AEAF Latest Entries
The public beta of DaVinci Resolve 12 is now available, with recent
updates to include Intel Iris and Iris Pro GPU support, optimised
high-res and RAW proxies and smooth clip transitions.
Crooked Letter Films shot and post produced a promo for the Brooklyn
Bicycle Co. website, shooting in ProRes at locations all over Brooklyn
with the AJA CION.
Pixomondo’s work on ‘Game of Thrones’ majestic dragons calls for
remote team work, running on cineSync, between dispersed artists to
manage complexity as they grow into adult beasts.
The new Brightcove Video Cloud is rebuilt with a HTML5 user interface,
a video player with faster upload and playback, mobile publishing and
new, higher performance APIs.
AEAF Entries from Psyop include - Samsung Galaxy 11 - The Match Parts
1+2The world’s greatest footballers unite as a team for the ages to
challenge a mysterious force of aliens in a virtual football
match unlike anything ever seen on earth.
AEAF has received compelling Games Cinematic entries this year,
some produced for E3 2015. Students entering work have also
excelled in both animated and composited live action projects.
Dirty Bomb - This trailer is rendered entirely in engine using Unreal.
Plastic Wax were responsible for all creative aspects of the Dirty
Bomb cinematic, from storyboarding, animation
through to post production.
Rendering high resolution content for the Academy of Sciences Planetarium’s
all-digital dome requires hundreds of render nodes and high-speed storage
within a dedicated IT infrastructure.
Founder Andre Luis tells what makes Trojan Horse a different kind of digital arts festival, this year available remotely via the THU TV online channel and at meet-ups around the world.
Cable TV entertainment company KSE Media Ventures has created
an automated workflow for its channels by using four Vantage media
processing systems running on Lightspeed servers.
Ncam is launching a new entry-level camera tracking system at IBC2015,
simplified for broadcasters who want to use virtual graphics or AR, but
only need PTZ functionality.
The LUMIX DMC-FZ300 has a 24x Leica Zoom lens with 5-axis stabilisation,
visual focus and several AF functions, OLED Live View Finder and 4K video and 4K Photo burst shooting modes.
DigitalFilm Tree uses DaVinci Resolve for remote colour correction within
their post workflow, which connects users via cloud storage and integrates
their file-based workflows into one hub.
In this Realflow Tutorial, learn how to link or parent your Realflow emitter
to a moving or animating object, and export your animated scene from
3dsmax and then link the emitter to that object.
In a trial at KQED-TV, Harmonic and Dolby demonstrated how the Dolby
AC-4 format improves both bandwidth efficiency and audio quality within
the new ATSC 3.0 broadcast standard.
Thinkbox Deadline is now available in the Azure Marketplace. Deadline’s
Cloud Wizard, released for Google Cloud and in beta for Amazon EC2,
configures cloud render farms in just 30 minutes.
Three studios talk about adopting new StorNext SAN shared storage
systems, customized for post and broadcast facilities through the
Autodesk Quantum partnership.
DP and colourist Mick Jones at Filthy Look uses Colourista in Premiere Pro
to establish looks in pre-production, and develop an original style for each
project and for the company itself.
AEAF Finalist entries are now being announced online leading up to the
Awards Night and Screening. Also, check out the latest Feature Film VFX
entry, ‘Mad Max: Fury Road’ from Iloura.