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5 2018 Oct

Tech Entrepreneur, Philanthropist Rachel Payne to Keynote Women in Technology Luncheon

Presented by HPA Women in Post and SMPTE

Los Angeles, CA – Rachel Payne has launched and sold tech companies, run for a congressional seat, managed foundations, and built global strategies for an impressive list of companies. On Oct. 22, Payne will share her experiences and insights with women working in tech and entertainment at the annual Women in Technology Luncheon, presented by HPA Women in Post and SMPTE. The popular gathering takes place during the SMPTE 2018 Annual Technical Conference & Exhibition at its new location at the Westin Bonaventure Hotel in downtown Los Angeles.

“Rachel’s depth of experience is extremely relevant to those of us who navigate the many facets of entertainment technology,” said Kari Grubin, chair of HPA Women in Post. “She has accomplished so much during her career, and we look forward to sharing this time with Rachel and hearing her illuminating perspective on doing business in the tech industry.”

Payne is CEO of FEM Inc., a holding company founded by women whose mission is to serve and empower diverse audiences. In 2015, FEM Inc. launched Prizma, an AI platform for media, entertainment and telecom companies. Prizma was acquired by Nielsen Gracenote in May 2018.

Payne co-founded FEM Inc. after a long and successful run as an executive at Google. Hired onto the founding team of as a Senior Program Officer and spearheading their early strategy and charitable operations, Payne later joined Google’s international business operations team and led projects in emerging markets focused on building technology infrastructure and business ecosystems as a Country Manager and on the regional Africa leadership team. She led cross-platform media sales teams as Head of Industry for Technology for Southern California. In Payne’s Global Strategic Alliances role, she worked with top executives across the company to develop comprehensive strategies for their largest global partners, including Sony, Disney, NewsCorp and Samsung. She served externally as the global point of contact for some of the company’s most important relationships.

Payne has been on the founding or early teams of several successful ventures in Silicon Valley including Hotwire (acquired by IAC) and Billpoint (acquired by eBay). In 2005, she co-founded inDplay (acquired by Discovery Media Group) – a cloud-based rights management company that provides cross-platform distribution for premium content – and served on the board of directors until 2007; angel investors included Eric Schmidt, William Randolph Hearst III, Rob de Santis and Shai Agassi.

Payne has served on the board of directors for multiple NGO and social purpose organizations, including BRAC USA, KCET/LinkTV public media company and CREDO Mobile (Working Assets). She earned an MBA in Global Management and Public Management from Stanford University and a B.A. with distinction from Smith College. She resides in California.

“I look forward to the conversation with Kari and the women and men who will be part of the Women in Technology lunch,” said Payne. “I see this moment as one of the most important of our lifetimes, from a social, technological and political standpoint, and I am eager to engage with this audience to build an exciting and important coalition of experience and action.”

The Women in Technology luncheon is an annual event held in conjunction with the SMPTE Annual Technical Conference & Exhibition, the world’s premier forum for the exploration of media and entertainment technology, featuring world-renowned technology thinkers, thought leaders, and innovators. Last year, Madeline Di Nonno, CEO, Geena Davis Institute on Gender in Media, was the guest speaker. Previous speakers have included Victoria Alonso, Wendy Aylsworth, Cheryl Boone Isaacs, and Michelle Munson. Advance registration is required and early registration is encouraged; seating is very limited and the event consistently sells out.

Tickets for the Women in Technology luncheon are required and available with SMPTE 2018 conference registration packages, or are available for separate purchase as “ticket-only” registration. Registration and other information can be found at

Those who purchase tickets may use promo code WIT2018 to receive a complimentary exhibits-only pass for SMPTE 2018. Complimentary passes are limited to new exhibits-only registrations and may not be used for previous registrations, any other conference registration packages, and/or applied to special event ticket purchases.

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26 2018 Sep

Nominees Announced for 2018 HPA Awards

Awards Recognize Excellence in Color Grading, Editing, Visual Effects and Sound

26 September 2018 (Burbank, CA) – The Hollywood Professional Association (HPA) has announced the 2018 nominees for the HPA Awards creative categories. The Awards are considered the standard bearer for creative excellence and technical innovation in an industry embracing an expanding array of groundbreaking technologies and creativity, honoring achievement and artistic excellence by individuals and teams who bring stories to life and outstanding content to audiences around the world.

Launched in 2006, the HPA Awards recognize outstanding achievement in editing, sound, visual effects and color grading for work in television, commercials, and feature films. The winners of the 13th Annual HPA Awards will be announced at a gala ceremony on 15 November 2018 at the Skirball Cultural Center in Los Angeles, CA.


Outstanding Color Grading – Feature Film

“Avengers: Infinity War”
Steven J. Scott, Charles Bunnag // Technicolor – Hollywood

“Red Sparrow”
Dave Hussey // Company 3

“The Shape of Water”
Chris Wallace // Deluxe – Toronto

Maxine Gervais // Technicolor – Hollywood

“The Greatest Showman”
Tim Stipan // Company 3

Outstanding Color Grading – Television

“Damnation – Sam Riley’s Body”
Paul Allia // Picture Shop

“The Marvelous Mrs. Maisel – Pilot”
Steven Bodner // Light Iron

“The Crown – Paterfamilias”
Asa Shoul // Molinare

“Game of Thrones – Beyond the Wall”
Joe Finley // Sim

“The Crossing – Pilot”
Tony Smith // Picture Shop

Outstanding Color Grading – Commercial

Bottega Veneta – “Spring/Summer 2018 Trailer”
Tim Masick // Company 3

Tile – “Lost Panda”
Tom Poole // Company 3

Volkswagen – “Kids Dreams”
Adam Scott // The Mill

Audi – “Final Breath”
Sofie Borup // Company 3

Zara – “Spring/Summer 2018 Main”
Tim Masick // Company 3

Outstanding Editing – Feature Film

“A Quiet Place”
Christopher Tellefsen, ACE

Steve Bloom

“You Were Never Really Here”
Joe Bini

“Mission: Impossible – Fallout”
Eddie Hamilton, ACE

Demian Fenton

Outstanding Editing – Television (30 Minutes and Under)

“The End of the F***ing World – Episode One”
Mike Jones

“Vida – Episode 6”
JoAnne Yarrow

“VICE – After the Fall”
Kelly Kendrick // Vice

“Barry – Chapter Eight: Know Your Truth”
Kyle Reiter

“Vice Principals –The Union of the Wizard and The Warrior”
Justin Bourret

Outstanding Editing – Television (Over 30 Minutes)

“Stranger Things – Chapter Nine: The Gate”
Kevin D. Ross, ACE

“The Defiant Ones – Part 2”
Doug Pray, Lasse Järvi

“Game of Thrones – The Dragon and the Wolf”
Crispin Green

“Westworld – The Passenger”
Anna Hauger, Mako Kamitsuna, MPEG, Andrew Seklir, ACE

“Counterpart – The Crossing”
Dana E. Glauberman, ACE

Outstanding Sound – Feature Film

“Ant-Man and The Wasp”
Katy Wood, Addison Teague, Juan Peralta, Tom Johnson // Skywalker Sound

“The Shape of Water”
Christian Cooke, Brad Zoern, Nelson Ferreira, Nathan Robitaille // Deluxe – Toronto

“Avengers: Infinity War”
Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound

“Blade Runner 2049”
Mark Mangini, Ron Bartlett, Theo Green, Doug Hemphill, Mac Ruth // Formosa Group

“Black Panther”
Benjamin A. Burtt, Steve Boeddeker, Brandon Proctor // Skywalker Sound

Outstanding Sound – Television

“Yellowstone – Daybreak”
Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros.

“Waco – Operation Showtime”
Craig Mann, Kelly Oxford, Laura Wiest, Karen Vassar Triest, David Brownlow, Beau Borders // Technicolor – Hollywood

“Dark – Secret”
Alexander Würtz, Achim Hofmann, Jorg Elsner, Christian Bichoff // ARRI Media GmbH
Ansgar Frerich // Basis Berlin

“Yellowstone – Kill the Messenger”
Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros.

“Altered Carbon – Out of The Past”
Brett Hinton, Mark Allen, Owen Granich-Young, Andy King, Keith Rogers // Atomic Sound

Outstanding Sound – Commercial

OXFAM – “The Heist No One is Talking About”
Neil Johnson // Factory Studios

KIA – “Fueled by Youth”
Nathan Dubin // Margarita Mix

SANE – “Let Me Talk”
Anthony Moore, Jack Hallett // Factory Studios

Monster – “Opportunity Roars”
Tom Jucarone // Sound Lounge

ICRC – “Hope”
Anthony Moore // Factory Studios

Outstanding Visual Effects – Feature Film

“Maze Runner: The Death Cure”
R. Christopher White, Daniel Macarin, Phillip Leonhardt, Paul Ramsden, Jeremy Fort // Weta Digital

“Blade Runner 2049”
Richard Clegg, Axel Akesson, Wesley Chandler, Stefano Carta, Ian Cooke-Grimes // MPC

Erik Winquist, Benjamin Pickering, Stephen Unterfranz, Thrain Shadbolt, David Clayton // Weta Digital

“Thor: Ragnarok”
Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak // Framestore

“Avengers: Infinity War”
Matt Aitken, Charles Tait, Paul Story, Sidney Kombo-Kintombo, Marvyn Young // Weta Digital

Outstanding Visual Effects – Television (Under 13 Episodes)

“Altered Carbon – Out of The Past”
Everett Burrell, Tony Meagher, Steve Moncur, Christine Lemon, Paul Jones // DNEG

“Outlander – Eye of The Storm”
Richard Briscoe // Outlander Production
Daniel Norlund, Filip Orrby // Goodbye Kansas
Aladino Debert, Greg Teegarden // Digital Domain

“Black Mirror – Metalhead”
Russell McLean // House of Tomorrow
Michael Bell, Pete Levy, Steven Godfrey, Stafford Lawrence // DNEG

“Game of Thrones – Beyond The Wall”
Joe Bauer, Steve Kullback, Ted Rae // HBO
Eric Carney // The Third Floor
David Ramos // El Ranchito

“Westworld – The Passenger”
Jay Worth, Bruce Branit // Deep Water FX
Bobo Skipper // Important Looking Pirates
Kama Moiha // COSA VFX
Mike Enriquez // DNEG

Outstanding Visual Effects – Television (Over 13 Episodes)

“Supergirl – For Good”
Armen V. Kevorkian, Gevork Babityan, Kris Cabrera, Jerry Chalupnik, Jason Shulman // Encore VFX

“Agents of SHIELD – Orientation: Part 1”
Mark Kolpack, Sabrina Arnold // Marvel
Kevin Yuille, David Rey, Hnedel Maximore // FuseFX

“Hawaii Five-O – A’ole e ‘olelo mai ana ke ahi ua ana ia”
Adam Avitabile, Daniel Toomey, Michael Kirylo, Ryan Smolarek, Wayne Hollingsworth // Picture Shop

“Legends of Tomorrow – The Good, The Bad and The Cuddly”
Armen V. Kevorkian, Andranik Taranyan, Jason Shulman, Dan Aprea, Lycee Anaya // Encore VFX

“NCIS: LA – A Line in the Sand/Ninguna Salida”
Dylan Chudzynski, Michael Carter, Joe Suzuki, Jacob Kuhne // DigitalFilm Tree

As previously announced, Victoria Alonso has been named the recipient of the Charles S. Swartz Award. Alonso is a respected producer and is Executive Vice President, Production for Marvel Studios. The winners of the coveted Engineering Excellence Award, Blackmagic Design (DaVinci Resolve 15), Canon (Visual and Technical Monitoring of HDR Images), Cinnafilm, Inc. (PixelStrings), and IBM Aspera & Telestream (Telestream Vantage with Lightspeed Live Capture powered by Aspera), were announced earlier this year. All awards will be bestowed at the HPA Awards gala.

The HPA Awards gala ceremony is expected to be a sold-out affair and early ticket purchase is encouraged. Tickets for the HPA Awards are on sale now, online at or by calling +1 (818) 273-1482.

More information about the HPA Awards and the Hollywood Professional Association can be found at or by calling the HPA at +1 (818) 273-1482. The HPA Awards take place with the support of diamond title sponsor Blackmagic Design, platinum sponsor IMAX, bronze sponsors Avid and Sony Pictures Post Production Services, supporting sponsors Cinionic, EFILM, FuseFX, Sim, Stephen Arnold Music, and Wipster, and foundation members Avid, Dolby, Efilm, Encore, and Deluxe. For sponsorship information, contact Joyce Cataldo at

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25 2018 Sep

The 2018 Hiring Landscape

As quickly as industry technology changes, the employment marketplace is only a fraction of a step behind. Which skills are in demand? What benefits help employers recruit top candidates? How will the landscape be different in five years? We reached out to recruiters and HR execs to get their take on these questions and more.

Where is the employment market heating up?

All signs point to agility and an eye for opportunities as key differentiators in mid- to senior-level positions. “Every job has a sales theme to it,” says Dana Astrow, a partner at ARC Recruiting, which places candidates in all fields of the creative industries. “Business development is the overarching idea, meaning creating opportunities, ‘more business for my business.’ It’s a game changer to be able to tee up new opportunities.” Allyson Nevil, a partner at BLT Recruiting who places candidates at ad agencies, production, and post production companies, concurs. “Strategist is one of the hottest positions right now.”

Maggie Williams, SVP, Global Human Resources at Pixelogic Media Partners, sees opportunities for all positions in the post-production space: “While there is a lot of consolidation, there are also many opportunities in digital media.” She sees particularly high activity in digital tech ops, and a hot market for strong project managers and software engineers. “Digital is more than being online,” adds Nevil. “It’s about really understanding the digital landscape.”

As for regions, LA and New York are still leading the charge for creative jobs, but there are plenty of opportunities in San Francisco, Atlanta, Europe, Seattle, and Portland as well.

What are candidates looking for?

Culture first and foremost, says Astrow. “Is this the right fit, are these nice people, am I passionate about the work and about what this company does? Depending on where you are in your life, money is a huge factor, along with work/life balance expectations and geography.” Companies are looking to pay creative talent less salary up front, she adds. “Smaller creative companies prefer to set up a participation or bonus structure so they are not out of pocket.”

And what should they be looking at? “How you’re treated along the interview process says a lot about a company,” says Nevil. Both Williams and Nevil stress companies’ industry reputation, as well.

What are employers doing to make themselves more attractive to top talent?

Williams emphasizes clear messaging from the leadership team, including vision and objectives, as the best way to communicate a company’s identity and values in a way that attracts best-fit candidates.

Nevil cites flexibility as key, including being able to work from home. “Some employers are making the life/work experience better for candidates,” agrees Astrow. “Health insurance has become a big issue for young people, as well as 401(k), paternity and maternity leave, depending on the size of the company. Newer companies are offering more outside the basics.”

Are employers looking for a diverse workforce?

“It’s not a priority for everyone, but it’s on people’s minds more than previously,” says Astrow. “We’d like to see employers be more open to stepping outside of their comfort zones.”

What changes will we see in the next five years?

Nevil’s VFX background leads her to predict “the very creative folks will still be needed in LA, but the pipeline artists are going to be more outsourced to other countries, especially with the ease of sending data back and forth.” Astrow sees tremendous growth in brands: “Brands are becoming their own mini advertising agencies, making content internally.” Williams anticipates continued growth in the digital space.

How has technology changed how you find great candidates?

“LinkedIn has become much more robust in the last few years,” says Nevil. “It enables us to do a lot of analytics on our searches – we can cross reference schools, interests, look for keywords.” “There have been substantial improvements on how to find great talent,” agrees Williams. “Not only is the technology better, but social media has added an important element in attracting top talent.” Astrow emphasizes the limitations: “Sometimes you need the human element to find the right candidate and to see if someone is a cultural fit.” However, ARC sees opportunity as well; they are currently in development on Unaffiliated, a curated subscription-based online marketplace to connect content purchasers with content creators.

What should everyone be doing to prepare themselves for their next career move?

Find a mentor and a sponsor, says Williams. “The mentor can help you with any gaps in your abilities and the sponsor can advocate for your next role.”

According to Nevil, keeping portfolios current is a must. “If you’re going to have a website, make sure it’s clean and easy to use. Look at 50 portfolios in your background and try to get through them in a couple of hours, and you’ll understand the frustration of a complicated user interface. You want to put the work that represents you front and center. Do your best to create your own brand. If you’ve been working for a few years, unless you absolutely love it, get rid of your student work.” Astrow emphasizes the need to keep track of results: “You should be able to talk about what you have accomplished, give concrete examples and dig into why you are qualified for the next step.”

Advice for job seekers: what distinguishes a candidate from the pack?

Williams calls out “a mindset for high performance, working smart, and having attention to detail” as key differentiators. Nevil agrees: “It’s very easy to stand out: everything is in order, your LinkedIn matches your clean, clear, readable resume, and you are timely in your response.” Responsiveness is also key, she says, including politely declining if the job is not a fit. “Candidates ghost at any point in the process. It’s completely appropriate to decide something isn’t right for them and I have so much respect for candidates who tell me they’re going to pass. If they just don’t respond, it’s unlikely I’ll ever reach out to them again.”

Astrow sees an opportunity in candidate bios: “Stick to the script, but have the bio tell your story, to create a better picture of who you are. That can inspire an employer.”

One quick and easy thing a job hunter can do to improve their candidacy? “Drill down on your elevator pitch,” says Astrow. “Vagaries are really tough to sell.” Similarly, Williams urges candidates to be able to articulate experience through examples.

“Be flexible with salary expectations,” says Astrow. “Be coached, do homework, be open to relocating for the right gig.” “Treat it like a full-time job,” says Williams. “Get many irons in the fire.”

Nevil focuses on presentation: “Improve your LinkedIn, make sure you have the right keywords, go to networking events, reach out to contacts. Get your face and name out there.”

Advice for employers trying to attract top candidates

“Be respectful of candidates in the recruiting and interview process,” says Nevil. “Clients who have a timeline and have a very responsive contact for setting up interviews are usually the ones that get the best candidates.”

Williams believes the magic happens best when it’s organic: “Create a great culture, where there is a positive vibe and employees naturally become your biggest recruiting team!”

“Hire a recruiter!” says Astrow. “Companies that want top talent have to outsource to people who can partner with you to matchmake. An algorithm alone can’t get you there. We believe to get it right employers want and still need the human experience.”

25 2018 Sep

AMIA 2018 Conference Pop Up Sessions Announced

AMIA-Logo-17-350Conference Pop-Up Sessions at AMIA 2018 offer an opportunity for members to choose sessions of interest that might not already be part of the program.

Of the submissions received, the following have received the most votes and will be scheduled into the conference program for Portland:

Streaming Video: Research Collections and Film Studies
Chair:  Nancy Friedland, Columbia University

Roundtable on the Future of the AMIA Preservation Committee
Chairs:  Anne Marie Kelly, Greg Wilsbacher, Carla Arton, AMIA Preservation Committee

Overview of IASA-TC 06 Guidelines for the Preservation of Video Recordings
Chair:  George Blood, George Blood Audio/Video/Film/Data
You can find more information about pre-conference workshops, the program, and registration on the conference website.

25 2018 Sep

The American Society of Cinematographers Announces Call for Television Entries

Organization’s 2019 Awards Will Pay Tribute to Centennial

ASC LogoLOS ANGELES (September 25, 2018) – The American Society of Cinematographers (ASC) is now taking submissions for the television competition of its 33rd Annual ASC Awards for Outstanding Achievement in Cinematography. The event, which will also salute the organization’s 100th anniversary, takes place February 9, 2019, at the Ray Dolby Ballroom at Hollywood & Highland, and winners will be announced in all categories.

Three categories comprise the TV awards:

  • Episode of a Television Series – Commercial (half hour and one hour)
  • Episode of a Television Series – Non-Commercial (half hour and one hour)
  • Motion Picture, Miniseries, or Pilot Made for TV

The deadline to enter is November 5 by 5 p.m. (PT).

To qualify, shows must have a premiere broadcast date in the United States between November 1, 2017, and October 31, 2018. Entry forms can be downloaded at here on the ASC website.

In addition to the TV awards, the ASC gala in February will recognize the year’s best feature film cinematography, as well as lifetime honorees.

For a complete timeline of the 33rd ASC Awards, visit this link.


24 2018 Sep

The Award-winning Spanish Editor Antonio Gómez-Pan Goes to Therapy

Therapy Studios, the Emmy Award-winning LA-based post production company, continues its trend of attracting top talent with the addition of editor Antonio Gómez-Pan.

Born in Madrid, and currently splitting his time between his hometown, Barcelona, and now Los Angeles, Antonio Gómez-Pan has been winning awards since before he even finished his Bachelor of Arts in Film Editing at the prestigious cinema school ESCAC. Antonio says his journey to editing was “sort of a Darwinian process,” after he burnt his hands on some fresnel lights and “discovered the beauty of film editing.” While still in school, he edited Mi Amigo Invisible (2010), which premiered at Sundance Film Festival and Elefante (2012), which won the Best Short Film Award at the LA Film Festival and the Sitges Film Festival, along with many others.

Antonio Gómez-Pan

Antonio Gómez-Pan

From there, Antonio became a close collaborator of many of Spain’s leading directors and production companies. His feature work includes Puzzled Love, Hooked Up, and Othello, which won Best European Independent Film at ÉCU 2013. On the advertising side, Antonio has worked with global brands like Adidas, Coca-Cola, Chanel, Unicef, Volkswagen, Nike, Ikea, Toyota, and many more. Recently, he was appointed an Academic by the Spanish Motion Picture Arts & Sciences Academy, on top of winning the Gold Medal for Best Editing in Berlin.

Whether it’s a 30-second spot, short film, or feature documentary, Antonio treats every project with the same reverence. When asked what his favorite format is, Antonio couldn’t choose, saying, “I love commercials because of their immediacy and the need to be able to synthesize, but feature films can be more personal and narratively engaging. Music videos are where you are freer to experiment and the editor’s hand is more visible. Documentaries are so rewarding because they’re created in the editing room more than any other genre. I really cannot choose among them.” His enthusiasm for working across the scale is part of why he was drawn to Therapy, where he says, “They do everything, from broadcast campaigns to long-format shows like HBO’s Sonic Highways. And they are at the top of their game in every genre.”

Antonio is thrilled to join Therapy’s esteemed roster of editors, which includes Doobie White, Kristin McCasey, Lenny Mesina, Meg Ramsay, Steve Prestemon and Jake Shaver. Among such an inspiring group and with the support of Therapy’s producers, Antonio says he will be able to truly focus on the creative aspects of the work. He said, “Editorial houses don’t exist in Spain, so we are also the one dealing with the salary, the schedule and all other non-creative parts of the process. That puts you in a tricky position even before you sit down in the editing suite. The role is incredibly rewarding and the editor is held in high esteem, but already I’ve found that we’re much more protected and respected here in the States.”

He went on to say that the team at Therapy truly understands his passion for telling stories, “I’m so proud and grateful to be working at Therapy. Here I’ve found a group that supports me, and who demonstrate huge talent in every single thing they do… and I finally have to admit that my friends were right when they said I needed Therapy.”



20 2018 Sep

Filmmakers Rely on Avid’s Industry Leading Tools to Deliver this Summer’s Biggest Films

The film industry’s top editorial and sound teams rely on Avid’s award-winning solutions to power workflows and deliver the summer’s biggest movies, including Mission Impossible: Fallout, Deadpool 2, and Jurassic World: Fallen Kingdom

 logo-avid_2013Avid recently announced that many of the film industry’s leading creatives used Avid’s comprehensive tools and workflow solutions to create this summer’s most anticipated movies. Powered by MediaCentral®, Avid’s industry-leading tools deliver the speed, collaboration capabilities and efficiencies that filmmakers need to bring their stories to life on film.

In the highly anticipated sequel to the original global hit, Deadpool 2 follows anti-hero Wade Wilson (Ryan Reynolds), otherwise known as Deadpool, as he tries to save a troubled young mutant boy from a time-traveling cyborg soldier. The franchise creatively combines action and humor to drive the story with help from Media Composer®, the industry’s preeminent editing solution. Re-recording Mixer and Sound Designer Martin Zub and the team at post-production sound company Formosa Group used Pro Tools®| Ultimate and the Pro Tools | S6 control surface for native Dolby Atmos mixing to create an immersive experience and guarantee every punchline had as much impact as the action sequences.

“Our director, David Leitch, really wanted to see how different jokes landed with test audiences, so we did a number of temp mixes on Deadpool 2,” said Zub. “That meant there was a lot of conforming to do for various versions. We used Pro Tools throughout editorial, through to each temp mix and right through to the final. Keeping our sound editorial team’s audio virtual was a must. Being able to automate audio tracks to a Dolby Atmos Panner and back to bed tracks is very cool. Using Pro Tools and the S6 enhanced the mix every step of the way, giving us the flexibility to be creative, and to change, add, rethink, cut, and mix scenes in multiple ways.”

Led by Hollywood star Tom Cruise, Mission: Impossible – Fallout, the sixth installment in the successful franchise, takes the series to the next level with non-stop action and death defying stunts that will thrill its loyal fan base worldwide. The film was shot in numerous international locations with challenging conditions and tight deadlines. Editor Eddie Hamilton and his team relied on Media Composer to meet the demands of a complex filming schedule and ensure production stayed on pace.

“The legendary Avid Media Composer reliability and media management was invaluable on a complex film like Mission: Impossible – Fallout,” said Hamilton. “All our media was 2160p Ultra HD, and I worked around the world with my editorial team collaborating across three continents under enormous time pressure. Our aim was to deliver a terrific cinematic experience to worldwide audiences on schedule and on budget. Avid Media Composer gives us the tools to achieve that, without any downtime. I love it.”

The film industry’s top creative professionals relied on Avid solutions to create numerous other big summer releases, including Jurassic World: Fallen Kingdom, Ant-man and the Wasp, Oceans 8, Hotel Artemis, BlacKkKlansman, Hereditary, Upgrade, Action Point, Tag, Gotti, Breaking In, Mamma Mia! Here We Go Again, Uncle Drew, Skyscraper, Crazy Rich Asians, Blindspotting, The Predator, and Dangerous Minds.

“We’re honored that the media and entertainment industry’s top creatives overwhelmingly rely on Avid’s tools to thrill audiences everywhere,” said Jeff Rosica, CEO and President, Avid. “Avid listens very closely to this community so that we can provide solutions that help them to excel at delivering their stunning works. We congratulate them on this season’s achievements and look forward to continuing to support their creative visions.”


20 2018 Sep

Micro Studio Camera 4K Used for 4K VR Live Streaming of Jazztronik Concert

Blackmagic Design announced recently that Micro Studio Camera 4K and Video Assist were used for 4K VR live streaming of a Jazztronik concert at Billboard Live Tokyo. The concert was streamed on YouTube and viewers could feel as though they were inside the concert venue by wearing a head mounted display.

The 4K VR live stream was organized by Kadinche, a developer of VR and AR solutions technologies, software development and web design.

Jazztronik, the music group who performed for the concert, is part of the Japanese company Styrism. Takayuki Morinaka, CEO of Styrism, said, “It was the first time for us to hold a live streaming concert. Of course it is best to have fans come to our concert and let them enjoy live performances, but we decided to give it a shot at making use of the cutting edge VR live streaming technology for our artists, having noticed that the technologies of live streaming and VR have been rapidly growing over the years.”

Two Micro Studio Camera 4Ks, with Entaniya 250° lenses, were placed at the concert venue, one for live streaming and the other for archive recording. Video Assist was used for monitoring and recording purposes.

“The Jazztronik concert was scheduled to last for one and half hours. We sought reliable cameras that could shoot for long hours and concluded that Micro Studio Camera 4K was the best option. The camera’s small size was especially helpful for this event as we had limited space to put a camera in. In contrast with the size of the camera body, the sensor inside the camera is surprisingly huge, giving you great picture quality in 4K. The 250° lenses and Micro Studio Camera 4K were the best combination because both of them support micro four thirds mount. Micro Studio Camera 4K satisfied every condition this project required.”

“We reduced the frame rate on our software to 4K 20fp to achieve stable live streaming. As affordable as it is, Micro Studio Camera 4K is a wonderful camera with great 4K image quality. Combined with Video Assist, you can even see the video captured by a fisheye lens, which is not possible with common VR devices,” said Dai Akiyama, chief strategy officer of Kadinche.

“I think that VR streaming is best for concerts and events. You can let as many people as you want experience the performance without inviting them to actual venues. Concert halls have limited seats, but with VR streaming anyone can enjoy and see artists at the front row. We are hoping to continue using Blackmagic products for projects of VR and stereoscopic video streaming,” he concluded.

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20 2018 Sep

MTI Film Introduces Improved Cortex and DRS™NOVA v4 at IBC 2018

MTI Film demonstrated the latest versions of Cortex Enterprise, its multifaceted toolset for post production, and DRS™NOVA, the industry-leading digital film restoration software, at IBC 2018, September 14 – 18 in Amsterdam. Additionally, Cortex Enterprise support for Dolby Vision™ was featured at the Dolby Laboratories stand. At the AMD stand, Cortex was shown running on Threadripper 2, AMD’s latest CPU technology.

Cortex v5.0.2 includes several new and enhanced features to support the latest workflows and delivery mediums, and helps projects proceed seamlessly from the set to the screen.

Key improvements are:

Dolby Vision™ HDMI Tunneling. Playout media directly from Cortex, using HDR media and Dolby Vision metadata, to consumer monitors that support Dolby Vision.

Simultaneous Dolby Vision Level 1 Analysis and Shot Detection. For projects mastered in HDR10, Cortex provides the ability to simultaneously perform shot detection and process Dolby Vision analysis in faster than real-time. The result is a Dolby Vision master that can be rendered to IMF or employed as an SDR source using the content mapping generated through the analysis. It also provides the ability to edit metadata tracks to sync or resync to corresponding media.

Dual Video Outputs (SDR/HDR). Provides an integrated software CMU  in place of expensive CMU hardware.

DPP® Packaging. Cortex Enterprise now includes DPP IMF packaging including OPL and additional sidecar file support.  DPP, Digital Production Partnership, is the favored European format for delivery of HD and UHD IMF packages principally employing ProRes as the media of choice.

AS-11 X1.  Cortex Enterprise endeavors to support all aspects of the AS-11 family of vendor and broadcaster neutral packages, eliminating interoperability issues.

The recently introduced DRS Nova v4 includes GPU acceleration for improved performance across all features.

Other tools new in v4 include:

  • DRS™ Replace: Create up to three frames from adjoining frames.
  • DRS™ Color: Change the color of fixes created in DRS™ Tool.
  • Auto Stabilization: Stabilize a range of images with a single click.
  • Improved Performance: Faster playback of DPX, TIFF and EXR files.
  • Paint Restore: Paint from one clip to another to restore original values.
  • Zonal De-flicker: Eliminate zonal flicker via a simple interface.
  • Split Screen/Side by Side View: Compare clips in split screen or side by side view.
  • Version Export: Export modified files with original frames to preserve source material.
  • Improved Mask: New visual feedback for border width.

Standard features of DRS™NOVA include MTI Film’s proprietary digital film restoration algorithm, powerful project management and tools for automatically fixing printer mis-lights, dust and debris, stabilization problems, grain and noise, blurring, and color mis-registration.


20 2018 Sep

Blackmagic Design Announces Advanced New Blackmagic RAW Codec

Revolutionary new and modern codec that’s easier to use and much better quality than popular video formats, but with all the benefits of RAW.

Logo_blackmagic designBlackmagic Design announced at IBC the public beta of Blackmagic RAW, a new and very modern codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. Blackmagic RAW is a more intelligent format that gives customers stunning images, incredible performance, cross platform support and a free developer SDK.

The Blackmagic RAW public beta was demonstrated on the Blackmagic Design IBC 2018 booth. Customers can download the public beta for use with URSA Mini Pro cameras via the Blackmagic Camera 6.0 Beta Update. In addition, DaVinci Resolve 15.1 Update, which includes support for Blackmagic RAW, is also available free of charge from the Blackmagic Design website.

Blackmagic RAW has been in development for years and is a next generation codec that features multiple new technologies such as an advanced de‑mosaic algorithm, extensive metadata support, highly optimized GPU and CPU accelerated processing and more. It can be used from acquisition throughout post production for editing and color grading, all from a single file.

Traditional RAW codecs have large file sizes and are processor intensive, making them hard to work with. Video file formats are faster, but suffer quality problems due to the use of 4:2:2 video filters that reduce color resolution. Blackmagic RAW solves these problems with an intelligent design that moves part of the de-mosaic process into the camera where it can be hardware accelerated by the camera itself. This results in incredibly efficient encoding that gives customers the same quality, bit depth, dynamic range and controls as RAW, but with much better performance and smaller file sizes than most popular video codecs. Because the processor intensive partial de-mosaic is done by the camera hardware, software such as DaVinci Resolve doesn’t have to do as much work decoding the files. In addition, GPU and CPU acceleration make decoding of frames incredibly fast, so you get extremely smooth performance for editing and grading.

Blackmagic RAW is much more than a simple RAW container format. Its intelligent design actually understands the camera and the sensor. This means the image data, along with the unique characteristics of the image sensor, are encoded and saved into the Blackmagic RAW file, giving customers much better image quality, even at higher compression settings, as well as total control over features such as ISO, white balance, exposure, contrast, saturation and more.

In addition, Blackmagic RAW uses Blackmagic Design Generation 4 Color Science for superior imaging that results in reproducing extremely accurate skin tones and gorgeous, lifelike colors that rival those of cameras costing tens of thousands of dollars more. Images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of color data and dynamic range.

Blackmagic RAW also makes it easy for any software developer to access all this technology. The free developer SDK lets any third party software application add Blackmagic RAW support on Mac, Windows and Linux. The Blackmagic RAW developer SDK automatically handles the embedded sensor profile metadata, along with Blackmagic Design color science, for predictable and accurate image rendering that yields consistent color throughout the entire pipeline.

Blackmagic RAW features two types of file compression. Customers can choose either constant quality or constant bitrate encoding options, depending on the kind of work they are doing. This lets them prioritize image quality or file size. Constant quality uses variable bitrate encoding so complex frames are encoded at higher data rates to preserve detail and maintain the highest possible quality. Blackmagic RAW Q0 has minimum quantization and yields the highest quality, while Blackmagic RAW Q5 uses moderate quantization for more efficient encoding and a smaller file size. Blackmagic RAW 3:1, 5:1, 8:1 and 12:1 use constant bitrate encoding to give customers the best possible images with predictable and consistent file sizes. The ratios are based on the unprocessed file size of a single frame from the camera’s sensor, making it easy to understand the relative amount of compression being used.

The pristine camera native quality of Blackmagic RAW Q0 and 3:1 are perfect for effects heavy feature film and commercial work. Blackmagic RAW Q5 and 5:1 are extremely high quality making them great for episodic television and independent films. Blackmagic RAW 8:1 and 12:1 offer high quality and speed, making it suitable for productions that wouldn’t normally consider shooting RAW. Now, more customers than ever will be able to use high quality RAW images in an incredibly efficient way that was impossible before.

“Blackmagic RAW could entirely change the workflow going from camera through post production,” said Kees Van Oostrum, Director of Photography and President of the American Society of Cinematographers. “A superb image quality, fine detail and incredibly small file sizes could possibly make Blackmagic RAW the go to format for filmmakers. It will be an important change for post because the editorial team can work with the camera original files, which are fast enough to use for everyday editing. That means less confusion in regards to creative choices I make at the camera. The images can now travel throughout the entire workflow because we’re shooting, editing and grading with the same files! Blackmagic RAW could be a game changer in the way films, television shows and commercials are made.”

Blackmagic RAW dramatically simplifies and speeds up post production workflows. DaVinci Resolve 15.1, which was also released today, includes full support for Blackmagic RAW. The performance of Blackmagic RAW is much faster in DaVinci Resolve than any other RAW format. This makes editing, color correction and visual effects incredibly fast. In addition, working with single files instead of folders full of still image sequences greatly simplifies media management. When the RAW settings are changed in DaVinci Resolve, a .sidecar file can be generated or updated if one already exists. When opened in other software applications that support Blackmagic RAW, the .sidecar file, which contains the RAW settings made in DaVinci Resolve, will be automatically used to display the image. If the .sidecar file is removed then the file will be displayed using the embedded metadata instead. This innovative new workflow gives customers a non-destructive way to change RAW settings while working between different applications.

Featuring a fully scalable design and completely modern CPU and GPU acceleration, Blackmagic RAW is optimized for AVX, AVX2 and SSE4.1 enabled processors, multi-threaded, works across multiple CPU cores and is GPU accelerated with support for Apple Metal, CUDA and OpenCL. Frame decoding and image processing is extremely fast, making it super smooth for editing, color correction and visual effects in DaVinci Resolve. Another benefit of media being stored as single files, and not image sequences, is it makes media management easier and file copying much faster.

The free Blackmagic RAW Developer SDK is available on Mac OS, Windows and Linux. This SDK takes care of all the work for developers, so adding support for Blackmagic RAW to third party software applications is easy and fast. Developers get access to GPU and CPU accelerated algorithms for decoding files, along with unique information about the camera’s image sensor so their applications can accurately decode and display the files. The SDK features highly descriptive and flexible metadata options designed to support today’s modern workflows. Metadata is embedded directly in the .braw file or it can be stored in a .sidecar file. Metadata is important because it contains the RAW settings along with information for the slate, iris, focus, focal length, white balance and a lot more. The metadata in .sidecar files can be used on top of the embedded metadata without overwriting it. Blackmagic RAW also supports frame based metadata so customers can access values, such as focus distance, that often change on a frame by frame basis.

“Blackmagic RAW is the world’s only truly modern, high performance, professional RAW codec that is open, cross platform and free,” said Grant Petty, Blackmagic Design CEO. “It’s exciting because customers can get the visually lossless image quality of RAW with the speed of traditional video workflows. Best of all, there are no hidden licenses or ongoing fees. Blackmagic RAW has been designed to provide the industry with an open, elegant and standardized high quality image format that can be used across products and in customer workflows absolutely free!”

Blackmagic RAW is available today as a public beta via the Blackmagic Camera 6.0 Beta Update for URSA Mini Pro. The final release of Blackmagic RAW is expected to ship in several weeks’ time once further testing is complete.

The DaVinci Resolve 15.1 Update, which features support for Blackmagic RAW, has also been released and can be downloaded today free of charge from the Blackmagic Design website.

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to