The Sydney Animation Production Group, helping artists to turn their
concepts into productions, has invited managing director Barbara
Stephen of Flying Bark Productions to their next event.
Nagoya TV built a 4K edit and grading suite, capable of HDR workflows,
based on Blackmagic DaVinci Resolve Studio with Smart Videohub
40x40 and Smart Control to manage media feeds.
intoPIX TICO video compression can now handle workflows in HD, 4K
with full 8, 10 or 12-bit in 4:2:2 and 4:4:4 colour spaces, resulting in
high image clarity at low-cost and low latency.
Dolby purchased one of the first Baselight X systems, built with high-
bandwidth internal storage and high resolution, wide dynamic range
functionality, for its Dolby Vision suite.
At Super Bowl 50, pylon cameras, based on Marshall’s tiny CV500-MB-2,
were deployed for the first time at a Super Bowl, resulting in previously
unavailable views of action near the end zones.
Canon’s EOS-1D X Mark II DSLR camera has a 20.2MP 35mm CMOS
sensor, and captures high-res still images at up to 14 fps, and HD video
up to 4K 60p - both with dual pixel CMOS AF.
MPC Creative’s Mike Wigart and Dan Marsh tell what creating imagery
for VR viewing means for production and post teams, and describe their
approaches on two very different projects.
Sony’s new mirrorless, interchangeable lens camera has high speed
AF with 425 phase detection AF points, a 24.2 MP APS-C sensor and
4K video recording to the XAVC S codec at 100 Mbps.
The VES held the 14th Annual VES Awards, recognising visual effects
artistry and innovation in film, animation, television, commercials,
video games and special venues.
Korea Telecom plans to launch 20 new HD channels over the next three
years, using Ericsson’s AVP 400 MPEG-4 HD encoders to achieve picture
quality and control transmission delay.
Brightcove conducted a study exploring current applications of
interactive video, helping to determine its ease of use, cost and
value in driving and understanding audience engagement.
With AMD’s Multiuser GPU, FirePro S-series server cards allow access
to GPU processing power to create virtual machines, and manage
resources from a scalable, central machine.
Vizrt’s MAM system, Viz One v5.10, accesses media during ingest,
supports meta-graphics with Avid Media Composer, and adds search
tools and automation to web portals via the Viz One APIs.
Digital Art & Animation students at Cogswell College released two new
3D animatable rigs for original digital characters through the character
animation program, ‘Project Avatarah’.
Avid Media Composer 8.5 now has a more logically organised interface
and a live trim update. It supports HDR workflows, has a new rotation tool,
and editors can work with up to 64 audio tracks.
Inertial motion capture systems like Xsens MVN Biomech accurately
record althlete’s performances, plotting natural motion in real places
to visualize aspects of how people move.
Cinesite VFX studio contributed to major sequences in ‘The Revenant’,
helping the director build up the experiential nature of the film with
perfect shot transitions and invisible effects.
NEP Australia’s Marc Segar talks about acquiring Canon’s new 4K CJ12
portable broadcast lenses to support the infrastructure they are building
to meet forthcoming demand for 4K content.
VRT in Belgium broadcast the trial remote multi-camera production
of a live concert using only IP and open standards throughout the
process, demonstrating the capabilities and value of IP.