On July 14th, 20th Century Fox released War for the Planet of the Apes, the follow up to 2014’s Dawn of the Planet of the Apes, which was once again directed by Matt Reeves. The film marks the third in the rebooted franchise (2011’s Rise of the Planet of the Apes was directed by Rupert Wyatt), and centers around the now mature Caesar, who continues to serve as the apes’ leader. While their colony struggles to coexist with humans, they appear to be gaining an upper hand, as the humans face extinction due to a rapidly spreading, deadly virus.
Editor William Hoy also returned to work on the new release, continuing his collaboration with Reeves. Hoy’s vast credits include Dances With Wolves, both Fantastic Four films, 300, Watchmen, Sucker Punch and Abraham Lincoln: Vampire Hunter. He is a member of both the Academy of Motion Picture Arts and Sciences and American Cinema Editors.
“In this particular picture, almost the entire production called for visual effects,” Hoy explains. “It was dedicated to the performance and characters, which was a real plus for me. That’s what we wanted most out of it. The character and emotional character of the apes and the humans.”
Hoy, who has cut a number of Fox features, was acquainted with a number of people surrounding the project, and has developed a trust with the director. “On the first film, you have to learn to trust each other, and on this film it was a real pleasure to work with him,” says the editor. “We’ve become really good friends and that’s something that’s valuable that I take away from the picture, too.”
Read the full story at Post Magazine.
Posted in: EditingNewsNewsletter
Writer/director Edgar Wright’s latest outing is a major departure from his normal offering of dark comedies. Unlike his Three Flavours Cornetto film trilogy — Shaun of the Dead, Hot Fuzz and The World’s End — and Scott Pilgrim vs. the World, TriStar Pictures’ Baby Driver has been best described as a romantic musical disguised as a car-chase thriller.
Wright’s regular pair of London-based picture editors, Paul Machliss, ACE, and Jonathan Amos, ACE, also brought a special brand of magic to the production. Machliss, who had worked with Wright on Scott Pilgrim, The World’s End and his TV series Spaced for Channel 4, recalls that, “very early on, Edgar decided that I should come along on the shoot in Atlanta to ensure that we had the material he’d already storyboarded in a series of complex animatics for the film [using animator Steve Markowski and editor Evan Schiff]. Jon Amos joined us when we returned to London for sound and picture post production, primarily handling the action sequences, at which he excels.”
Developed by Wright over the past two decades, Baby Driver tells the story of an eponymous getaway driver (Ansel Elgort), who uses earphones to drown out the “hum-in-the-drum” of tinnitus — the result of a childhood car accident — and to orchestrate his life to carefully chosen music. But now indebted to a sinister kingpin named Doc (Kevin Spacey), Baby becomes part of a seriously focused gang of bank robbers, including Buddy and Darling (Jon Hamm and Eiza González), Bats (Jamie Foxx) and Griff (Jon Bernthal). Debora, Baby’s love interest (Lily James), dreams of heading west “in a car I can’t afford, with a plan I don’t have.” Imagine, in a sense, Jim McBride’s Breathless rubbing metaphorical shoulders with Tony Scott’s True Romance.
Read the full story at postPerspective
Posted in: EditingNewsletterProduction & Post
Franklin Peterson was a relative newbie to television editing in 2014. He’d surpassed the assistant-to- editor hurdle on indie films including “Safety Not Guaranteed” when he had the good fortune to cut director Sam Esmail’s feature debut, “Comet.” It was Peterson’s work on this film that inspired Esmail to reach out to the editor when he needed an editor to fill in during season one of his hacker-takes-over-the-world drama “Mr. Robot.”
After reading the pilot and seeing a cut, Peterson was hooked. He joined the team with the season already well in progress. Working in LA, he was given guidance and updates about the story threads being shot in NY. While the schedule was far more accelerated than a feature. Peterson found he still had ample time to apply creative editing styles to highlight Elliot Alderson’s (Rami Malek) unusual and often confused world-view.
“I loved getting time to experiment and play,” said Peterson. “Sam is open to outside-the-box ideas.”
Peterson and the “Mr. Robot” editing team had a heightened sense of creativity in season two, sparked largely in part by Esmail’s direction of each episode. Able to closely monitor the slightest detail, down to the makes of each characters phone, every scene was richly displaying the world Esmail envisioned. Despite his oversight on set, Peterson and the editing team were encouraged to continue to find the most creative way to tell the story in the edit suite, including the use of jump cuts, long to short takes, and other out-of-the-box means that would lend to exploring the personality of each character.
Unique to the experience of editing “Mr. Robot” was the ability to shuffle scenes around in an episode, sometimes even between episodes. The entire editing team would gather to sit and discuss set ups they were working on that offered mutual feedback for the unique experimentation Esmail encouraged. They also ensured, throughout their unique edits, that the characters retained a humanity, specifically Elliott, who’s unique way of seeing the world often verts against his humanity.
The unique eye tracking that comes with the extreme angles in “Mr. Robot” Peterson recalled using in “Comet”, however he was apprehensive about the extremely dark visuals in season two. Peterson credits DP Tod Campbell for carving out actors features with a handful of light, or finding the proper balance in the backlit shots.
“The art of it all fits, but there were always massive wide shots and plenty of extra coverage to work with,” recalled Peterson.
Sound design enhanced a major storyline reveal in the opener’s double episode. Peterson worked with sound team to underscore Elliott’s movements with rolling door and clinking of metal sounds, creating an off-balance sensation for the viewer while avoiding obvious reveals.
Most important in the unusual editing process was ensuring they responded to the needs and emotions of their characters. In a scene highlighting FBI agent Dominique DiPierro’s (Grace Gummer) loneliness and heartbreak, Peterson felt it was best to let her expressions linger without cutting into the scene.
Posted in: EditingNewsNewsletterProduction & Post
Who doesn’t love a good King Kong movie? And who says a good King Kong movie has to have the hairy giant climbing the Empire State Building, lady in hand?
The Jordan Vogt-Roberts-directed Kong: Skull Island, which had an incredible opening weekend at the box office — and is still going strong — tells the story of a 1973 military expedition to map out an island where in 1944 two downed pilots happened upon a huge monster. What could possibly go wrong?
Editor Rick Pearson, who was originally set to come on board for 10 weeks during the Director’s Cut process to help with digital effects turnovers, ended up seeing the project through to the end. Pearson came on during the last third of production, as the crew was heading off to Vietnam.
The process was already in place where rough cuts were shared on the PIX system for the director’s review. That seemed to be work well, he says.
To find out more about the process, I recently touched base with Pearson, who at the time of our interview was in Budapest editing a film about the origin of Robin Hood. He kindly took time out of his busy schedule to talk about his work and workflow on Kong: Skull Island, which in addition to Vietnam shot in Hawaii and Australia.
Read the interview at postPerspective.
Posted in: EditingNewsNewsletter
The Motion Picture Editors Guild (MPEG), Local 700 IATSE, will honor member Lillian E. Benson, ACE with its prestigious Fellowship and Service Award. Benson will be presented this distinguished honor by director and frequent collaborator Zeinabu Davis at a ceremony taking place Saturday, April 8, 2017 at the Sheraton Universal Hotel.
The Fellowship and Service Award was established 10 years ago by the Guild’s Board of Directors to recognize an individual who embodies the values the Guild holds most dear: Professionalism, Collaboration, Mentorship, Generosity of Spirit and a Commitment to the Labor Movement. Previous recipients of this distinguished honor include Joseph A. Aredas; Donald O. Mitchell; Don Hall; Carol Littleton, ACE; IATSE International President Emeritus Thomas C. Short; Dede Allen, ACE; and Donn Cambern, ACE.
“Lillian E. Benson has a had a long career editing influential and socially conscious films, and has been long active in working to increase minority participation in the filmmaking process,” commented Alan Heim, ACE, President of the Editors Guild. “In addition, she has been an active member of the Board of Directors for the American Cinema Editors [ACE] as Secretary and Co-Chair of the Diversity Committee. I am honored to have even a small part in presenting her with this richly deserved award.”
Benson is the first African-American woman to become a member of MPEG and had an Emmy nomination for her work on “Eyes on the Prize” in 1991. Additional credits include “The American Experience”, “Maya Angelou and Still I Rise” and “Passengers.” She is currently editing “Chicago Med.”
Posted in: EditingIndustry NewsNewsletter
SANTA MONICA, Calif.— Blah Blah Land, a television promo for KXTV-TV, Sacramento, featuring music from Killer Tracks, an industry leader in production music, came up big at the 2017 PromaxBDA Local Awards. The ad picked up two Gold Awards and one Bronze Award, the latter for Best Use of Original Music. Inspired by the Oscar-winning movie La La Land, the promo shows anchors from the station’s morning show bounding from their cars and performing an upbeat pop song in the middle of a traffic jam. The voiceover offers KXTV-TV’s Morning Blend as an alternative to the “blah blah land” of other stations. The spot was conceived by KXTV-TV Creative Director Drew Fowler.
The music featured in the promo is titled I’m Feelin’ Good and it comes from Feel Good Songs, a collection of catchy pop tunes produced, and available exclusively through Killer Tracks. The vocals were performed by actual KXTV staff. “We were looking for a track that embodied the spirit of La La Land, but not a direct copy,” said Fowler. “This worked perfectly.”
“It’s a very memorable, funny and charming promo, and it makes brilliant use of music,” added Killer Tracks Director of Marketing Andrew Donahue. “KXTV-TV’s marketing team did a fantastic job and we congratulate them on their success.” Donahue noted that all tracks in the Killer Tracks library are written specifically for production use. As a result, it’s very easy to add new vocal tracks or make other types of customizations. The library employs top composers and producers from the film, television and recording industries, and uses state-of-the-art recording techniques so the sound is always fresh and the quality first rate.
Blah Blah Land debuted during the Academy Award show broadcast in February and screened in cinemas and on social media. KXTV-TV produced the ad in-house using its own creative and production resources. Impressively, the entire spot was shot in a single take using a 25-foot jib and a Ronin camera mount. KXTV-TV staff who appear and sing in the spot include Jason Miller, Ilana Blasingame, Rose Mendonca, Samuel Platz, Jason Knight, Hugh Gaskill, Steven Parmley, David Montgomery and Theresa Mier, as well as Fowler. Members of a local parkour gym appear as extras.
See KXTV-TV’s Blah Blah Land here.
Sample Killer Tracks’ Feel Good Songs here.
About Killer Tracks
Killer Tracks is an industry leader in production music and a global source for pre-cleared music for film, television, advertising and interactive media. With more than 2,800 active albums from 39 diverse global libraries, the Killer Tracks catalog spans every genre and features original works from some of the music industry’s most innovative composers, artists and producers. The premium catalog is continuously enhanced with exclusive recordings and new music updates. Friendly, knowledgeable support is always available through a dedicated team of music search specialists and licensing experts. When music matters, rely on the production music experts at Killer Tracks.
For more information, visit www.killertracks.com or follow @killertracks on Twitter and Instagram.
Posted in: Press ReleaseSound
SANTA MONICA, Calif.— Killer Tracks today announces that I Can, We Can and Love +, will be released this month via the Killer Tracks Artists Series. A percentage of the revenue from the licensing of the songs will go to Mike Peters’ Love, Hope, Strength Foundation which “leverages the power of music to expand the bone marrow registry.” Two more songs will be released later this year.
The songs were written and sung by Mike Peters, whose band The Alarm produced more than 5 million records worldwide and 16 Top 50 UK singles. Peters is himself a cancer survivor and the subject of a new documentary, The Man in the Camo Jacket, directed by Russ Kendall and produced by Jonathan McHugh, Jonathan Platt, James Chippendale, Alex Colletti and Stash Slionski. The film chronicles Peters’ 8-year battle with non-Hodgkin’s lymphoma. A special screening of the film will be held on August 3rd at the Grammy Museum in Los Angeles, followed by a short musical performance and Q&A.
Peters and The Alarm are currently headlining this year’s Warped Tour, which includes a stop in Pomona, California on August 6. Love Hope Strength, named after The Alarm’s 1985 anthem Strength, will have representatives at each Warped Tour date conducting swab drives and donor matches. To date, Love Hope Strength has added over 150,000 individuals to the bone marrow registry, and has created over 3,100 potential life-saving matches for patients around the world.
I Can, We Can and Love +, are vintage Mike Peters: idealistic, impassioned, soaring. “They are very inspiring and motivating songs, and fantastic additions to our Artist Series,” says Killer Tracks VP of Production Carl Peel. “We are very excited to collaborate with Mike and support the work of his wonderful foundation.”
“Killer Tracks continues to support great causes and great artists,” adds McHugh. “Partnering with Mike Peters and Love Hope Strength in helping to promote his film and music has been a blessing.”
Film and television licensing of I Can, We Can and Love + is available exclusively through Killer Tracks.
For more information about The Man in the Camo Jacket and the Grammy Museum, visit http://www.grammymuseum.org/events/detail/man-in-the-camo-jacket
For more information on the Warped Tour, visit http://vanswarpedtour.com/dates/
About Love Hope Strength Foundation
The Love Hope Strength Foundation’s mission is to save lives, one concert at a time. We believe that all people deserve quality cancer care, a marrow donor if needed, and, most importantly, hope. Founded by cancer survivors James Chippendale and Mike Peters, LHS leverages the power of music to expand the marrow registry through our “Get on the List” campaign. At LHS, we believe in offering real hope to people currently living with cancer.
About Killer Tracks
Killer Tracks is an industry leader in production music and a global source for pre-cleared music for film, television, advertising and interactive media. With more than 2,800 active albums from 39 global libraries, the Killer Tracks catalog spans every genre and features original works from some of the music industry’s most innovative composers, artists and producers. The premium catalog is continuously enhanced with exclusive recordings and new music updates. Friendly, knowledgeable support is always available through a dedicated team of music search specialists and licensing experts. When music matters, rely on the production music experts at Killer Tracks.
For more information, visit www.killertracks.com or follow @killertracks on Twitter and Instagram.
Posted in: Press ReleaseSound
To help convey the “visceral realism” of Christopher Nolan’s “Dunkirk,” the director needed an intense soundscape for the legendary evacuation of more than 300,000 British and Allied troops under German bombardment.
In fact, Nolan needed three distinctly rhythmic soundscapes for this tick-tock, overlapping, World War II actioner that covers land, sea, and air. Nolan and composer Hans Zimmer came up with the sound of a ticking watch that plays throughout, and sound editor/sound designer Richard King provided the real-world soundscapes for mounting excitement, panic, and jeopardy.
“Chris wanted a sense of velocity and everything’s happening so fast with the enemy approaching at their own speed, so there’s a time limit,” said King, Oscar winner for “Master and Commander: The Far Side of the World,” “The Dark Knight,” and “Inception.”
“Rather than observing it off in the distance, Chris really wanted to make you feel how horrible that would be, and to try and help the audience appreciate that,” King said.
Read the full story at IndieWire.
Posted in: NewsletterProduction & PostSound
CULVER CITY, CALIF.— Baby Driver, the critically-acclaimed new film from TriStar Pictures and Writer/Director Edgar Wright, centers on a young getaway driver named Baby (Ansel Elgort) who suffers from tinnitus, a medical condition that causes him to hear a constant ringing in his ears. He copes with the problem by listening to music at high volume through earbuds. For much of the film, the audience experiences the action from Baby’s perspective. So, they hear the music that he hears (including tracks by Beck, Dave Brubeck and the Beach Boys) while the action around him happens in perfect sync.
The task of creating Baby’s aural landscape presented unique challenges and opportunities for the film’s sound team led by Julian Slater, who acted as Sound Designer, Supervising Sound Editor and Re-Recording Mixer. Slater and his crew produced hundreds of customized sound effects and carefully choreographed each one to fit perfectly with the action on screen and the groove flowing into Baby’s ears.
“The whole movie is orchestrated to whatever Baby is listening to at the moment,” Slater explains. “Gunfights are in time with the music. Car chases are cut in sync. Police sirens, barking dogs, speeding trains are at tempo. Much of it is pitched and syncopated so that the music and sound design work as one.”
The novel sound concept is introduced in the film’s opening moments. “The first thing you see is the studio logo,” Slater notes. “The sound from it transforms into a tinnitus ringing, which in turn becomes the braking sound of a car. It is in the same key as the first music cue (Bellbottoms by the Jon Spencer Blues Explosion), so it all flows.”
Soon after comes a tracking shot covering more than 3 minutes. Baby is gamboling along a downtown street listening to Bob & Earl’s Harlem Shuffle. “Edgar shot the scene in time to the music,” recalls Slater. “We added car alarms, jack hammers, traffic.” The audio effect is mirrored by the visuals as song lyrics, written into posters and graffiti, appear on cue.
Slater did the sound work at Goldcrest Films in London and was assisted by, among others , FX Editors Jeremy Price and Martin Cantwell and Dialogue/ADR Supervisor Dan Morgan. They spent months finessing and fine-tuning the sound effects and the mix. The biggest challenge, he says, was to keep it feeling light and fresh. “The tinnitus Baby suffers from increases in volume the more stressed he gets through the movie,” Slater observes. “The tinnitus, itself, changes depending on the environment and the incoming piece of music he is listening to.”
The result is a film soundtrack unlike any other. “The credit goes to Edgar Wright,” Slater says. “He had been developing this idea for years and he constructed the template that we followed. I’m extremely lucky to work with a filmmaker like Edgar who is committed to projects that are both bold and original!”
Baby Driver is in theaters now. #BabyDriver
About Sony Pictures Entertainment
Sony Pictures Entertainment (SPE) is a subsidiary of Sony Entertainment Inc., which is a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production, acquisition, and distribution; television production, acquisition, and distribution; television networks; digital content creation and distribution; operation of studio facilities; and development of new entertainment products, services and technologies. SPE’s Motion Picture Group includes film labels Columbia Pictures, Screen Gems, TriStar Pictures, Sony Pictures Animation, and Sony Pictures Classics. For additional information, visit http://www.sonypictures.com.
Posted in: NewsNewsletterPress ReleaseSound
DALLAS, TX — Stephen Arnold Music, the World Leader in Sonic Branding™, was recognized for excellence with a Gold PromaxBDA Award at Station Summit 2017, held June 22, 2017 in Las Vegas at the Mirage Hotel & Casino.
The Gold award was for Stephen Arnold Music’s work on Seattle’s ABC affiliate KOMO and their “So Northwest” campaign. A customized version of Stephen Arnold Music’s popular “Everywhere I Go” market exclusive image package, “So Northwest” topped the “Music or Instrumental Theme With or Without Vocals” category at this year’s PromaxBDA Awards.
Stephen Arnold Music was a five-time finalist at the 2017 awards ceremonies in the categories of “General Branding/Image Campaign – Large Market,” “Use of Original Music in a Promo,” and three nominations in “Music or Instrumental Theme With or Without Vocals.”
“All of us at Stephen Arnold Music are honored to win this 2017 Gold PromaxBDA Award,” says Stephen Arnold, President of Stephen Arnold Music. “Our talented collaborators at KOMO were the foundation of the standout ‘So Northwest’ campaign. With so many terrific entries in this year’s PromaxBDA Awards, we are gratified to receive this recognition.”
Each year, the PromaxBDA Awards at Station Summit honor the best in local media, marketing and design, driving excellence, creativity and innovation in local television markets. Visit here to see the Official Finalists Guide.
Stephen Arnold Music’s recent work also includes China Global Television Network (CGTN), CNN, HLN, UPS, Gearbox Software, their “I’m Weather Ready” multi-platform image campaign, and more.
Experience “So Northwest” here.
About Stephen Arnold Music:
Often referred to as the most-heard, least-known composers in America, Stephen Arnold Music’s creativity is experienced every day in more than 100 million homes throughout the U.S. Based in Dallas with offices in San Diego and New York, with additional recording studios in Santa Fe, “The World Leader In Sonic Branding™ has more than 20 years of success delivering impactful, brand-defining music that makes a difference for today’s top broadcast networks, cable channels, television stations, film production studios and advertising agencies. With multiple Emmys, Addys and Promax Golds to their credit, Stephen Arnold Music’s specialized approach and commitment to the power of sonic branding, state-of-the-art production and unparalleled customer service is at the core of its promise. Stephen Arnold Music continues to set the creative bar in a highly competitive content landscape.
For more information, please visit http://www.stephenarnoldmusic.com
Posted in: NewsletterPress ReleaseSound
San Diego, California — DVEO®, a well respected supplier to leading telco TV/OTT and cable operators around the world, will demonstrate their new H.265/HEVC 4K Ultra HD video player at the International Broadcasting Convention (IBC) in Amsterdam, September 15-19, at Stand 2.A34.
Now shipping, the Mavio™ 4K IP/IP: HEVC Live Out can be used as a single channel live HEVC 4K Ultra HD (3840 x 2160 resolution) video player or a 4 channel Full HD video player. It ingests HD or H.265 based 4K compressed video files on to its local hard drive via Gigabit Ethernet or a USB port. Output for UHD is delivered via the built-in HDMI port, with multiple output frame rates up to 30 fps.
“The Mavio decodes live streams and plays back directly from stored compressed files in real time, with 10-bit color depth for High Dynamic Range content,” stated Laszlo Zoltan, Vice President of DVEO. “It stores content in a compressed form, although playout is always uncompressed.”
“The Mavio features a playlist scheduler and can be configured for ‘looping’ playback,” Laszlo Zoltan went on to say. “This makes it a perfect 4K HEVC video source for video walls, museums, sports arenas and concert venues, and 4K Ultra HD broadcast services.”
The Linux® based system ships with a one terabyte SSD. Systems with additional SSD or HDD storage or an optional RAID are available.
- Outputs: 4K Ultra HD (2160p) or 4 independent channels of Full HD (up to 1080p) on HDMI
- Supports multiple output frame rates up to 30 fps
- File to IP – playlist play out with schedules
- 10 bit output precision supports high dynamic range imaging (HDR)
- Real time decode and play back from compressed video files
- Up to 16 channels of embedded PCM or pre-compressed audio output
- Supports Dolby Digital® and DTS passthrough
- Multi-viewer mode that combines 4 HD video as a single 4K Ultra HD output
- NewTek NDI™ enabled
- Convenient web browser user interface with proxy video display for monitoring during playback
- Playlist with looping option for continuous playback of multiple hours of Full HD/Ultra HD Video programs
- Includes playlist scheduler
- Vertical Ancillary Data output
- Test Pattern Generation
- Supports closed captioning
- Dual Ethernet port for content upload and video server management
- One gig Ethernet Interface for fast file upload
- HDMI 2.0 is an option
Suggested Retail Price:
Mavio 4K IP/IP: HEVC Live Out with one TByte SSD: $9,995 U.S.
Additional SSD, HDD, or Optional RAID: Contact DVEO for prices
DVEO is a well established, privately held entity headquartered in San Diego, California, since 2001. DVEO develops and sells broadcast quality video encoding and streaming products, media servers and ad insertion solutions to leading Telco TV/OTT and cable operators around the world. The DVEO solutions enable multi-screen service delivery to any device, anytime, anywhere in the world. Deployment models include turnkey installations and cloud-based service delivery. All solutions are built on Linux OS and Intel Xeon-based platforms to ensure 24×7 reliability, and feature DVEO-developed software for maximum flexibility and upgradability, ensuring long term investment protection. These ultra-reliable products are matched by valuable pre-sales consultancy, outstanding post-sales service and support, and — not least — unusual affordability.
For more information on DVEO, please contact Rebecca Gray at +1 (858) 613-1818 or email@example.com. To download the DVEO press releases and product images, visit the news section at www.dveo.com.
DVEO and Mavio are trademarks of Computer Modules, Inc. All other trademarks and registered trademarks are the properties of their respective owners.
DVEO®, 11409 West Bernardo Court, San Diego, California, 92127
Web: www.dveo.com phone: +1 (858) 613-1818, fax: +1 (858) 613-1815
Posted in: BroadcastingPress ReleaseTools
HILVERSUM, The Netherlands—Vocas Systems, European manufacturer of innovative, professional-calibre camera accessories, today announces several new products developed expressly for Canon’s ECS C200 digital cinema camera. They include a C200 viewfinder bracket, a top cheese plate, a camera adapter plate for the Vocas Sliding System, a special C200 cage and a handgrip relocator.
Introduced by Canon in June, the EOS C200 has become a popular option among camera professionals seeking to capture 4K video, and the new Vocas accessories make it easier to use and more stable in a variety of production applications. “Our new C200 accessories address some of the limitations of the standard accessories and make using the camera a little easier,” said. Vocas Manager of Business Development Lars Verlinden. “We believe they will become must-have tools for committed C200 users.”
The new Viewfinder Bracket represents a complete C200 viewfinder solution. Based on NATO rail, the bracket overcomes the limitation of the standard Canon viewfinder bracket, which is not adjustable in a forward or backward direction as required when using the camera on the shoulder. The 15mm viewfinder adapter fits the original C200 top handle directly, and provides a 15mm horizontal rod to mount any NATO accessory. The result is a rigid and stable mounting solution for the C200 LCD that prevents the LCD from twisting, which can result in a crooked image horizon. An adjustable friction mechanism is integrated to tilt the LCD up and down.
The Top Cheese Plate features integrated holes for 15mm rails and allows the mounting of either the original C200 handgrip or the new Vocas top handgrip low. A top handgrip kit for the Canon EOS C200 including the top cheese plate, top handgrip low and viewfinder adapter is also available.
The new, dedicated C200 Camera Adaptor Plate includes four attachment points for greater camera stability and makes it possible to use the camera in tandem with the Vocas Sliding System. It makes the C200 compatible with 15mm and 19mm setups, drones and gimbals.
The new, lightweight C200 Cage provides added steadiness and stability with heavy set-ups. The Cage connects to the Vocas Top Cheese Plate and the Vocas Adaptor Plate on both sides of the camera. On the operator side, a standard rosette is integrated into the Cage.
The Handgrip Relocator allows the C200 handgrip to be relocated to accommodate shooting from the shoulder. While the original C200 handgrip is fitted with a standard rosette, the Vocas handgrip extenders allows the handgrip to be positioned in any place the operator chooses.
The new Vocas accessories for the Canon EOS C200 camera are available now. Vocas will show the new C200 accessories at the IBC show in Amsterdam, 15 – 19 September, Stand 12.D56.
About Vocas Systems
Vocas Systems is a developer and manufacturer of high quality camera accessories like rail supports, shoulder pads, matte boxes and focus controllers. Vocas products are sold all around the world through selected resellers. Due to more than 25 years of experience, the Vocas products are both high quality and well tested.
Posted in: Press ReleaseProduction and PostTools
LOS ANGELES – The Reel Thing, a symposium dedicated to addressing the preservation and restoration of audio visual collections, will open with the U.S. premiere of a new restoration of the Oscar®-nominated 1960 film “La Verite” (“The Truth”). Two additional new 4K restorations also will be shown during The Reel Thing, including the U.S. premiere of Howard Hawks’ “Scarface” and the world premiere of Alex Cox’s “Sid and Nancy.”
The Reel Thing takes place August 24 – 26 at the Academy of Motion Picture Arts and Sciences’ Linwood Dunn Theater in Hollywood. The event offers insight into the latest preservation and restoration efforts throughout the motion picture community, and brings together experts who are using the latest technologies to make cinema’s legacy accessible for future audiences.
Registration is now open, with discounts for industry groups and students, at www.the-reel-thing.org.
In addition to restored screenings at The Reel Thing, this year’s program addresses vital topics of interest to preservation and restoration professionals around the globe, including sessions on the role of artificial intelligence (AI) in repairing assets; the explosion of digital formats and how to manage deliverables; optical sound recovery; and modern workflow solutions for safeguarding projects.
Case studies will examine the restoration of “Scarface” (1932), the silent film “Behind the Door” (1919), and “The Ballad of Gregorio Cortez” (1982). An in-depth look at how ACES was used to reformat and archive “The Troop” rounds out these discussions.
Speakers are expected to include Nicholas Bergh, End Point Audio; film director Marcus Dillistone; Miki Fukushima, Paramount Digital Archive; Mike Inchalik, PurePix Images; Wojtek Janio, MTI Film; Inna Kozlov, Algosoft Tech USA; Jim Lindner, Media Matters LLC; Josef Lindner, Academy Film Archive, AMPAS; Simon Lund, Cineric, Inc.; Andy Maltz, Science and Technology Council, AMPAS; Alexander Petukhov, University of Georgia; Michael Pogorzelski, Academy Film Archive, AMPAS; Peter Schade, NBCUniversal; Linda Tadic, Digital Bedrock; Sean Vilbert, Paramount Digital Archive; and Jason Wall, Metromedia Radio.*
An opening night reception will be followed by the screening of “La Verite.” Directed by acclaimed French director Henri-Georges Clouzot and starring Brigitte Bardot, “La Verite” follows the trial of a young French woman (Bardot) accused of her lover’s murder. The film was nominated for an Academy Award® for Best Foreign Language Film, and was a box office hit in France. “La Verite” was digitally restored at 4K by Sony Pictures Entertainment in partnership with The Film Foundation and RT Features.
Created and co-founded by Grover Crisp and Michael Friend, The Reel Thing supports the programs and services of the Association of Moving Image Archivists (AMIA).
For more information and to register for The Reel Thing, go to www.the-reel-thing.org.
As the world’s largest international association of professional media archivists, the Association of Moving Image Archivists (AMIA) is uniquely poised to bring together a broad range of experts. Members represent film studios, corporate and national archives, historical societies, labs, post production, universities, footage libraries and more. Because of this diverse membership, AMIA provides an opportunity to interact with every facet of the field and a single forum to address the best ways to preserve and provide access to our media heritage in digital and analog formats. For further information, visit www.AMIAnet.org and follow AMIA on Facebook, Twitter (@AMIAnet) and Instagram (@AMIArchivists).
Posted in: Industry NewsNewsletterTools
ADELAIDE, AUSTRALIA – Cospective, creator of innovative software solutions for visual communication, has released the latest update to the Academy Award®-winning cineSync video review software.
cineSync 4.1 presents the first 64-bit release of cineSync, offering a much wider range of playback options. 4.1 also adds a new, comprehensive integration with NIM, adds support for Aspera’s Faspex, and updates existing integrations with ftrack and Aspera Connect. Other improvements include a new frame playback option and increased security around file transfers from Shotgun, ftrack and elsewhere.
cineSync goes 64-bit
cineSync 4.1 will be the first 64-bit version of cineSync, now that the 32-bit Quicktime 7 has been replaced as a playback engine. The move to 64-bit allows cineSync to take full advantage of all available system memory, which in turn enables massive optimisation of playback and support for 4k, high res and high frame rate media, and to add new features such as file encryption.
cineSync Pro now includes a direct integration with studio management software NIM, from California’s NIM Labs. NIM provides project management, job and asset tracking, financial tracking (including bidding, timecards and projections), review, approval and more within one easily accessible tool. NIM’s integration with cineSync Pro means that any media in NIM can be reviewed interactively in cineSync, and that all cineSync session notes and drawings can be easily be exported back to NIM at the end of the session. More information and a video demonstrating the integration can be found here.
cineSync’s Aspera Connect integration has been updated, bringing the latest secure file transfer technology to cineSync Pro. Working in conjunction with your own Aspera server, users can now initiate transfers from within a cineSync review session, enabling even more secure file transfers to review guests without them having to leave cineSync to locate the files. Click here for more information and a video about this new functionality. Additionally, Cospective has added support for Aspera Faspex accounts for all cineSync Pro users.
cineSync 4.1’s ftrack integration update further streamlines the process of saving all cineSync notes and drawings back to the correct version in ftrack.
cineSync 4.1 adds a new option for simple frame playback, which supports most frame media (including DPX, Cineon and EXR).
cineSync 4.1 also presents a new option to encrypt all media downloaded from Shotgun or ftrack’s AWS storage, so no downloaded media is ever left unencrypted on disk. Encrypted media can only be opened in a cineSync session hosted by the party that initiated the encryption. At the end of a cineSync review all downloaded/encrypted files can then be automatically deleted from the guest’s file system.
Finally, cineSync 4.1 makes the transport bar more responsive to different screen resolutions.
Rory McGregor, Cospective CEO, comments: “The wealth of updates in 4.1 showcase our continued commitment to the optimisation and improvement of cineSync. We’re thrilled to continue our work with our fantastic integration partners Shotgun, ftrack, Aspera, Safestream, and now NIM, ensuring that our product can adapts to studio workflows all around the world.”
Andrew Sinagra, NIM Labs Co-Founder, comments: “cineSync’s native integration with NIM is an exciting feature for our users. Providing collaborative review for NIM dailies anywhere in the world is a natural extension to NIM’s internal review system. We’re excited about this partnership and the work we can do together to further enhance studio management.”
cineSync 4.1 is available now. Users with a valid subscription to an existing cineSync package are eligible to upgrade to the latest version.
Cospective is the creator of innovative software solutions to visual communication challenges.
cineSync is the Academy Award®-winning synchronized review-and-approval tool used for major film productions. Frankie is used for real-time video review using standard web browsers and is ideally suited for short-form content produced by ad agencies, production companies and post houses.
Cospective is a privately held company based in Adelaide, Australia.
Posted in: NewsletterPress ReleaseTools
Vocas introduces accessories specifically developed for the Canon EOS C200 camera! These accessories will be shown at the IBC show in Amsterdam, 15 – 19 September 2017. Vocas developed a C200 viewfinder bracket, top cheese plate, camera adapter plate for the Vocas Sliding System, a special C200 cage and a handgrip relocation.
Vocas will provide a complete C200 viewfinder solution based on NATO rail, because the original Canon viewfinder bracket is not adjustable in forward and backward direction. This is required when using the camera on shoulder. The 15 mm viewfinder adapter fits the original C200 top handle directly, and provides a 15 mm horizontal rod to mount any NATO accessory. The Vocas viewfinder bracket provides a rigid and stable mounting solution for the C200 LCD and prevents the LCD from twisting, which can result in a crooked horizon of the image. An adjustable friction mechanism is integrated to tilt the LCD up and down.
Top cheese plate
The new Vocas top cheese plate for the C200 has integrated holes for 15 mm rails and to this cheese plate, both the original C200 handgrip and the Vocas top handgrip low can be mounted. A top handgrip kit for the Canon EOS C200 consisting of the top cheese plate, top handgrip low and the viewfinder adapter is available as well
Vocas Sliding System
Vocas has made a dedicated C200 camera adapter plate with four attachment points which gives the camera more stability. The Vocas dedicated camera adapter plate makes it possible for the C200 to be part of the Vocas Sliding System. It provides the C200 of compatibility with 15 mm setups, 19 mm setups, drones and gimbals.
When using heavy set-ups, some extra steadiness and stability is required. Therefore Vocas has developed a light weight camera cage for the C200. This cage is connected to the Vocas top cheese plate and the Vocas camera adapter plate on both sides of the camera. On the operators side, a standard rosette is integrated in the cage.
Handgrip relocation for Canon EOS C200
When shooting from the shoulder, a relocation of the handgrip is required. The Original C200 handgrip is equipped with standard rosette. Via the Vocas handgrip extenders the Canon handgrip can be positioned at any place you wish. Vocas provides an extension cable for the Canon EOS handgrip series, because the length of the integrated cable of the C200 is far too short. Now the handgrip can be fully relocated with Vocas gear.
The new Vocas accessories for the Canon EOS C200 camera are available right now. Vocas will show the new C200 accessories at the IBC show in Amsterdam, 15 – 19 September, booth 12.D56.
Posted in: Press ReleaseTools