The end of celluloid film distribution in North America may come as soon as the end of this year, as the transition from film to digital continues. Michael Karagosian, president of MKPE Consulting, said that by the end of last year, 75 percent of worldwide cinema screens had already made the digital transition. This is expected to be an important topic this week at the annual CinemaCon convention in Las Vegas. Continue reading Distribution of Film Prints May Soon End in North America

First announced at last year’s NAB, cloud-based production service Adobe Anywhere is scheduled to launch in May and will be on display at next week’s NAB (booth SL3910) in Las Vegas. The toolset enables collaboration for creative professionals using Adobe Premiere, After Effects and logging tool Prelude. It uses Adobe’s Mercury streaming engine, a server that streams relevant video frames and scales quality based on available bandwidth. Continue reading NAB 2013: Cloud-Based Production with Adobe Anywhere

Sony announced it has entered the cloud-based services market with the launch of a new set of tools intended to help creative professionals such as production studios, filmmakers, producers, broadcasters and marketing teams work with various media applications online. The Ci scalable cloud platform features a “fast and secure” collection of tools for collecting, producing, sharing and archiving high-quality media content. Continue reading NAB 2013: Sony Announces New Scalable Cloud Platform

During this week’s Hollywood Post Alliance Tech Retreat in Indian Wells, California, industry veterans are discussing the transition to digital cinema and what that means for the future of production, distribution and exhibition. “The industry has spent more than $3 billion… and by the end of this year I predict we will be releasing movies in the U.S. without any film prints,” said Jerry Pierce, chairman of the Inter-Society Digital Cinema Forum. Continue reading HPA Tech Retreat: Digital Cinema Opens New Possibilities

YouTube has opened another digital video production facility intended for its content partners. Officially called “YouTube Space LA,” the new 41,000-square-foot Playa Vista facility features four soundstages, three green screens, high-end production equipment, 20 post production bays and a screening room with 4K projector. The over-sized lobby, designed for fostering collaboration and hosting big events, touts an HD video wall comprised of 36 monitors. Continue reading YouTube Space LA: Production Facility Opens in Playa Vista

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” 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

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

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

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

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