEPS will be expected to attend a minimum of 4 events (virtual and/or in-person) during their program year. The second phase of the program will begin in June. Based on each individual’s participation and overall commitment to the program, each YEP will be evaluated by the mentorship committee for pairing with an industry leader from July to December. All YEPs will continue to have access to YEP and other HPA community events. At the end of the mentorship, YEPs will be evaluated by the mentorship committee for eligibility to receive the Certificate of Completion. Seth Hallen, President of HPA, said “The YEP program is a true example of mutual benefit. It’s a privilege to help these worthy professionals achieve the full reach of their potential, and with their help we are building a better, stronger, more diverse industry. For those considering applying for the program, I can tell you it is absolutely worth every bit of energy you put into it. Please reach out to the HPA team to learn more – we encourage you to take that leap.” To be considered for the YEP program, applicants need to complete an online application and present one letter of recommendation. To learn more about the YEP program and HPA, visit www.hpaonline.com.
  23. LOS ANGELES (September 23, 2021) – The American Society of Cinematographers (ASC) will hold its 36th Annual ASC Awards on March 20, 2022. Recognizing excellence in cinematography, the ASC Awards honor the extraordinary work of directors of photography who have excelled in the art and craft of visual storytelling in feature films, episodics and documentaries. The annual ceremony will be held at the ASC Clubhouse in Hollywood and live streamed worldwide. The organization released its official timeline for entering the feature and television categories of the competition. The deadline for feature film and television submissions is December 5, 2021. To be eligible, a feature film must have a release date between March 1 - December 31, 2021. For any of the TV categories, a show must air or stream between January 1 - November 30, 2021. The four television categories are: • Episode of a One-Hour Television Series – Commercial • Episode of a One-Hour Television Series – Non-Commercial • Episode of a Half-Hour Television Series • Motion Picture, Limited Series, or Pilot Made for TV The ASC will also bestow a Documentary Award and Spotlight Award. ASC members nominate and vote on winners in these two categories. A complete timeline for the 36th ASC Outstanding Achievement Awards and additional details can be found on the ASC website. Key dates include: · Submissions Open for Feature & TV Categories Oct. 4, 2021 · TV Eligibility Period Ends Nov. 30, 2021 · Feature and TV Entries Due Dec. 5, 2021 · Spotlight & Documentary Entries Due (members only) Dec. 13, 2021 · TV Nominations Voting Begins Dec. 15, 2021 · Feature/Spotlight/Docu Eligibility Period Ends Dec. 31, 2021 · Feature Nominations Voting Begins Jan. 10, 2022 · Feature & TV Nomination Voting Closes Jan. 24, 2022 (Noon PST) · Nominations Announced (all categories) Jan. 25, 2022 · Final Voting Begins Feb. 1, 2022 · Student Awards Feb. 26, 2022 · Final Voting Ends March 17, 2022 · 36th ASC Awards March 20, 2022 Honorary awards, including the ASC Lifetime Achievement Award and Board of Governors Award, will also be presented at the awards ceremony. ASC was founded in 1919. There are over 420 members today who have national roots in some 20 countries. More than 250 associate members hail from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com.
  24. Creative production group and communications agency join forces to enhance client offerings ignite strategic communications and Origin Point have announced a formal creative collaboration, designed to provide greater levels of support and broaden services to their respective clients. The agreement expands each company’s unique expertise for connecting businesses, industry creatives and technical experts who elevate what’s possible in entertainment. Andrea Dondanville, executive producer at Origin Point, says, “We’ve worked closely with the team at ignite on a number of projects and see our collaboration as a natural progression. We are excited to leverage their unparalleled skills in – writing, media relations and communications strategy – for our clients’ success.” Origin Point was created in 2019 as RED Digital Cinema’s in-house production company, and from that auspicious start expanded to work with an array of leading brands. The team specializes in high-resolution image capture and workflow, and has travelled the world creating award-winning marketing content. Origin Point represents multiple directors with an array of creative styles to suit their clients’ needs. They have also produced successful feature films, commercials, and documentaries. Their services run the gamut from story development through pre-production, production and post. In addition to their ongoing work with RED, Origin Point clients include Nat Geo, Netflix, Allergan, Theragun, Insta360, Zeiss, and more. The Origin Point team includes Dondanville alongside Creative Directors Clyde Bessey and Jason Mitcheltree. With extensive communication experience in the media and entertainment technology arena, ignite works with leading global companies and creatives as well as an impressive group of industry organizations. The client roster of ignite includes RED Digital Cinema, American Society of Cinematographers (ASC), Hollywood Professional Association (HPA), Sohonet, ACE EditFest, Streamland Media, FotoKem, Association of Moving Image Archivists, Pixelogic, Glendale Arts and Zeiss. ignite excels in strategic communications, media relations, content strategy, event publicity, and developing below-the-line awards campaigns under the management team of Christine Purse, Sally Christgau, and Lisa Muldowney. Purse, president and founder of ignite, notes “We’ve had a truly unique opportunity to tell the story of a revolutionary time of change in the art and technology of storytelling. And that dynamic change is far from over. I know that the talent, vision and skillful execution from the team at Origin Point will help our clients realize their vision and goals. We are delighted to embark on this journey together, and are looking forward to doing great work together.” Origin Point is headquartered in Los Angeles, and ignite is based in North Hollywood.
  25. Séamus MacCormaic has been named executive vice president and managing director of Streamland Media-United Kingdom. MacCormaic previously served as chief financial officer of The Farm, a Streamland Media business. In his new role, he will continue to oversee operation of The Farm which has locations in London, Bristol, and Manchester. MacCormaic will report to Streamland Media Chief Executive Officer Bill Romeo, and The Farm co-founders Nicky Sargent and Vikki Dunn will play a consultative role in shaping the company’s future as members of the Streamland Media board. ‘’It is a privilege to lead The Farm at this time of transition alongside an amazingly strong, dedicated, and talented team,” said MacCormaic. “We are excited to be growing, winning big contracts, and diversifying our revenues. We are looking forward to the future with a great deal of optimism.” MacCormaic has a dedicated team in place who is responsible for maintaining The Farm’s industry leading reputation in providing end-to-end post-production services and innovative workflows for clients including Netflix, the BBC and Channel 4. Paul Austin, previously managing director for The Farm Manchester, has been promoted to managing director of Unscripted. The move is a result of The Farm’s growth and continued expansion in unscripted programming throughout the UK. “It is an incredible opportunity to drive The Farm forward at this time of evolution in the industry,” said Austin. “To work with our outstanding talent pool across the UK supported by the best technical infrastructure on so many brilliant projects is a dream role. I cannot wait to get going.” Adam Morris has been promoted to technical director, which includes leading all technical, IT and engineering functions at The Farm across the UK. With 20-plus years helping lead The Farm’s technical investments, Morris plays a pivotal role in shaping technology solutions that support post-production pipelines, both on-premises and remote. Morris will also help steer technology decisions across the wider Streamland Media group. “This is a fantastic opportunity to help lead technology for both The Farm and Streamland,” said Morris. “The lines for technology in post have never been more blurred. Facility-based and remote working, traditional kit and cloud, and all the workflow and security challenges make navigating this technology space a real challenge and I’m thrilled to be part of it.” Chris Chalmers, head of Partnerships, oversees The Farm's managed service contracts (MSC), working with broadcasters across multiple projects from The Farm and client locations. The Farm is currently embedded in UKTV’s creative services team in Hammersmith, London, and in BBC Sports in Media City, Salford. Further MSC updates will be announced in the coming weeks. “I’m delighted to be heading our MSC department as it goes from strength to strength,” said Chalmers. “Upcoming expansion offers a great opportunity to build and diversify an already strong team. The implementation of exciting new technologies will create a truly unique service for our client partners.” Chris Swan is director of Projects and Innovation for The Farm. Swan is an experienced project manager, and media systems and workflow engineer with 15-plus years of experience in the broadcast industry. His addition is part of The Farm’s commitment to providing location and related post-production services to its client base. “I’m delighted to be joining The Farm’s talented technical team to oversee how we drive technology forward in this period of accelerated change,” said Swan. “I hope to offer clients an industry-leading technical platform on which creatives can build their best work.” The Farm’s recent credits include Formula 1: Drive to Survive Season 3 for Netflix, Spitting Image for BritBox, and The Lateish Show with Mo Gilligan for Channel 4.
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