When Quentin Tarantino’s “The Hateful Eight” debuts on December 25, it won’t simply resurrect Ultra Panavision, an extra-wide format last used in 1966 on “Khartoum.” The filmmaker will release the 70mm film on 100 screens — 96 in the U.S. and four in Canada — a feat that hasn’t been accomplished since 1992. And to do so, Tarantino has had to find and refurbish projectors and train projectionists to run them. It’s all in service of an old-fashioned night at the movie palace, with overture, intermission and additional footage. Continue reading What it Will Take to Present Tarantino Film in Ultra Panavision

Facebook, which has begun to build VR-like 360-degree videos into its site, now allows users to enjoy a true VR experience on the Samsung Gear VR. The company also launched a microsite to provide potential 360 filmmakers with best practices, guidelines and FAQs. VR producers, Vrse’s Chris Milk and Aaron Koplin also show the best way to make immersive video. Facebook has jumped into VR to stay fresh and, while offering users a chance to enjoy VR, also add some juice to its own VmaRketing. Continue reading Facebook Pushes 360 Videos, Both Branded and Independent

The New York Times debuted its second, and most ambitious VR film, “The Displaced,” along with its NYT VR app, which can be viewed with Google Cardboard. Produced in partnership with VR studio Vrse, the 11-minute documentary, which focuses on the daily lives of three refugee children across the world, was directed by Ben Solomon and Imraan Ismail and shown at a premiere that included a panel discussion that included participation of Vrse chief executive Chris Milk, who characterizes virtual reality as “the last medium.” Continue reading New York Times Debuts VR App, VR Film on Refugee Children

Gaming company Activision Blizzard is creating an internal film/TV studio, headed by former Walt Disney Company executive Nick van Dyk, to produce content based on its 1,000-title library. The first production is animated TV series “Skylanders Academy,” based on the “Skylanders” game that’s earned $3+ billion since its 2011 launch. The first film is likely to be based on “Call of Duty.” This move comes on the heels of Activision’s stated intent to acquire King Digital Entertainment, creator of “Candy Crush,” for $5.9 billion. Continue reading Activision to Open Film/TV Studio to Repurpose Game Library

At The New York Times’ DealBook conference, Netflix chief executive Reed Hastings pointed to a broad, sustained growth of consumer spending on entertainment as proof that there is not enough television content currently available. Great content, he said, will find viewers. The bar for quality is rising, he noted further, and said Netflix is maintaining its high standards by working with other production companies. As an example, he pointed to “Narcos,” which was produced with French company Gaumont. Continue reading Netflix Chief Exec Tells Conference: “There’s Not Enough TV”

BeBop Technology has built a virtualized editing platform that uses IBM Cloud to offer a secure, cloud-based film and video editing service. The platform intends to facilitate greater speed and efficiency of media production while reducing costs. Software developer Teradici provides cloud media management with its Pervasive Computing Platform tech that enables secure virtual workspaces. Rather than moving content files between locations, which can result in errors and piracy risks, Teradici’s solution transmits only the pixels, securely on IBM Cloud. Continue reading BeBop Launches New Virtualized Editing Platform on IBM Cloud

High dynamic range is lauded for its more vivid colors and life-like imagery. Initially introduced by TV set manufacturers, an increasing number of gear manufacturers have introduced HDR capabilities and SMPTE just released standard specifications. But implementing HDR into production, post production and distribution can also create problems that degrade the image, with artifacts and banding. Several experts talked about the challenges in implementing HDR, and the potential solutions to them. Continue reading SMPTE 2015: Examining HDR Tech Challenges and Solutions

Television production facilities began incorporating IP, or Internet Protocol, technology several years ago, and an increasing number of broadcast equipment manufacturers are supporting the video/audio signal transport format. But is IP networking mature and robust enough for broadcasters to consider replacing their now-standard SDI networks with “all IP” versions? Broadcasters and broadcast equipment manufacturers have been busy trying to answer that question, and some of their results were presented at SMPTE 2015. Continue reading SMPTE 2015: Experts Greenlight IP Technology for Broadcast

At the SMPTE 2015 annual conference, broadcast consultant Jim DeFilippis, Grass Valley camera executive Klaus Weber, and Panasonic researcher Hiroaki Iwasaki, among others, looked at the challenges involved with adding higher frame rates, higher dynamic range and wider color gamut for 4K resolution and beyond. Baylor University professors Corey Carbonara and Michael Korpi attempted to find the perfect amount of frame rates, exposure times, lighting, and refresh rates to arrive at the best image. Continue reading SMPTE 2015: Challenges of Adding HDR, HFR and Color to 4K

For box-office hit “The Martian,” 20th Century Fox and its Fox Innovation Lab developed a VR experience that will debut as a commercial release in the first half of 2016. The VR experience relies on Oculus headsets but will also be available with other devices. The experience is based on the lead character of the movie, putting viewers into the challenges faced by astronaut Mark Watney on Mars. Filmmaker Robert Stromberg said the “thrilling” experience aims to provoke a wide range of emotions including anxiety and success. Continue reading Fox Innovation Lab to Debut Virtual Reality with ‘The Martian”

The Society of Motion Picture and Television Engineers has published a study group report on the high dynamic range imaging ecosystem, now available for download on the SMPTE site. The report provides a detailed summary regarding “the implementation of HDR in professional media workflows and addresses key questions that will arise for industry members as they move forward in taking advantage of HDR technology.” In addition, it provides recommendations for standardization efforts. According to SMPTE, the report reflects the efforts of 170 international experts. Continue reading SMPTE HDR Report Offers Recommendations for Standards

A large number of potential partners are vying to cut deals for Vice TV channels across Europe, expected to launch in the next 12 to 18 months. But plans aren’t moving fast enough for chief executive Shane Smith who is eager to ink agreements not just for TV but mobile, online and OTT. The company is already set to launch a U.S. channel, and expected to partner with A+E for that venture (although Smith more recently declined to say who his U.S. partner would be), and has a Canadian outlet with Rogers Communications. Continue reading Vice to Decide on TV, Mobile, OTT Expansion Deals in Europe

In GoPro’s first ever deal with an educational institution, the camera company and USC School of Cinematic Arts announced that USC students will receive help to distribute, monetize and promote content created with GoPro camera equipment. As part of the deal, GoPro will donate 150 cameras and accessories, and GoPro camera technology will be incorporated into the school’s filmmaking curriculum — including education, workshops and one-on-one tutoring — this fall. The cameras will also be used for gaming and VR. Continue reading GoPro and USC Ink Deal to Use Cameras for Film, Games, VR

FotoKem VP and principal color scientist Joseph Slomka led a SMPTE webinar yesterday on “Clarifying High Dynamic Range,” detailing his experiences in working with HDR productions. High dynamic range is “gaining traction in both the consumer and professional aspects of motion pictures,” notes SMPTE, but “there are differences of opinion even in its definition and ways to approach it.” Slomka described HDR’s impact on perception of resolution and depth as well as pitfalls in production, post production and display. Continue reading SMPTE Webinar Details the Strengths and Challenges of HDR

Sony Professional Solutions America launched a YouTube channel dedicated to its own 4K camera, the F55, and 4K productions using it. The “Sony 4K” channel — which currently has 177 followers — was introduced by its two creators: channel manager Brett Erlich and director of Sony’s Digital Motion Picture Center Dan Perry. The channel will feature 4K content in three categories: a curated playlist of 4K productions shot with the F55, “tips and tricks” from the filmmakers using the camera, and how-to videos. Continue reading Sony to Build Community of 4K Creators with YouTube Channel