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Sony 4K Initiative: Studio Remasters Content for Ultra HDTVs

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January 31, 2013

Sony is ramping up its efforts to provide 4K content by remastering select productions in the new format and restoring classic movies in 4K. As part of the initiative, Sony Pictures Television will remaster all five seasons of “Breaking Bad” in 4K. We can also expect to see 4K versions of “Groundhog Day,” “Ghostbusters,” “Glory,” “Funny Girl” and “On The Waterfront.” Continue reading Sony 4K Initiative: Studio Remasters Content for Ultra HDTVs

Zero Dark Thirty Shoot Turns to Remote Pipeline Partners

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January 25, 2013

“Zero Dark Thirty” cinematographer Greig Fraser used the ARRI Alexa with Codex Onboard recorders to shoot in nearly pitch black conditions. Fraser worked with Digilab, Codex and Panavision to help create a pipeline of reliable equipment to remote locations in India and Jordan. Digilab and Panavision helped develop lightweight backpacks to aid with the mobile nature of the shoot, while Codex established a reliable stream of equipment for the harsh conditions. Continue reading Zero Dark Thirty Shoot Turns to Remote Pipeline Partners

Vatican Drama Borgia Takes Unconventional Distribution Path

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January 17, 2013

The latest project from showrunner Tom Fontana, writer/producer of acclaimed shows such as “Homicide: Life on the Street” and “Oz,” is not currently available via cable or broadcast in the U.S. Instead, the historical Vatican drama “Borgia” was launched without a network, has aired in France, and is now looking to additional options, including streaming. Adweek talks with Fontana about the unorthodox path the show has taken. Continue reading Vatican Drama Borgia Takes Unconventional Distribution Path

CES 2013: Production Tools for Personal and Professional Use

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January 11, 2013

While the latest new displays and the stunning new tablets and smartphones tend to get the bulk of the attention at CES, in the smaller booths, hidden in the nooks and crannies of the Las Vegas Convention Center, one can find a smattering of simpler, humbler tools that can make life a lot easier for people on working in physical production. Here, we look at some tools for shooting in the field that are all new at this year’s CES, including lights, camera mounts, protective gear and storage options. Continue reading CES 2013: Production Tools for Personal and Professional Use

CES 2013: Emotion is the Future of Content Discovery

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January 9, 2013

The future of content recommendation and even of editing movies could be at the tip of your finger. Technicolor is demonstrating an R&D project that detects a viewer’s emotional response to content by way of a small sensor worn against the skin of the hand. Biometric data, including heartbeat and temperature, helps measure viewer response. Continue reading CES 2013: Emotion is the Future of Content Discovery

CES 2013: On the Lookout for A/V Production Technologies

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January 3, 2013

Advances in the production of audiovisual content — on both the consumer and professional levels — are expected to be incremental rather than revolutionary, with the general trends of technology being more powerful, less expensive, and more mobile continuing. Our coverage in this area will be focused around three main trends: new products for content capture, new tools for production and post-production workflows, and new technologies for the storage and management of digital assets. Continue reading CES 2013: On the Lookout for A/V Production Technologies

High Frame Rate 3D Version of The Hobbit is Insanely Gorgeous

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December 12, 2012
  • Peter Jackson’s “The Hobbit: An Unexpected Journey,” shot in 48-frames-per-second HD, “looks nothing like you’ve ever seen before,” writes Wired. “In the 48-frames-per-second version… Middle-earth in 3D looks so crisp it’s like stepping into the foreground of an insanely gorgeous diorama.”
  • The movie will also be released December 14 in standard 24-frames-per-second, but the HFR 3D version allows for more precise images and smoother 3D action because it doubles the “visual data” and decreases blur during quick camera motions.
  • While the 48-frames-per-second approach is great for action sequences, Wired questions its effectiveness during naturalistic scenes. “The flicker, depth of field and imperfect ‘grain’ that lends character to 35-millimeter film historically fostered a collective dreamlike state for audiences who gathered in the dark to lose themselves in images that were never intended to exactly replicate the ‘real’ world.”
  • “In delivering the kind of high-def detail by which every wrinkle gets full attention, fast frame takes getting used to,” suggests the article. “At times, scenes unfold as if part of an extravagantly well-lit, art-directed reality-based series or soap opera.”
  • The 48-frames-per-second method combined with 3D almost makes the film seem something beyond real, suggests Wired, and definitely takes some adjustment for people used to watching standard film.

Cinematographer Praises the Soon-to-be-Released Canon EOS C300

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December 2, 2011
  • Jonathan Yi is a freelance director and cinematographer who works largely in film and advertising. He teaches camera and cinematography at New York University’s Tisch School of the Arts film program.
  • Yi recently posted an impressive six-minute test video of the new Canon EOS C300 that makes comparisons with current DSLRs and reveals a new standard for digital cinematography.
  • “I believe that Canon made a beautiful camera that is sensible, reliable and portable in a way that I’ve always dreamed a camera could be. It prioritizes great skin tone and has higher ISO sensitivity than any other camera out there,” he writes. “I know there’s nothing I can say to change the minds of the RED fan club. For the rest of the skeptics, I think once you get your hands on it you’ll understand how great this camera really is. Please buy this camera in January and go film some good skin tones in the dark. You’ll love it.”
  • The EOS C300 and EOS C300 PL are expected to be available in early 2012, at an estimated cost of less than $20,000.
  • Yi’s (very) detailed review is available on the Canon site, in which he writes: “As Canon’s flagship 1080p HD cameras, the EOS C300 and EOS C300 PL are designed to fit a wide variety of production needs. They are at home as A Cameras for Independent Films, Commercials, Television and Dramas as well as B Cameras on Major Motion Pictures, offering in addition to the more common 23.98P frame rate, several selectable frame rates including a straight 24.00P setting for intercutting directly with film originated material. Full HD 1920×1080 (1080p) is currently the most used and needed deliverable frame size for these applications. The EOS C300 and EOS C300 PL provide easy adoption and simplified workflow that 4K cameras currently cannot deliver.”

Filmic Pro App from Cinegenix is Ideal Tool for Mobile Video Shoots

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November 16, 2011
  • Filmic Pro is a $2.99 app from Cinegenix that transforms the iPhone’s video camera capabilities by providing prosumer features.
  • “The camera lets you set and lock your focus, exposure and white balance,” reports Appletell. “On the backend, a set of menus allows you to set the resolution, from 480×360 up to 1920×1080, though only the iPhone 4S supports that resolution.”
  • Filmic Pro can add color bars and a slate (including countdown) to the video, and bitrate can be modified. Additionally, the app enables exporting directly to YouTube, Vimeo, Facebook, or Tumblr.
  • “You can also set the Frames Per Second from 30 all the way down to 1,” according to the post. “There’s a simple audio meter, a thirds guide, a framing guide (2.34:1, a standard TV 4:3, and a cinematic 16:9). If you want to make your iPhone video look like it was shot on a 35mm movie camera, there’s a matte box function, too.”
  • Appletell suggests that Filmic Pro’s strengths involve greater control over shooting, setting frame and compression rates and the ability to export footage to Dropbox or FTP. The app does not allow users to edit, set titles, or add special effects.

Texas Instruments Video: Explaining How Immersive Spatial Audio Works

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November 15, 2011
  • This 3 1/2 minute video by Texas Instruments clearly and concisely explains the three components of their 3D audio technology: beam steering, crosstalk cancellation, and head related transfer function (HRTF or the psychoacoustic effect).
  • “Laptops, tablets, mobile phones and other multimedia devices offer an impressive visual experience,” suggests the video. “However, the overall experience is hindered by space constrained audio systems that lack clarity and depth — until now.”
  • Texas Instruments explains in the video how its audio technologies convert the “small sound stage” into an enhanced, immersive experience via techniques that manipulate sounds in desired directions in a 3D space.
  • This is a must-view for anyone interested in spatial audio applications for consumer electronics.

Revolutionizing Wait Time: DreamWorks and Intel Partner on Rendering

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November 15, 2011
  • Animators at DreamWorks have to work in low resolution — “as if blind” — because rendering takes a week for 3 seconds worth of animation.
  • “CEO Jeffrey Katzenberg said his company’s four-year partnership with Intel is developing scalable multicore processing methods and software that will change all that,” reports Forbes.
  • Katzenberg explains the partnership is dedicating tens of millions of dollars in an effort to reengineer animation software “in a way that will halve the number of steps in the production line and ramp up animators’ productivity between 50 and 70 times.”
  • The technology will also be widely applicable in areas that use high-end rendering, including medicine, oil, aircraft design and more.
  • “This literally is going to revolutionize waiting,” suggests Katzenberg.

Creativity: Cinematographer Explains the Future of Technology is You

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November 14, 2011
  • DP Art Adams discusses the future of technology and the importance of creative talent behind its use.
  • “Honestly, I’m not so concerned about our technological future: things will always get better, faster and easier over time. My concern is how we, as humans, will relate to technology,” writes Adams. “The last few years have seen a shift in focus from the people to the tools, and that’s a dangerous path to follow.”
  • “As cinematographers we should be selling ourselves on our unique vision and abilities, but instead we often find ourselves selling gear,” he comments regarding what he sees as a disappointing trend.
  • “Somehow the focus must be shifted from the technology back to the people who use the technology, because that’s where all the creativity is.”
  • Adams suggests producers and directors use the same approach that he uses with his own crew: 1) Hire good people who can do their jobs better than you can do their jobs; 2) Tell them what you want; 3) Tell them the parameters (time, budget, etc.); 4) Let them use their creativity and years of experience to solve the problem in their own way; 5) Repeat.

Panel Notes from FoE 5: Crowdsourcing for Producing Media Content

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November 11, 2011

The following are some notable comments from a panel at this week’s Futures of Entertainment conference at MIT.

Panel: “Creating with the Crowd: Crowdsourcing for Funding, Producing and Circulating Media Content”

  • In the pre-production phase, to start a crowd going, you should have fans help you create simple and small ideas. The simple interactions will slowly draw people into the idea. Once they start participating more, then you can move to give them harder tasks — the hardest task/request being funding.
  • Having a community financially invested in a film not only produces funds, but can leverage the community’s time and energy after the film has been released to promote.
  • One of the keys to successful crowdsourced projects is making sure that if you fail, you need to be able to fail fast.
  • When it comes to crowdsourcing, you must find the balance between what you’re asking your crowd to do and what you’re giving them.
  • The success of crowdsourcing demands transparency. There should be a mechanism to let the crowd know how their input has been used. The sense of participation feeds the crowd to continue to participate.
  • Must provide a simple platform for crowds to engage and use.
  • In crowdsourcing there needs to be a person that ultimately decides what goes in to the content. Crowdsourcing isn’t necessarily a democracy, there needs to be a benevolent dictator/editor.
  • Crowdsourcing may become a fad if there are too many projects that are too broad. The more Kickstarter projects there are, for example, the harder it is to support them all. People will ultimately select projects that they are intensely interested in.
  • Who’s the crowd? When the term “crowd” is used, it’s really just an excuse because you don’t know the audience/group’s identity.
  • Right now a vast majority of projects that use the crowd, use it to build funds, or gather ideas. There are very few examples of crowds changing media from the creative aspect.

Speakers:
Mirko Schäfer (Utrecht University, The Netherlands)
Bruno Natal (Queremos, Brazil)
Timo Vuorensola (Wreckamovie, Finland)
Caitlin Boyle (Film Sprout)

Post Production Trend: Hollywood Turns to India for Special Effects

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November 11, 2011
  • Hollywood is looking to special effects houses in India to deliver shots for 25-50 percent of what they would spend domestically. PriceWaterhouseCoopers predicts the Indian special effects industry will more than double in size by 2015.
  • Digital Domain is partnering with Reliance MediaWorks, an affiliate of India’s Reliance ADA conglomerate. Lucasfilm is working with India’s Prime Focus for the 3D conversion of “Star Wars: The Phantom Menace.”
  • Indian companies like Crest Animation Studios and DQ Entertainment, meanwhile, have announced projects with Lionsgate Entertainment and France Television.
  • “These days, as much as a third of the budget for major Hollywood films is earmarked for special effects, according to a research report by accounting firm KPMG. The annual amount spent by filmmakers on special effects in the world’s top five markets totals some $1.9 billion,” reports Fortune.

3D Tutorial Video: Peter Jackson Discusses Production of The Hobbit

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November 8, 2011
  • Director Peter Jackson’s team has created a fascinating 10-minute video covering all aspects of shooting a 3D feature (cameras, frame rates, concept art!, costumes, make-up), using “The Hobbit” as the case study.
  • ETCentric staffer Dennis Kuba adds that this is the fourth in Jackson’s “Hobbit” production videos, this time with a focus on their 3D production. Dennis points out some of the highlights:
  • They are using two RED Epics in a 3ality rig which uses a mirror to replicate a human’s interocular. Both the interocular and the convergence can be altered as they shoot. They also have a camera rig for a crane and a handheld rig. Jackson doesn’t feel that 3D is restricting or changing his shooting style. Interestingly, they are shooting at the same speed as 2D.
  • They are shooting at 5K resolution and 48 fps. Jackson says the effect is “like looking into the real world.”
  • The RED camera “tends to eat color” so they add even more color.” The final film will be graded down to get the right amount of color. For the characters, they found that they needed more red in their makeup otherwise they would appear yellow.
  • This is the first film where the pencil and charcoal concept art is being done in 3D.

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