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.
An update to Cineware 3.0 for After Effects CC improves the workflow
and performance in the Cineware Live 3D pipeline, adding support for
OpenGL rendering and the Cinema 4D Take System.
Join artists from Hollywood’s Gnomon School of Visual Effects, Games
+ Animation in Melbourne for ‘Art of Entertainment’, a weekend of live
demos and masterclasses.
Ventuz 5 will be released at ISE 2016 with changes to the workflow, layer
based real-time 3D compositing, further third party integrations and new
render and material engines.
Avid DNxHR and DNxHD recording formats will soon be supported by RED’s
WEAPON, SCARLET-W and RED RAVEN cameras, adding another workflow
option for filmmakers and post teams.
Video is playing an interactive role in Kevin Hart’s ‘What Now’ world tour.
Blackmagic Studio Camera 4K and ATEM 1 M/E Production Studio 4K
delivered live video during his UK performances.
Imagine Communications and Hewlett Packard Enterprise have expanded
their relationship, aligning Imagine Communications’ main products with
HPE’s software, hardware and services.