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Hi, I have a question regarding a specific look that I’ve never quite been able to pin down. I’ve surmised it to be a result of scanning a printed positive. The look I’m referring to can be seen in the bonus materials of both The Master (2012) and Inherent Vice (2014). It’s mostly noticeable in night interiors, dense, crunchy blacks, and ghostly, halated highlights. The other films that I’ve noticed this quality in have been older, and it would make sense if a negative was not available for restoration, and instead a print was scanned. A DP buddy of mine had told me in the past that you can’t really scan a print because “there’s no information,” but I’m wondering if that’s what’s contributing to the quality of this look I’m referring to. I recently read an interview with DP Marcell Rev where he states that they tried scanning positive prints as a test for the Euphoria season 2 look. Wondering if I can get some input here on what I think I’m seeing. Has anyone scanned a print before, and does it have a specific quality? Providing some links for reference: (Doris sitting on stairs) (house party stuff at 1:00) https://www.lecinemaclub.com/now-showing/entretanto/ (house party stuff) Best,

LOS ANGELES, (June 18, 2020) – Sohonet, the global experts in connectivity, media services and network security for the media and entertainment industry, announced their partnership with Moxion and its revolutionary platform for HDR Immediates and Cuts. The partnership broadens the range of remote collaboration solutions Sohonet can now offer the production, post and visual effects communities. The partnership will provide the production, post and visual effects communities with a distinct set of tools designed to enable both synchronous and asynchronous remote review to suit every use case. For review discussions that depend on real-time iteration and response, Sohonet ClearView Flex provides teams with a high-quality, secure solution. Moxion Immediates provides an equivalent experience for offline review. “Moxion is a great match for Sohonet, they understand the unique challenges that productions face, and share our vision: to revolutionise the way storytellers create content by making collaboration seamless and more secure,” says Sohonet CEO Chuck Parker. “While real-time review is a key component to the production workflow, often the whole team can’t meet for a live review session. Partnering with Moxion gives our customers space to review content in their own time.” Moxion’s Immediates offers a platform to review footage in HDR minutes after filming on the same devices as ClearView Flex (Apple TV, iPads, laptop). On-set creatives can start on mark-ups immediately and give off-set creatives the same near-real-time HDR access to the content. Additionally, editorial and VFX teams can download the high-resolution proxy to begin adding their magic rather than having to wait for it to arrive hours later after a transcoded dailies workflow. “Offering Sohonet’s real-time tool, Clearview Flex, with our offline review technology makes perfect sense,” says Hugh Calveley, CEO of Moxion. “The ability to harness the power of live review and incorporate it, with the convenience of offline collaboration, will be an extremely valuable toolkit for filmmakers.” “Right now productions are having to navigate a new normal due to COVID-19, with reduced numbers on-set, additional location challenges and more distributed team members. Sohonet and Moxion are perfectly placed to help support them from green-light to wrap,” added Parker.

Good day forum, Is there any resources(e.g.case studies, videos, books, websites...etc) that demonstrate professional image acquisition workflow (from set to dailies), covering practice and equipment used in the process. I found the below so far: Capturing the Shot: Fundamentals, Tools, Techniques, and Workflows for Digital Cinematography The Filmmaker’s Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants DITs and Data Management for Features, TV and Commercials

Hi, I have several 35mm film frames from the original star trek television series. Some are in color and some are in B&W. First, are dailies and rushes the same thing? Second, what would be the purpose of creating a version in color and another in B&W? Thanks in advance. Curt

Facility Relocates to Second Line Stages, Adds Finishing Suite NEW ORLEANS (November 16, 2015) - FotoKem has expanded its award-winning post production services in New Orleans, and moved into a new space here at Second Line Stages, a production hub for the local filmmaking community in the heart of the Lower Garden District. Previously situated downtown near the French Quarter, FotoKem has been supporting local productions and providing quick deployment of its on-set and near-set nextLAB systems since 2011. As part of the expansion, FotoKem has added a dedicated Mac-based Blackmagic DaVinci Resolve suite to allow for conform and color services. The facility's comprehensive offerings in the region include advanced file-based dailies, offline editorial systems, media management, and global file delivery. FotoKem's new space offers 1gig, 10gig, and SDI routing capabilities to the dailies rooms. FotoKem clients will also have access to Second Line Stage's 2K Christie theater, with direct SDI signal routing to and from the FotoKem suites in the near future. Second Line Stages is a USGBC (United States Green Building Council) LEED (Leadership in Energy and Environmental Design) GOLD campus, making FotoKem's new office space more energy and resource-efficient. The building also provides increased security controls. FotoKem's Peter Santoro, VP of Feature and Commercial Services, has overseen the company's presence and relationships with the local filmmaking community since its opening four years ago. Santoro notes, "FotoKem's presence in Louisiana has been a great experience for our entire team. We've worked on 50-plus projects with more in the queue, and, in the process, developed long-standing relationships and built new ones. Our relocation is a testament to FotoKem's commitment to support the creative community with cutting-edge technical and creative solutions." Productions shooting in New Orleans that have relied on FotoKem include Into the Badlands, Astronaut's Wives Club, Dawn of the Planet of the Apes, The D Train, and 99 Homes.

Hey everyone, I might shoot a short movie in New Orleans early next year and I want to shoot on film, super 16 or 2 perf 35 mm, and I saw that Cineworks over there had done the film dailies on 12 Years A Slave, Oldboy, etc, but when I saw no new film projects since then in their credits, I sort of wondered if they shut down their film lab and only do digital. I thought I was maybe pessimistic but one of the guys over there just told me they did shut down and only do digital because of lack of work. Great, I saw that Fotokem has a New Orleans office/lab, it says on their website that they do film dailies, all that, but it doesn't say anything about their NOLA based facility, I just sent them an email, but does anyone know if Fotokem NOLA does film dailies? If not, is there a film lab ANYWHERE in Louisiana or close to New Orleans or Baton Rouge, in that vicinity? If not, that would be a goddam shame, and I'm not really comfortable with shipping the film too far away or whatever since this is my first major thing, first time on film, it's important for me to shoot on film but I've been keeping in mind the Alexa, I kinda dread having to wait for a few days to get the film back, in case there's any f**** ups. Thanks !

Adding Workflow Innovator Significantly Expands Trusted Brand's Service Offerings LOS ANGELES and NEW YORK - Panavision has reached an agreement to acquire post production technology innovator Light Iron. The acquisition leverages the strengths of the entertainment industry's most respected designer, manufacturer and rental provider of high precision camera systems with the leader in digital workflow solutions, to offer turnkey technology solutions from pre-production through delivery. With facilities in Los Angeles and New York City, Light Iron will operate as a wholly owned subsidiary of Panavision, maintaining its executive leadership and talent. Light Iron's popular OUTPOST Mobile Post Systems will be available at Panavision rental facilities worldwide. "This acquisition is an opportunity to leverage the strength and innovation of the Panavision brand with the entrepreneurial spirit of Light Iron," says Kim Snyder, CEO and President of Panavision. "By joining forces, we can better serve our clients, providing a full portfolio of creative choices and an efficient, seamless experience." Michael Cioni, CEO of Light Iron, remarks that Panavision is an ideal partner to extend Light Iron's international reach. "A long-standing commitment to quality and client service has made Panavision one of the most trusted brands in the world. The fusion of our two companies, and the creation of new optimized tools, will mark the beginning of a new era in digital acquisition and delivery on a global scale." Light Iron was founded in Los Angeles in 2009 by brothers Michael Cioni and Peter Cioni, along with a core team of experts. Embracing emerging digital tools for content creation from its very beginning, the company has grown into a leading provider of mobile dailies, archival services, offline editorial rental, finishing and delivery. Through both their suite of OUTPOST systems and premium DI services, Light Iron supports high-resolution 6K acquisition formats and UHD delivery. "Panavision and Light Iron are dedicated to providing clients the innovation they need to succeed at the intersection of art and science," adds Snyder. "Together, we are poised to offer creative clients a deeper and more progressive level of support and services across all market segments. This union uniquely positions us both to serve the industry through collaboration, advanced engineering and optimized services - all over the world."

Hi everyone, I've not had to transocde scarlet footage before so I have a question. I feel it may be completly pointless but I'll ask nevertheless. Shooting RAW, at identical fps, is there actually a difference in render times between the two when transcoding dailies? Thanks.

Has anyone had trouble using either the Sonnett PCIe Thunderbolt Expansion Chasis or the Magma Thunderbolt Expansion Chasis with a Red Rocket installed?? I am running 10.7.4 Lion, so the OS is not the issue. I get incredibly unpredictable behavior, such as drives ejecting out of nowhere, drives going bad randomly, transcodes failing, and other strange things. I think it may have to do with the newness of Thunderbolt, mixed with high bandwidth processing. Advice? Ideas? Cheers, Joe