Palo Alto-based startup Arraiy is developing methods for automating part of the often-tedious process of producing visual effects for movies, TV shows and video games. “Filmmakers can do this stuff, but they have to do it by hand,” said CTO Gary Bradski, who has worked with tech companies such as Intel and Magic Leap. The Arraiy team, led by Bradski and CEO Ethan Rublee, “are building computer algorithms that can learn design tasks by analyzing years of work by movie effects houses,” reports The New York Times. “That includes systems that learn to ‘rotoscope’ raw camera footage, carefully separating people and objects from their backgrounds so that they can be dropped onto new backgrounds.” Continue reading Startup Using AI to Help Create Effects for Movies, TV, Games

With the Academy Color Encoding System (ACES), filmmakers have been assured that the color decisions on set are carried through production and post, all the way to archives. But there’s a missing piece: the TV sets, mobile phones and other devices that display what consumers use to watch it. During a panel at the HPA Tech Retreat, led by the International Cinematographers Guild advanced production technology specialist Michael Chambliss, several industry figures discussed how to make sure that consumers see the images as intended. Continue reading HPA 2018: Efforts to Ensure That TVs Display Creative Intent

At the HPA Tech Retreat, RealD senior scientist Tony Davis and cinematographer Bill Bennett, ASC shot and mastered imagery in a variety of high frame rates. One of the chief challenges, said Bennett, is achieving a result with a cinematic aesthetic. “As we move towards HDR displays, we’ve discovered that high contrast images tend to judder as they move across the screen,” said Bennett. The two proposed a solution whereby images are acquired at a very high frame rate, but then adjusted in post. Continue reading HPA 2018: RealD’s TrueMotion Finesses HFR Footage in Post

IMF (Interoperable Master Format) came of age, and two hours at this week’s HPA Tech Retreat were devoted to progress made and reasons for its adoption. Led by NABA (North American Broadcasters Association) chair of the working group on file formats Clyde Smith, a senior vice president at Fox Network engineering and operations, the block of speakers covered the business benefits of IMF and how Hollywood, broadcast and OTT would benefit from adopting it. Other topics focused on integrating IMF into the production pipeline. Continue reading HPA 2018: Making the Case for IMF in Broadcast and Online

For this year’s Super Bowl, The Mill in London produced 25 commercials, relying heavily on the cloud. “There’s no way we could have gotten that done without a burst of rendering in the cloud,” said The Mill group technical director Roy Trosh. “When we know we have a vendor bulge, we used to bring a [server] supplier and it took three days to get ready to render. This time it took 15 minutes.” At this week’s HPA Tech Retreat, manufacturers and users described how the industry has evolved with regard to cloud production and post. Continue reading HPA 2018: Update on Tools, Production and Post in the Cloud

The 12th Annual Creative Storage Conference (CS 2018) will be held June 7, 2018 at the DoubleTree Hotel in Culver City, California. CS 2018 is now taking submissions for presentations as well as sponsorships and exhibits. The submission deadline is April 20. Organizers are seeking media and entertainment professionals who can add real hands-on experience and independent suggestions for all the sessions. The agenda features four keynote presentations and seven sessions throughout the day. You can submit speakers/panelists for this premier event online. Continue reading 2018 Creative Storage Conference Seeking M&E Professionals

At AMIA’s The Reel Thing conference in Hollywood, Sony Pictures Entertainment senior vice president of technology for production and post production Bill Baggelaar presented a session on HDR video mastering for classic cinema. He first hoped to dispel myths about high dynamic range. “I’ve heard that you need sunglasses to watch HDR, that filmmakers will hate it and that it will be too hard to deliver,” he said. “People also worry that there are too many formats, with HDR10, Dolby Vision, HDR10+ and HLG.” Continue reading Sony Pictures Masters Classic Films in High Dynamic Range

At The Reel Thing, an AMIA (Association of Moving Image Archivists) conference, Hollywood technologists and filmmakers gathered to hear presentations on challenges in restoration, remastering and archiving. PurePix Images chief executive Michael Inchalik and University of Georgia mathematics professor Alexander Petukhov looked at how Algosoft is developing software to repair vertical scratches, one of the toughest challenges in digital restoration. “We’re discussing a high-level restoration workflow,” said Inchalik. Continue reading New Software Tackles Scratch Removal for Film Restoration

Two years ago, Gnarbox, which offloaded video from the smartphone to enable 4K video editing, earned over $500,000 from almost 3,000 backers on Kickstarter. Today, the $299 Gnarbox — a small black box for portable backup and editing — contains a mini-PC with 1.9GHz quad-core processors, a dedicated GPU, 128GB storage, Wi-Fi, SD card slots and three USB ports, but no display. Instead, all the processing that takes place in Gnarbox is visible on the user’s smartphone, with editing in and out points indicated by a simple swipe. Continue reading Startup Gnarbox Enables 4K Video Editing From Smartphone

At this week’s SIGGRAPH 2017 conference in Los Angeles, Nvidia showed off a variety of technologies connecting graphics and artificial intelligence, delivering 10 research papers relevant to the company’s developers, including an AI-empowered method to create realistic facial animations. The company also showed off its Isaac robots, which vet AI algorithms inside its Project Holodeck virtual environment. By doing so, the robots will be able to learn inside a virtual space for collaboration, minimizing the potential of causing problems in the real world. Continue reading Nvidia Integrates Computer Graphics and Artificial Intelligence

At the Unite Europe conference in Amsterdam, more than 1,400 game developers examined tools and innovations from game engine company Unity. Among those was the virtual camera system Cinemachine, which makes it easier for even neophyte content creators to get creative with animation, games, eSports, cinematics and movie pre-visualization. Unity’s Asset Store offers free 3D models and environments, including the Adam character from last year’s impressive tech demo. The engine also offers generic animations that can be applied to characters. Continue reading Unity’s Cinemachine Designed for Animation, Games, Movies

At NAB 2017, China-based Z CAM, which offers an interchangeable lens mount 4K VR camera, inked a partnership with Assimilate, which offers an interactive, creative platform. The Z CAM S1 VR camera is a four-sensor system with high-speed Ethernet port, providing 4K at 60fps or 6K at 30fps (post-stitching output) and Z CAM’s WonderStitch. That is paired with Assimilate’s real-time Scratch VR Z bundle, which includes the features of Scratch and Scratch Web plus 360-degree tools and features, stitching and ambisonic audio. Continue reading NAB 2017: Assimilate, Z CAM Tackle VR Production Workflow

A hacker group that goes by the name “TheDarkOverlord” has reportedly stolen episodes from a number of television shows. Over the weekend, 10 episodes from the upcoming fifth season of “Orange Is the New Black” was shared after Netflix did not meet ransom requests. The hackers may have access to up to three dozen series from networks including ABC, CBS, Fox, FX, IFC, NatGeo and NBC. It provided a list of TV series and a few movies to cybersecurity blog DataBreaches.net, claiming that the content was stolen from audio post-production facility Larson Studios. Continue reading Hacker Releases Original Netflix Content, Threatens Networks

As part of the Next Generation Media Technologies program at NAB, in partnership with ETC@USC, Walden Pond chief executive Wendy Aylsworth moderated a panel on “Thought Leadership for Key Players in the Industry.” Leaders from cloud initiatives at Microsoft, Google, Adobe and Avid Technology detailed their experiences in evolving cloud offerings, as well as the challenges in making these services a reality. Because the cloud is capable of multiple workflows, each leader had a different take on its benefits. Continue reading NAB 2017: Thought Leaders Gather to Discuss Cloud Potential

Visual effects studio Digital Domain is launching a new suite of platform agnostic “creation, production, and distribution tools for virtual reality experiences — including a VR camera,” which it is demonstrating at NAB this week, reports VentureBeat. Digital Domain’s portable spherical camera features “advanced live-streaming capabilities, new integrations with post-production suites, and a cloud-based VR distribution platform. It enables visual effects production, 360 capture hardware and software, real-time stitching and encoding, livestreaming, application development, and content distribution.” Continue reading NAB 2017: Digital Domain Demos VR Camera and New Tools