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  1. Hi everyone! I was enquired today to possibly shoot a commercial for both the UK and the US market. I wonder what is the latest and best workfloor to output both in NTSC and PAL. Would it be best to shoot PAL - here in the UK - and then later just convert the finished piece or have an external recorder, recording in NTSC while the camera records PAL? I wonder for the latest method if it'd be problematic to match the colour grading as the files might be different. Unless using two external recorders based on the same type of file? Has anyone gone through this recently or in the last couple of years? Thanks Luca
  2. FotoKem, a leader in digital and film post production, was the facility of choice for providing comprehensive creative and technical services from pre-production through final deliverables on the critically acclaimed Star Wars: The Last Jedi from Disney/Lucasfilm. The facility built technically advanced solutions that supported the creative team through their interplanetary production from dailies to color grade. Services included a customized workflow for dailies, editorial and VFX support, conform, and a color pipeline that incorporated all camera formats (film and file based) while adhering to critical studio guidelines. Working collaboratively with key creatives – including director Rian Johnson; cinematographer Steve Yedlin, ASC; producer Ram Bergman; Lucasfilm’s Head of Post Production Pippa Anderson; and Lucasfilm’s Director of Post Production Mike Blanchard – the post process allowed them to operate with speed and flexibility while enabling maximum creative freedom served by the technology. The filmmakers behind The Last Jedi had an ambitious vision for the second installment in the sequel trilogy. FotoKem was engaged prior to the beginning of principal photography, and devised an intricate workflow tailored to accommodate the goals of production. A remote post production facility was assembled near-set in London where film technician Simone Appleby expertly operated two real-time film scanners, digitizing up to 15,000 feet a day of 35mm footage at slightly above 4K resolution. Supported by a highly secure network, FotoKem nextLAB® systems ingested the digitized film and file-based camera footage, providing “scan-once instant access” to everything, and creating a singular workflow for every unit’s footage. By the end of production, over one petabyte of data was managed by FotoKem’s nextLAB®, enabling the filmmakers, visual effects teams, editors, and studio executives to securely and easily share large volumes of assets for any part of the workflow. Johnson said, “For me, it’s simple – FotoKem helped me tell the story I was hoping to tell. They invented solutions and made it easy for us to work the way we wanted to work.” Bergman added, “I worked with FotoKem previously and knew their capabilities. This project clearly required a high level of support to handle global locations with multiple units and production partners. We had a lot of requirements at this scale to create a consistent workflow for all the teams utilizing the footage, from production viewing dailies to the specific editorial deliverables, visual effects plates, marketing, and finishing, with no delays or security concerns.” Before shooting began, Yedlin worked with FotoKem’s film and digital lab to create specialized scanner profiles and custom Look Up Tables (LUTs). FotoKem implemented the algorithms devised by Yedlin into their nextLAB® software to obtain a seamless match between digital footage and film scans. Yedlin also received full-resolution stills which served as a communication funnel for color and quality control checks. This color workflow was devised in collaboration with FotoKem color scientist Joseph Slomka, and executed by nextLAB® software developer Eric Cameron and dailies colorist Jon Rocke, who were on site throughout the entire production. “With the knowledge of an HDR deliverable, we set to work to make sure the look captured on set matched the vision of the filmmakers and was carried throughout the workflow for the ultimate control of color from camera to screen,” noted Slomka. Yedlin observed, “As cinematographers, we work hard to create looks, and FotoKem made it possible for me to take control of each step in the process and know exactly what was happening. The color science support I received made true image control a realized concept.” Calibrated 4K monitoring and the high availability SAN on site managed by nextLAB® created a world where visual effects and editorial could instantly access full fidelity footage during and after production. Through the nextLAB® interface, these teams could procure footage, pull shots as needed, and maintain exact color and metadata integration between any step. For the color grade, FotoKem colorist Walter Volpatto fine-tuned raw images, as well as those from ILM, with Johnson and Yedlin using the color and imaging pipeline established from day one. FotoKem also set up remote grading suites at Skywalker Sound and Disney so the teams could work during the sound mix, and later grading for HDR and other specialty theatrical deliverables. “The film emulation LUT that Steve (Yedlin) created carried nuances he wanted in the final image and he was mindful of this while shooting, lighting both the film and digital scenes so that minimal manipulation was required in the color grade,” Volpatto explained. “Steve’s mastery of lighting for both formats, as well as his extensive understanding of color science, helped to make the blended footage look more cohesive.” Volpatto also oversaw the HDR pass and IMAX® versions. Ultimately, multiple deliverables were created by FotoKem including standard DCP, HDR10, Dolby Vision™, HLG, 3D (in standard, stereo Dolby and 2D Dolby HDR), and home video formats. FotoKem worked with IMAX to align the color science pipeline with their Xenon and laser DCPs and 15-perf 70mm prints as well. Mike Brodersen, FotoKem’s Chief Strategy Officer, said, “Our incredible team’s objective from the beginning of this project was to provide a process for the creatives to flourish, without worrying about the technology. It’s not every day that we would ship scanners to remote locations and integrate a real-time post environment that would rival many permanent installations. Our approach combined decades of film and digital expertise, intense artistry, and exceptional post production workflow knowledge. We are honored that they entrusted us in this endeavor and grateful to be part of this iconic project.”
  3. Post Control and FilmLight invite you to a new workshop on look development and colour space management with Prelight. This workshop will start at 6pm, and will cover: Presentation and Q&A on colour space management with FilmLight's Thomas Eberschveiler. Demonstration of Prelight, plus live exchange of looks/BLG grades between Prelight and Baselight, with Pentti Keskimäki, Colourist F.S.C. at Post Control. Pentti will also show his favourite tools in the colour grading system - including some of the new features the upcoming Baselight 5.0 release. Entry to this event is free but you must register. For more information, and to register, visit: https://www.eventbrite.com/e/look-d...nesday-29-march-2017-registration-32438879562
  4. Dit, the proffesion | Camaleon Cinema Services Camaleon Rental blog we are going to speak about the role of a DIT. The first question is to define what a DIT is as well as determine if this position belongs to the camera crew or to the postproduction crew. The answer would be that he is kind of a liaison between both department, even though if we have to make a choice we would say that he is part of the camera department since he works on set. The DIT profession (technical image technician), arrives with the appearance of the first high definition cameras and then with the digital cinema cameras. At this point we should remember that when these cameras arrived both directors of photography and assistant cameramen came from working for many years with film cameras. So after the arrival of such new and different gear, it was necessary the inclusion of a new figure to the camera crew in order to advise the DoP on how to squeeze... More info here.
  5. Hello, I am and enthusiast cinematographer in the process of learning and experimenting. I like how the highlights glow in "The great beauty" and other films and I would like to know how to achieve something similar with digital cameras. Aspects I like are: - Detailed but soft (unsharped) images - The light sources seem to glow - The light goes a bit into the boundaries of the shadows - The highlights have a nice roll-off - The light rays can be seen. Aspects I dont like: - Dreamy effect where everything seem to glow - Clipped highlights with bad roll-off I guess some of these aspects are related with the use of film, that I like a lot. After some researching I have reach the conclusion that using diffusion you can get similar results. Filters as Soft FX and Classic Soft seems to help reducing sharpness and some of them seem to create a nice halo around lights. Filters as Black pro mist, Glimmer Glass, Pearlescent and Black Frost seem to "make the light visible" around light sources which i also like. Also there are combinations of some of them with mixed properties. I haver never owned or used a filter, they are expensive and I don't know if they are the solution I am looking for. Do you think that filters are the solution for this? If you could only buy one or two to get this kind of image and the aspects I like, which one would you choose? Thanks a lot!
  6. The Company's new organization charts the course for the future LONDON - Vitec Videocom, known for its world-class video brands, is evolving its structure: to put the tools and technologies developed for professional broadcasters and cinematographers into the hands of a growing community of independent content creators. The company's push to democratize some of its high-end technology will be supported by a new management team and organizational structure. "Every now and then we take a good hard look at where the video industry is going and how we fit in that picture," said Matt Danilowicz, CEO of Vitec Videocom. "The DSLR video revolution and the explosive growth of live Internet streaming has demonstrated that there is a whole new generation of filmmakers seeking new, affordable technologies that will help them create captivating content for new platforms. Videocom's new management structure helps align us with this new movement so that we can continue to innovate for both the professional video crowd and for this new wave of media producers." Vitec Videocom's latest acquisitions are a testament to its desire to democratize cutting-edge technology. Teradek, SmallHD, and Paralinx, all part of the Division's new Creative Solutions business unit, are well-known as trailblazers, offering high-level technologies at price points that independent content creators can afford. Some of Videocom's other premium brands, such as Litepanels and Anton/Bauer, have also embarked on this path, with the former developing new cost-effective run-and-gun lighting kits and the latter integrating leading-edge battery technology into a new line of affordable broadcast and cinema products. "Vitec Videocom is unique in that it combines legendary brands that have been around for decades with young upstarts that grew out of this new generation of media creators," said Danilowicz. "Like our brands, I have put together a management team that has years of video industry experience, but also the pioneering spirit of entrepreneurs. This new structure will help us continue to equip and inspire videographers far into the future, with the same commitment we bring every day to the world's largest broadcasters, film studios and production companies." The Division's new structure will be split into three core business units, capitalizing on brand synergies: Graham Sharp, a former senior executive at Avid, Grass Valley, and MAC Consulting, will run the Production Equipment unit, representing the company's core product brands such as Anton/Bauer, Autocue, Autoscript, Litepanels, OConnor, Sachtler, Vinten, and Vinten Radamec. Halid Hatic, founder of Curious Software and former executive at Avid and VizRt, will lead Production Services, which includes Bexel, Camera Corps, SIS, The Camera Store, and Autoscript/Autocue Hire. Nicol Verheem, a former GE engineer and founder of Teradek, will head Creative Solutions, which consists of Teradek, SmallHD, and Paralinx. Martin Vann, who recently joined Vitec Videocom, will oversee global sales and marketing for the Division. He brings with him significant sales and marketing leadership experience from such companies as Autodesk and Avid, where he held multiple executive leadership positions. About Vitec Videocom Vitec Videocom, the Broadcast Division of The Vitec Group plc, has some of the most respected, innovative and sought-after brands in the industry: Anton/Bauer, Autocue, Autoscript, Bexel, Camera Corps, Litepanels, OConnor, Sachtler, SmallHD, Teradek, Paralinx, The Camera Store, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business. Vitec is a global provider of premium branded products and services to the Broadcast and Photographic markets. Vitec is based on strong, well-known, premium brands on which its customers worldwide rely. Vitec Videocom - advancing the quality and science of media production. # # # Media Contact: ignite strategic communications +1.818.980.3473 Chris Purse, chris@ignite.bz
  7. Hi. Most of my narrative films are shot on RED camera´s. I have a job where we might shoot on Arri Alexa camera. I heart that post production and color correction is easier with Alexa. Any in here with great experience with the Alexa workflow:-)? Best, Henrik A. Meyer. www.henrikameyer.com
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