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15 2017 Sep

Foo Fighters Debut New Video for “The Sky Is A Neighborhood” Directed By Dave Grohl and Produced by Therapy Content

 Therapy Content helps Foo Fighters bring a dose of mystical danger to a cabin in the woods with the new video for “The Sky Is A Neighborhood.”

The Dave Grohl-directed video opens on two young girls reading an ancient-looking tome in a remote cabin, before transitioning to the band playing in the woods at nighttime. Cutting between the performance footage and the girls’ story, Foo Fighters are revealed to be the thing that goes bump in the night when the kick drum and stomping feet rattle the roof above the girls’ heads. As the song escalates, the action of the video does as well; when the band stomps holes through the roof of the cabin, they create a starscape inside to mirror the outside. Throughout the song, the band members’ eyes flash a possessed white, revealing they are not an impartial narrator to the supernatural occurrences happening below.

“The Sky Is A Neighborhood” is another brick in the long and successful collaborative bridge between musician/director Dave Grohl and Therapy Content. The Los Angeles-based entertainment development and production company was behind Grohl’s feature film debut (led by Therapy Content’s John Ramsay and Jim Rota) with the Grammy-winning 2013 documentary Sound City. They followed it up with the Emmy and Grammy-winning collaboration: the HBO docuseries Sonic Highways, along with Foo Fighters’ most recent video for “Run.”

Therapy Content handled the scope of production, nailing the horror/handmade atmosphere that makes the video so unique. To achieve this, Therapy built a full-scale cabin on a soundstage, which took five days and required truckloads of actual trees to create the surrounding forest. To make the starscape, Therapy animated and projected the night sky onto a 40-foot tall by 150-foot wide screen wrapped around the entire set, which required over 20 projectors to cover the screen.

Sister company Therapy Studios was enlisted to handle the post production. Editor Kristin McCasey expertly weaves a sense of suspense and mystery between the two worlds. Meanwhile Lead Flame Artist Rachel Moorer and colorist Omar Inguanzo enhance the physical set of the video through glowing eyes, holes in the ceiling, and multicolored lights from above.

15 2017 Sep

Weezer’s New Feels Like Summer Music Video Shot with URSA Mini Pro 4.6K

Logo_blackmagic designFremont, CA - Blackmagic Design today announced that American rock band Weezer’s new music video for its song “Feels Like Summer” was shot using an URSA Mini Pro 4.6K digital film camera. Cinematographer Gabe Kimpson, along with Directors Brendan Walter of Crush Music and Jade Ehlers, were tasked with replicating the legendary Guns N’ Roses “Paradise City” video with Weezer on the stage in front of screaming fans instead, as told from the point of view of a Weezer roadie in the 1980s.

Kimpson has shot music videos for some of the biggest bands in the world, including Fall Out Boy, Train and New Politics. For “Feels Like Summer,” Brendan Walter, of Crush Music, and Jade Ehlers, of Scantron No. 2 Pencil, decided to shoot at Los Angeles’ iconic Rose Bowl Stadium during the Arroyo Seco Weekend music festival where Weezer was performing. During the performance, the URSA Mini Pro was set up center stage at the front of the pit and was mounted on a Manfrotto tripod, then switched to handheld for a more lively, energetic feel.

“This shoot was amazing. We had to include staged behind-the-scenes shots of the band, the stage and the crowd. Since we wanted it to feel like the viewer is a roadie with Weezer, if Weezer had been an 80s hair band, I was shooting in the pit with 20 to 30 other photographers and videographers with screaming fans all around,” said Kimpson.

“An issue during the shoot was that the majority of the stage was shaded, but some parts were in direct sun-light as well as all of the audience. Therefore, very fast changes between proper exposures had to be met, along with relying heavily on the large dynamic range that the URSA Mini Pro is capable of,” Kimpson noted. “The URSA Mini Pro’s built-in ND filters proved to be an essential tool to ensure proper exposure at the turn of a knob to keep up with the fast pace of the live performance and capture those quick moments, especially since there were no second takes.”

“With the main concern being the vast differences in exposure from direct sunlight to shade, we didn’t want any of the highlights blowing out if possible, so we really pushed the dynamic range of the URSA Mini Pro to the extremes. And I think we were able to accomplish what we needed and then some by providing even better colors with gorgeous skin tones,” he continued. “One of the joys of shooting with this camera is having the confidence that you are capturing footage at the proper exposure while knowing that you will still have a ton of latitude to push it in the color grade. The ability to push the limits in the color grade was a blessing.”

During the performance, being able to turn from the stage to the audience and back again to capture key moments was essential.

“I had to capture my shots while moving around in a small space, and the URSA Mini Pro’s size really allowed me to be nimble. I had plenty of shots where I had to raise the camera directly overhead, and not only does the weight and handle grip help with a shot like that, but so does the screen, which has the ability to rotate 180 degrees up or down. Shooting blind is never something I like to do, so being able to hold the camera directly overhead while still seeing what I was shooting was great,” said Kimpson.

“The entire shoot went really well, and the URSA Mini Pro’s dynamic range and image quality were the factors that influenced our use the most. We also loved being able to save money, because of the URSA Mini Pro’s affordability, and then being able to invest the savings into other areas of the production while still providing the client with a stellar image. Dynamic range, size, image quality and affordability are second to none, and it was really a no brainer to go with this camera,” he finished.

15 2017 Sep

Blackmagic Design Announces Ultimatte 12

The world’s most trusted keyer now has one touch keying, incredible new image processingfor realistic composites with colors that pop, and 12G-SDI for Ultra HD.

Logo_blackmagic designIBC 2017, Amsterdam, Netherlands  - Blackmagic Design today announced Ultimatte 12, a new realtime hardware compositing processor that’s perfect for broadcast quality keying, adding augmented reality elements into shots, working with virtual sets and more. Ultimatte 12 is available immediately from Blackmagic Design resellers worldwide for US$9,995.

Ultimatte 12 will be demonstrated at IBC 2017 on the Blackmagic Design booth in Hall 7, Stand 7 H.20.

The all new Ultimatte 12 is more than the world’s best keyer, it’s an advanced real time compositing processor designed for the next generation of broadcast graphics. Ultimatte 12 features entirely new algorithms and color science, incredible edge handling, greater color separation, amazing color fidelity and better spill suppression than ever before.

The advanced 12G-SDI design gives Ultimatte 12 customers the flexibility to work in HD today and switch to Ultra HD when they are ready. Customers get sub pixel processing for amazing image quality and textures in both HD and Ultra HD. Plus it’s compatible with virtually all SD, HD and Ultra HD equipment, so customers can use it with the cameras they already have.

Ultimatte 12 can create incredibly life like composites and place talent into any scene, working with both fixed cameras and static backgrounds, or automated virtual set systems. Imagine presenting the weather, sports, news and entertainment in a cinematic quality environment, all composited in real time. Ultimatte 12 is also perfect for on set pre visualization in television and film production because it lets actors and directors see the virtual sets they’re interacting with while shooting against a green screen.

Ultimatte 12 is designed to be affordable, so customers can use it on even more cameras to increase production quality. For example, when working on live shoots with multiple cameras shooting from different angles, it’s common for the green or blue screen to suffer from variations. The keyers built into live production switchers use the same keying parameters for all cameras, which complicates keying and image quality because each camera sees the green screen a little differently. Ultimatte 12 eliminates this problem with incredible new technology at an affordable price so it’s now possible to add keyers to every camera for the highest possible quality keys. With the power of a dedicated keyer on every camera, Ultimatte 12 is perfect for live broadcast news, weather, sports, virtual studios and more!

Augmented reality is becoming more and more popular. On air talent now interacts with glass like computer generated charts, graphs, displays and other objects with colored translucency on virtually every broadcast television show. Adding tinted translucent objects is virtually impossible with a traditional keyer and the results customers see on television don’t look realistic. That’s because when blue or green is subtracted out of a semi-transparent tinted object, it changes the object’s original color. Now, with Ultimatte 12, customers get a revolutionary new “realistic” layer compositing mode that can add tinted objects on top of the foreground image and key them correctly. This means that the object properly transmits the colors seen through it. Talent can even walk behind it and the tinted colors are accurately preserved, making the shot look completely realistic.

Ultimatte 12 also features one touch keying technology that analyzes a scene and automatically sets over a 100 parameters so pulling great keys is easy without having to do a lot of extra work. Of course, customers still have to ensure the scene is well lit and the cameras are properly white balanced. One touch keying is dramatically faster and helps accurately pull a key with minimum effort, leaving operators free to focus on the program with less distractions, while Ultimatte 12 takes care of the rest.

The incredible new image processing algorithms, huge internal color space, and automatic internal matte generation lets Ultimatte 12 work on different parts of the image separately. It’s like having the power of multiple Ultimatte keyers all working together on the same image. Fine edge detail is preserved where it’s needed the most, like on hair, and transitions between colors or other objects in the scene is completely smooth. Everything is handled by new math and sub pixel processing that’s designed for incredible quality and clarity in both HD and Ultra HD.

When it comes to color handling, Ultimatte 12, has new flare, edge and transition processing to remove backgrounds, without affecting other colors. The improved flare algorithms can remove green tinting and spill from anything, even dark shadow areas or through transparent objects. This means Ultimatte 12 can retain and faithfully reproduce colors that are impossible on other keyers, such as a bright yellow dress in front of a green screen. Unlike other keyers, Ultimatte 12 delivers crisp clear, photorealistic images with vibrant colors that pop!

Ultimatte 12 is controlled via Ultimatte Smart Remote 4, which is a touch screen remote that connects via Ethernet. Up to eight Ultimatte 12 units can be daisy chained together and connected to the same Smart Remote, so customers don’t have worry about adding a video router or hub. Smart Remote 4 features physical buttons for switching and controlling any attached Ultimatte 12. There are also buttons for quickly loading and saving presets, along with a touch screen that provides total control over every parameter. Customers can also create their own custom control solutions because Ultimatte 12 uses a simple, open text based protocol. Simply Telnet into Ultimatte 12, to start developing and testing custom solutions.

“Ultimatte has been the world’s highest quality broadcast keyer for 40 years,” said Grant Petty, Blackmagic Design CEO. “We’re excited about taking this incredible technology to the next level! Ultimatte 12 is no longer just a simple keyer, it’s an Ultra HD realtime compositing engine designed specifically for the needs of today’s live broadcast, television and film production needs!”

15 2017 Sep

Le Bureau des Légendes Delivered in Ultra HD 4K with DaVinci Resolve Studio

Logo_blackmagic designFremont, CA  - Blackmagic Design has today announced its DaVinci Resolve Studio and DaVinci Resolve Advanced Panel were used to

complete picture post in Ultra HD 4K on the third season of award winning Canal+ French drama series, “Le Bureau des Légendes.”
Post production for the ten part series now available on Amazon Prime was completed at Paris based Digital Factory by freelance colorist Guillaume Lips. “Not only did we grade the entire series from beginning to end in Resolve, but we also delivered in Ultra HD 4K for the first time,” he begins.

The turnaround for completing the DI on each episode was incredibly tight according to Lips. “With only two days to complete an episode our workflow needed to be both fast and efficient. Not only did Resolve’s realtime performance provide first-class shot tracking but it also meant that we could work with the project native materials in 4K.”

While the main unit captured to ProRes 4444, there was a whole raft of smaller cameras used by the production’s second unit to shoot the action scenes. “Resolve’s extensive format and multi-codec support proved invaluable,” explains Lips. “We carried out a basic technical grade to adjust contrast levels and correct for the differences in color space and that gave us our starting point for the final DI.”

When grading scenes from Syria, Lips drew on DaVinci Resolve’s extensive toolset and a series of power windows to unlock the rich deep tones and add a large amount of contrast while still retaining enough detail in the highlights and shadows.

“In order to achieve that, I used the HDR capabilities in Resolve to finesse the midtones,” he reveals. “And when it came to skin tones I wanted to bring back as much softness as possible to mitigate any over-definition resulting from the 4K delivery which Resolve proved highly adept at handling.”

“As an experienced colorist I have worked with a lot of different grading systems in my career and I firmly believe that DaVinci Resolve remains one of the very best in the market today,” concludes Lips. “Used alongside the DaVinci Resolve Advanced Panel you have a very efficient way of working, which allowed me to complete the grade on this particular project in record time.”

15 2017 Sep

Avid Honored with 15th Emmy® Award for Technology and Engineering Innovation


Burlington, Mass.  – Avid® (Nasdaq: AVID), a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals, today proudly announced it has won a 2017 Emmy® Award for Technology and Engineering from the National Academy of Television Arts and Sciences (NATAS), the company’s 15th Emmy Award.

NATAS bestows Technology & Engineering Emmy Awards on companies that are the “tool makers” of the industry and have materially affected the television viewing experience.  This year, NATAS’ Technology & Engineering Achievement Committee honors Avid editing technology that’s widely used by an overwhelming number of the media and entertainment industry’s top creative and editing talent who produce some of the world’s most popular television shows.  The award specifically recognizes Avid’s “Pioneering Development of a Computerized Hard-Disk Storage Based Digital Non-Linear, Multi-Stream Multi-Camera System,” identifying the influence of Avid Media Composer®, the industry’s preeminent nonlinear editing system.  Avid will receive its latest Emmy during the 69th Annual Technology & Engineering Emmy Awards ceremony on Sunday, April 8, 2018 in Las Vegas.

“Our 2017 Emmy Award is immensely gratifying for Avid employees everywhere as we continue to focus on delivering innovations of enduring value for the media and entertainment industry,” said Avid Chairman & CEO, Louis Hernandez, Jr.  “All of us at Avid are especially grateful to our global customer community, which drives our innovation.  Our 15 Emmys, two Oscars® and Grammy® embody our strong bond with our customers and users, who inspire us and trust us to deliver tools and platforms that are instrumental in telling their stories in increasingly engaging and more powerful ways.”

Powered by the MediaCentral® Platform, the industry’s most open and tightly integrated platform designed for media, Media Composer is the prevailing tool of choice for television and film editors, including award-winning individuals such as Peter Chakos, who won the 2016 Primetime Emmy Award for Multi-camera Picture Editing for a Comedy Series for Big Bang Theory, every nominee for the 2017 Primetime Emmy Award for Outstanding Single-Camera Picture Editing for A Drama Series, and every 2017 Academy Award nominee for Best Film Editing.

About Avid

Through Avid Everywhere™, Avid delivers the most open and efficient media platform, connecting content creation with collaboration, asset protection, distribution and consumption. Avid’s preeminent customer community uses Avid’s comprehensive tools and workflow solutions to create, distribute and monetize the most watched, loved and listened to media in the world—from prestigious and award-winning feature films, to popular television shows, news programs and televised sporting events, and celebrated music recordings and live concerts. With the most flexible deployment and pricing options, Avid’s industry-leading solutions include Pro Tools®, Media Composer®, Avid NEXIS®, Interplay®, ProSet™ and RealSet™, Maestro™, PlayMaker™, and Sibelius®. For more information about Avid solutions and services, visit, connect with Avid on FacebookInstagram, Twitter, YouTubeLinkedIn, or subscribe to Avid Blogs.


© 2017 Avid Technology, Inc. All rights reserved. Avid, the Avid logo, Avid Everywhere, Avid NEXIS, Interplay, Maestro, MediaCentral, Media Composer, PlayMaker, Pro Tools, ProSet, RealSet, and Sibelius are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. The Interplay name is used with the permission of the Interplay Entertainment Corp. which bears no responsibility for Avid products. Emmy and the Emmy statuette are registered trademarks of ATAS/NATAS. Academy Awards and Oscar are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences. Grammy is a trademark of The National Academy of Recording Arts & Sciences, Inc. All other trademarks are the property of their respective owners. Product features, specifications, system requirements and availability are subject to change without notice.

15 2017 Sep

ASC Photo Gallery Exhibit Relaunches with New Images

ASC LogoThe American Society of Cinematographers (ASC) Photo Gallery  re-opened with a public debut on September 9 at the historic ASC clubhouse in Hollywood. The exhibit features an entirely new collection of still photographs by nine members of the organization, curated by Paris Chong, manager of Leica Gallery LA.

It will remain open to the public, by appointment, during weekdays from 11 am – 4 pm. To attend the opening night or visit the exhibit, contact

The ASC Photo Gallery is designed to showcase the artistic achievements of the organization’s members, which consist of 375 award-winning cinematographers from around the globe. The first exhibit opened in March to much success, prompting future editions.

“Still photography is the personal expression of the artist’s voice for many of our members,” notes Lieberman, Chairman of the ASC Photo Gallery Committee. “Images have inspired thousands of cinematographers over the decades, and we hope to encourage others by sharing our works of art so we may continue to fund outreach programs that influence the next generation of filmmakers.”

The ASC members participating in this new show include Antonio Calvache (Queen Sugar, Little Children), Richard Crudo (Justified, American Pie), Fred Elmes (The Night Of, Blue Velvet), Denis Lenoir (Still Alice, Uprising), Charlie Lieberman (My So-Called Life, Heroes), Karl Walter Lindenlaub (Suits, Houdini), Suki Medencevic (Stuck in the Middle, The Pixar Story), Steven Poster (Donnie Darko, Southland Tales), and Robert Primes (Felicity, My Antonia).

Each cinematographer contributed five photos. The 45 images on display are printed, framed and available for purchase. The limited-edition prints are numbered, signed and certified. Unlimited Edition Box Sets will also be available. Proceeds fund the nonprofit organization’s educational initiatives. Purchases will also be offered online via the ASC Store, where some photos from the March exhibit are still available.

For more information, contact or call (323) 969-4333.

13 2017 Sep

VES Summit

Please join the Visual Effects Society’s 9th annual VES Summit ​on Saturday, October​ 28 at the Sofitel in Beverly HillsKeynote speakers include:  acclaimed director, Ava DuVernay, and visionary futurist, Syd Mead.

Join the 200+ industry decision-makers who consider the VES Summit their “must attend” event of the year.

The VES Summit features technical wizards, enlightened storytellers, fearless problem-solvers, VR pioneers, and VFX Visionaries.  Get the latest insights from:  Hollywood Data Hack Expert Hemu Nigam; IMAX Home Entertainment President, Jason Brenek; along with speakers from: Adobe, Autodesk, NVIDIA, SideFX, The Mill, WME with many more!

Register now to enjoy:

  • top thought-leading speakers
  • roundtable discussions on key industry topics
  • networking, lunch, cocktails and more!

Register at:

22 2017 Aug

EditFest 2017 Delivers Education and Inspiration

EFLA 2017 Collage 4

At the very crossroads of creativity, intent and execution of story-telling sits the editor.  Powering the vision, and guiding the process that begins on set with dailies and ends with the delivery – often many deliveries – that tell the story the creative team set out to tell. For 10 years, EditFest has put the world’s best editors on stage and in conversation with a wide variety of professionals and aspiring professionals who want to know about the choices, motivation, and back story of the editing room.

This year’s EditFest LA 2017, in a packed-to-the-rafters Main Theater at Disney Studios, brought forth a wonderful variety of editors to talk about their careers and work.  The audience was comprised of aspiring editors and assistants, working editors that included Oscar and ACE Eddie award winners, students, post professionals, and those who simply love hearing about how an editor puts a story in place.  From the first panel of Women Making the Cut to the Lean Forward panel that closed the day, ACE EditFest was a lively hit of a day.

The EditFest lineup included:

  • Lillian Benson, ACE  (Chicago Med, Maya Angelou: And Still I Rise)
  • Jackie Cambas, ACE (Zoot Suit, Mermaids, Cat People)
  • Richard Chew, ACE (Star Wars, The Conversation, Risky Business, I Am Sam, Singles, Bobby, The Public, One Flew Over the Cuckoo’s Nest)
  • Lisa Zeno Churgin, ACE (Cider House Rules, Gattaca, Reality Bites, Pitch Perfect)`
  • Kelley Dixon, ACE (Breaking Bad, Better Call Saul, The Walking Dead)
  • Edie Ichioka, ACE (Toy Story 2, The Boxtrolls)
  • Virginia Katz, ACE (Bride of Frankenstein, Beauty and the Beast, Dreamgirls)
  • Lynzee Klingman, ACE One Flew Over the Cuckoo’s Nest, War of the Roses, Little Man Tate
  • Robert Leighton (When Harry Met Sally, This is Spinal Tap, The Princess Bride)
  • Chris McCaleb (Breaking Bad, Narcos, Fear the Walking Dead)
  • Stephen Rivkin, ACE (Avatar, Pirates of the Caribbean, Avatar 2)
  • Paul Rubell, ACE (Blade, The Insider, Transformers, Thor)
  • Terilyn A. Shropshire, ACE (The Secret Life of Bees, Love & Basketball, Eve’s Bayou, Beyond the Lights)
  • Lynne Willingham, ACE (The X-Files, Ray Donovan, Bloodline)

Moderators included Norman Hollyn, Michael Krulik, Margot Nack, and Bobbie O’Steen.

The day ended with a cocktail reception on the lawn in front of the Main Theater, offering participants and panelists further opportunity to mingle and connect. EditFest will return to London in June of 2018 and to LA late in the summer of 2018.  EditFest Sponsors include Platinum Sponsor Blackmagic Design and Gold Sponsors Avid and Adobe and the Motion Picture Editors Guild. For further information, visit

21 2017 Aug

SIGGRAPH Introduces Technologies for the Digital Pipeline

By Debra Kaufman

SIGGRAPH, the Association of Computing Machinery’s special interest group in computer graphics and interactive techniques, draws the majority of its crowd from visual effects pros and animators. At this year’s conference, manufacturers and researchers revealed several new technologies with applicability to the digital pipeline, some with direct applications in post.

CGI requires high performance, and manufacturers debuted speedier, more capable computer platforms at SIGGRAPH. Nvidia showed a solution “for creatives who like to have a laptop to work away from their desk, but want graphics performance when they are sitting behind it.” Partnering with Sonnet, maker of Thunderbolt expansion products, and unnamed others, Nvidia will ship in September what it calls an eGPU chassis, an external graphics card that allows anyone who needs high-performance to be mobile, from video editors to VFX artists. Nvidia has targeted video editors as an industry segment that can benefit from the eGPU, but dailies and finishing colorists could as well. Quadro P4000, P5000 or P6000 ‘workstation’ class cards are inside the eGPU. For use with Adobe Premiere Pro or Maya, the eGPU can be outfitted with Titan X gamer cards “with a specially tuned driver.”

Nvidia also highlighted its DGX Station, which it describes as a “desktop supercomputer,” advertising it as “as powerful as a render farm with 150 servers.” The company also debuted its accompanying OptiX 5.0 ray-tracing engine. A major announcement for us was using artificial intelligence to speed the rendering process, specifically the removal of noise which is part of the raytracing process,” said Nvidia vice president of developer marketing Greg Estes about the OptiX 5.0. “As the post world moves from CPU based rendering for GPU based, this is a big deal. Our data shows it’s 54 times faster than a dual Xeon CPU server node.”

PNY Technologies introduced its PNY PREVAILPRO P4000 and P3000 mobile workstations, with an Nvidia Max-Q design, that can drive up to four 4K UHD displays at once, according to vice president Steven Kaner. The systems are designed “to drive next generation workflows” across a range of industries including media and entertainment. Featuring Pascal architecture, Intel Core CPUs and HM175 Express Chipset, the new mobile workstations are also “incredibly light and thin” as well as powerful. The size is 14.96-inches by 9.8-inches by 0.73-inches and the weight is 4.8 pounds.

With regard to using them for display of 4K content, both PREVAILPRO systems feature a 15.6-inch 4K UHD or FHD display, and can drive three external displays at up to 4K resolution, which the company claims is “a feature unavailable on any competing system.” The P4000 mobile workstation “supports fully immersive VR, Nvidia VRWorks software development kit, and innovative immersive VR environments based on the Unreal or Unity engines.”

Dell, which is marking the 20th anniversary of its Precision Workstations, updated its tower and rack chassis workstations, with an aim to “handle complex, creative workloads, including development and deployment of artificial intelligence and machine learning technologies.” The new 5829, 7820 and 7920 Towers and a 2U 7920 rack integrate the latest Skylake-X Xeon processors, with up to 28 core Xeons, and are based on the C261 chipset. The towers hold up to 1.5 TB of 2666 MHz RDIMM memory in 4 or 6 channel configurations. The tower and rack workstations will be available October 3.

Virtual reality and machine learning/artificial intelligence were also on show, with the debut of a VR Theater to show off content. Among the product offerings, HP debuted a professional-level version of its VR backpack PC. The Omen X was launched in June for gamers, but the new HP Z VR Backpack is aimed at professional environments. The PC features an Intel Core i7 processor and Nvidia Quadro P5200 graphics chip with 16GB of its own RAM. Nvidia also used artificial intelligence to power its Isaac Lab robot. At SIGGRAPH, visitors could play dominoes with Isaac in a virtual world (via VR headset) simulated through Project Holodeck. The idea behind Isaac wasn’t to create an unbeatable robot, but rather to show how simulation and virtual reality “can help robots learn the much more nuanced task of interacting with people,” to ultimately learn skills such as “the ability to pour a cup of coffee, provide care for the elderly, perform surgery, or play a game of dominoes.”

18 2017 Aug

Blackmagic Design Announces New Audio and KeyKode Reader for Cintel Film Scanners

Blackmagic Design recently announced the new Cintel Audio and KeyKode Reader accessory for its Cintel Film Scanner, which lets customers scan audio and KeyKode information along with images from the scanner, all in realtime. The new audio and KeyKode reader accessory is available for $3,495 from Blackmagic Design resellers worldwide.

Member News - BMD CintelThe new Cintel Audio and KeyKode reader lets customers capture high quality audio along with KeyKode information directly from their film as they are scanning it. The reader features a magnetic audio head or deep red LED illumination supporting 16/35mm cyan, high magenta dye, silver optical or 16mm magnetic audio tracks, with advanced optics, electro formed slits, and precision mechanical adjustments for azimuth to deliver the best possible audio capture with incredible high frequency response, perfectly synchronized with the video. The precision capstan encoder automatically corrects wow and flutter, allowing customers to accurately capture audio, even when the scanner speed changes.

The new reader also gives customers the ability to scan KeyKode from their film. KeyKode numbers provide a way to identify each unique film frame, making it easier to correlate the film frames with their corresponding video frames after scanning is complete. This greatly simplifies post production workflows, especially when cutting or re-cutting previously edited material that comes from different rolls of film.

“Cintel Film Scanners are the most popular film scanners in the world,” said Grant Petty, Blackmagic Design CEO. “The new Cintel Audio and KeyKode Reader is exciting because it allows both audio and picture to be scanned at the same time, and in perfect synchronization. Plus, customers also get KeyKode information that helps to dramatically speed up post production workflows!”