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November 2010
YoYotta Manages Post Online
YoYotta has introduced YoYo v.3, the latest version of the company’s flagship postproduction-workflow-management system.
3-D Projection Evolves at Kodak Online
Eastman Kodak Company has developed laser projection technology that delivers both 2-D and bright 3-D images within today’s stringent technical standards for digital motion-picture presentation.
Sony Pictures Imageworks Offers OpenColorIO Online
Sony Pictures Imageworks has released OpenColorIO (OCIO), its sixth production-proven open-source software to be introduced since the launch of the company’s open-source initiative in July 2009. 
ILM, Sony Pictures Imageworks Release Alembic Online
Sony Pictures Imageworks and Industrial Light & Magic (ILM) have announced a co-developed open-source project, Alembic. 
Light Illusion Upgrades Lightspace CMS Online
    Light Illusion has added a new probe interface and new features to the LightSpace CMS color-management system.
Barco Introduces Projector for Post Online
Barco has introduced the DP2K-P, an enhanced 4K-ready cinema projector conceived and built to meet the performance needs of postproduction houses.
Openfilm Takes Video Sharing to Next Level Online
Openfilm has established itself as an online destination for filmmakers and film lovers to distribute and discover independent films. 
Legal Tips for Independent Filmmakers Online
Michael C. Donaldson and Lisa A. Callif have written American Bar Association’s Official Legal Guide to Independent Filmmaking. 
ABC Products Moves DSLRs
ABC Products, a MovieTech AG brand, has introduced the DSLR Light-Jib, a lightweight, compact jib arm designed for shooting with DSLR cameras.
Sony Presents HDCam-SR’s Next Generation
Sony Electronics recently introduced the SRW-9000PL HDCam-SR camcorder.
Sachtler Unveils DSLR Fluid Head
Sachtler, a Vitec Group brand, has introduced the Cine DSLR fluid head, specially designed for DSLR filmmakers.
Camera Duck Braves Elements
International Supplies has introduced the all-weather Camera Duck, which allows photographers and videographers to protect their cameras from harsh weather conditions.
Tiffen Expands Line
The Tiffen Company has added two diffusion filters to its award-winning optical filter line: Soft/FX Black Pro-Mist and Black Glimmer Diffusion/FX.
Film School in a Box
Filmmaker in a Box is a 10-DVD set offering a comprehensive look behind the scenes of an independent micro-budget feature from prep through post.
Practical Effects from Reel EFX
Reel EFX has introduced the RE4 Fan, designed for professional studio, stage and location applications requiring maximum wind at the lowest possible noise level.
VES Debuts Effects Handbook
The Visual Effects Society has released The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures, offering a wealth of information about the art and science of visual effects.
DaVinci Resolve Enters Mac Platform
Blackmagic Design has introduced DaVinci Resolve 7.0, the latest version of the high-end DI grading system, which is now available on both Mac OS X and Linux platforms.

SpaceMan Tackles Color Management
Light Illusion has launched SpaceMan ICC, a unique ICC profile-management system that enables film and media industry standard 3-D look-up tables to be converted to computer industry ICC profiles, as well as enabling the editing of existing ICC profiles.

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YoYotta Manages Post

YoYotta has introduced YoYo v.3, the latest version of the company’s flagship postproduction-workflow-management system. Originally designed as a conform i/o interface for Pandora color correctors, the YoYo v.3 software suite offers a comprehensive toolset for managing post workflows for a fraction of the cost of other systems. With YoYo, facilities can ingest, transcode, conform and output nearly every standard video or data-based file format, thus freeing up creative suites for creative work.

New features in YoYo v.3 include encoding and decoding of MXF files, easing preparation of offline and online material for Avid editing systems; integration with file-based image processors from Cintel; control of Spirit DataCine via an onscreen GUI or a wireless iPad application; and audio support for WAV, BWAV, AAC, AIFF and MP3 files. Logo and graphics creation for dailies material has also been enhanced.

YoYo comprises three core applications: YoProject, YoCapture and YoSource. YoProject manages file-based data, YoCapture allows users to ingest video sources and YoSource is designed for conforming and outputting video masters. In the commercials sector, YoYo is ideal for conforming and outputting deliverables, freeing up the colorist for more creative work. In television, the system is being used to ingest and prep video source material for editing. In the film world, it can be deployed as a cost-effective system to manage a dailies workflow or restoration projects.

In addition to its high-speed transcoding capabilities, YoYo offers primary color correction and color management, allowing for the creation of accurate digital dailies, or for precise color-space adjustments at any stage of post. The system can process virtually any file or video format into a single master and play out to disk or tape. Stereo deliverables can also be created in various 3-D formats. After final delivery, YoYo allows facilities to manage various storage tiers; projects can be archived while maintaining a visual online audit for ongoing maintenance.

YoYo runs on Apple’s Mac Pro, which allows for cost-effective installations on a powerful off-the-shelf workstation. 

Online Online Exclusive
contact info:  
www.yoyotta.com
3-D Projection Evolves at Kodak

Eastman Kodak Company has developed laser projection technology that delivers both 2-D and bright 3-D images within today’s stringent technical standards for digital motion-picture presentation.

“So far, reaction has been tremendous,” says Les Moore, Kodak’s chief operating officer for Digital Cinema. “In addition to producing a wide range of colors, the Kodak Laser Projection Technology offers wide dynamic range, deep blacks and a bright 3-D image display.”

According to Moore, the Laser Projection Technology is a key ingredient to potential improvements in digital cinema picture quality for future moviegoers. This technology offers the potential for a reduction in total cost of ownership though a cost-conscious design, combined with the efficiencies gained through using laser illumination systems, including lower energy consumption and the anticipated long lifetime of lasers. Kodak is currently in discussions with potential licensing partners to commercialize a projector product using the Kodak Laser Projection Technology.

“Kodak continues to be a leader in the entertainment industry,” says ASC associate member Kim Snyder, Kodak’s president of Entertainment Imaging. “We’re driving revolutionary improvements in digital cinema projection technology that can significantly improve the theatrical experience of the moviegoer, especially in 3-D; the range of available tones and colors for the creative community; and the cost of ownership for the exhibitor.”

Online Online Exclusive
contact info:  
www.kodak.com/go/laserprojection
Sony Pictures Imageworks Offers OpenColorIO

Sony Pictures Imageworks has released OpenColorIO (OCIO), its sixth production-proven open-source software to be introduced since the launch of the company’s open-source initiative in July 2009. 

Color space has proven to be one of the most challenging aspects of digital motion-picture production, particularly with visual effects and animation, where images flow through multiple software applications and even production houses. OCIO has been used at Sony Pictures Imageworks since 2003 to address the challenges of working with multiple commercial image-processing applications; the software enables color transforms and image displays to be handled in a consistent manner across multiple graphics applications. By providing a unified color environment, OCIO greatly simplifies the task of creating and validating multiple-application workflows.

“Dealing with color space issues is something every facility faces on every show, and it’s not getting any simpler,” says Rob Bredow, chief technology officer at Sony Pictures Imageworks. “OpenColorIO is our contribution to help provide a framework on which people can easily share color-space transformations and apply them consistently to any workflow.”

“For smaller facilities,” adds lead developer Jeremy Selan, “OpenColorIO allows artists to work in a properly color-managed process with minimal setup effort. And, for larger facilities, the extensive customization allows OCIO-compatible tools to be used off the shelf, matching existing facility color practices.”

Online Online Exclusive
contact info:  
www.imageworks.com
ILM, Sony Pictures Imageworks Release Alembic

Sony Pictures Imageworks and Industrial Light & Magic (ILM) have announced a co-developed open-source project, Alembic. At its core, Alembic is a computer-graphics-interchange format focused on efficiently storing and sharing animation and visual-effects scenes across multiple software applications; it was designed to handle massive animation data sets often required in high-end visual effects. 

Imageworks and ILM joined forces earlier this year when it became apparent they were independently developing software designed to easily share complex animated scenes across a variety of disciplines and facilities regardless of what software was being used. Alembic includes tools that can allow collaboration while working with a generic, extensible data-representation scheme. In essence, it distills complex and often proprietary animated scenes into application-independent files with baked geometric results, which can be fully re-importable across the range of supporting software.
Online Online Exclusive
contact info:  
www.alembic.io
www.imageworks.com
www.ilm.com
Light Illusion Upgrades Lightspace CMS

Light Illusion has added a new probe interface and new features to the LightSpace CMS color-management system.

The latest probe to be added to LightSpace CMS is the Minolta CS-200 ChromaMeter, which is capable of measuring luminance and chromaticity of display products as diverse as plasma displays; CRT, LCD and LED monitors; and digital-projection screens. Other LightSpace-supported probes include the X-Rite Hubble, X-Rite EyeOne, Klein K-10, and Photo Research PR range.

Steve Shaw, CEO of Light Illusion, notes, “The continued development of LightSpace CMS provides advanced calibration capabilities to all users, with full display and film-profiling tools, LUT conversion and manipulation, as well as automatic LUT generation options for display matching and calibrated preview setup.”

LightSpace CMS is suitable for visualizing film images on digital displays as well as directly matching different displays, allowing colorists, supervisors, cinematographers and more to be confident that a matched final look is presented at every point in the digital post chain. Shaw adds, “LightSpace CMS makes accurate color management available to all industry operations, and its new tools and capabilities really help to enhance facilities’ calibration capabilities and accuracy.”

LightSpace CMS is a totally open solution, providing calibration for any and all systems where color management is critical, and bringing together a range of tools and capabilities that go further than simple LUT building, with options for full underlying color management, display profiling, profile matching (auto-LUT generation), direct profile and LUT transformation, calibration visualization and display comparison, color space conversion, and batch image processing with multiple image-parameter controls. LightSpace CMS can be purchased as a fully configured package, or via option components allowing customers to build their color-management tools as their requirements grow.

Online Online Exclusive
contact info:  
www.lightillusion.com
Barco Introduces Projector for Post

Barco has introduced the DP2K-P, an enhanced 4K-ready cinema projector conceived and built to meet the performance needs of postproduction houses.

The DP2K-P builds on the proven platform of Barco’s DP2K B-series products, from which the new projector inherits such features as light efficiency, low cost of ownership and ease of use. At the heart of the projector is Texas Instruments’ 1.2" DLP Cinema chip.

Responding to the highly specialized needs of post houses, the DP2K-P features a greatly expanded color gamut that is considerably wider than the current DCI-recommended color space. The projector also sets itself apart by delivering significantly greater brightness uniformity and more contrast than other projectors, resulting in increased image detail, especially in low-light regions.

Along with the DP2K-P, Barco has released a special version of the accompanying Communicator software, which enables users to fully customize their 2-D and 3-D look-up tables.

Online Online Exclusive
contact info:  
www.barco.com
Openfilm Takes Video Sharing to Next Level

Openfilm has established itself as an online destination for filmmakers and film lovers to distribute and discover independent films. The site offers filmmakers revenue-sharing opportunities to monetize their films, and through Openfilm’s proprietary software, films can be enjoyed via high-quality HD technology. 

Openfilm is led by an advisory board comprising James Caan, Scott Caan, Robert Duvall and Mark Rydell. The hands-on team participates in online chats with filmmakers, provides feedback on selected films, and judges top submissions as part of the Openfilm filmmaker contests. The advisory board’s mission is to transform the way independent films are discovered, financed and distributed.

Each quarter, filmmakers can compete on Openfilm to win a management and financing package to produce a feature film. Members of the Openfilm community have the opportunity to watch and rate the entries online. The six most popular shorts are then presented to the advisory board for selection of the winner.

“Openfilm levels the playing field and allows people from all over the world to participate in the creation, production and distribution of film in the mainstream,” says James Caan, chairman of Openfilm’s advisory board. “We are providing a forum for filmmakers to show their work, a vehicle for them to interact with influential Hollywood insiders and, most importantly, capital and the connections they’ll need to catapult their careers.”

Online Online Exclusive
contact info:  
www.openfilm.com
Legal Tips for Independent Filmmakers

Michael C. Donaldson and Lisa A. Callif have written American Bar Association’s Official Legal Guide to Independent Filmmaking. The book discusses everything creative professionals and the lawyers who represent them need to know from the script stage through a film’s final release, including financing, copyright, hiring a staff, distribution deals and more. Featuring case studies throughout each stage of the filmmaking process and tips on how best to work with a lawyer, the book also includes a CD-ROM with all of the necessary contracts, employment and nondisclosure agreements, and licensing deals. 

Online Online Exclusive
contact info:  
www.abanet.org
ABC Products Moves DSLRs

ABC Products, a MovieTech AG brand, has introduced the DSLR Light-Jib, a lightweight, compact jib arm designed for shooting with DSLR cameras.

Like all ABC Products equipment, the DSLR Light-Jib is designed for quick and easy use. Constructed with carbon tubes, the jib weighs only 8.6 pounds and packs down to a small, easy-to-transport size. The jib can be set up in less than a minute, and a QuickPin system allows for a rapid change of location and camera angle.

The versatile DSLR Light-Jib offers a payload capacity of 9.9 pounds and a boom length of nearly 5'. The jib allows for automatic tilt and precise adjustment of the tilt-head angle via a continuously changeable parallelogram bar, and a swivel system enables the jib to glide, avoiding any unwanted swinging when it is stopped. Other features include a built-in water level and horizontal and vertical quick-release built-in brakes.

contact info:  
www.abc-products.de
Sony Presents HDCam-SR’s Next Generation

Sony Electronics recently introduced the SRW-9000PL HDCam-SR camcorder. The official unveiling took place at Sony Studios in Culver City and featured a distinguished panel of professionals who had tested the camcorder and spoke to its capabilities, including ASC President Michael Goi; Curtis Clark, ASC; Francis Kenny, ASC; and Dhanendra Patel, Sony’s senior project manager for the CineAlta line.

The camcorder uses the identical Super 35mm CCD sensor found in Sony’s high-end F35 camera, offering superb image quality, sensitivity, signal-to-noise and dynamic range, as well as full RGB ramping from 1 to 50 fps. The SRW-9000PL also combines the SR format’s visually lossless image quality and the performance of the F35 into a versatile one-piece camcorder, eliminating the need for external recording devices.

“The SRW-9000PL’s chassis is an evolution of the film-style ergonomics Sony designed for the F23/F35,” says Peter Crithary, production marketing manager for Sony Electronics. “For camera operators used to working with film, the SRW-9000PL makes it easy to adapt. The SRW-9000PL’s rugged one-piece body with integrated HDCam-SR recording offers incredible operational mobility in demanding production environments. It’s all the power of the F35 in an affordable camcorder without the dependency on external recorders required by competitive models in this class.”

Designed for television, commercial, documentary and motion-picture production, the SRW-9000PL is ideal for use as a 2nd-unit complement to the F35, and the $72,500 price tag makes it attractive to owner/operators. The PL-mount camcorder offers shooters a wide range of image-creation options; for example, S-Log and S-Gamut wide-color-space gamma functions allow users to tailor their images during postproduction in the same way they would in a film-originated workflow. The camcorder also offers full-bandwidth, visually lossless RGB 4:4:4 HD digital-image capturing; programmable bi-directional ramping; multi-format image capturing; wide color space (S-Gamut); more than 12 stops of dynamic range; 14-bit analog-to-digital converter; and exposure index ratings of 640 to 1,000.

Sony also plans to offer a future upgrade to SR memory for the camcorder, giving users the option of hybrid or integrated solid-state memory recording, with either option still providing native access to the HDCam-SR codec. “The SR format is a highly proven technology that is firmly entrenched in the production industry,” says Crithary. “Even productions that have been using file-based solutions on set are increasingly coming back to SR due to cost and efficient turnaround times for dailies.”

A range of option cards are available for additional performance and features, including the HKSR-9001 HD-SDI expansion board, which adds dual-link HD-SDI outputs and an extra HD-SDI audio input for connectivity to an external audio multiplexing device for up to 12 channels of audio; the HKSR-9001 also provides 3G HD-SDI output capability. The HKSR-9002 picture cache board enables the camcorder to capture and record images with variable speed from 1 to 50 fps; the camcorder can also continuously record up to three seconds of video while the camcorder is in standby mode. The HKSR-9003 processing board offers full-bandwidth RGB digital 4:4:4 capture. 

contact info:  
www.sony.com/cinealta
Sachtler Unveils DSLR Fluid Head

Sachtler, a Vitec Group brand, has introduced the Cine DSLR fluid head, specially designed for DSLR filmmakers.

The Cine DSLR features a tilt range of +90 degrees to -75 degrees, a payload range of 2 to 11 pounds, a counterbalance in 10 steps and three vertical and horizontal grades of drag based on Sachtler’s patented damping system. Barbara Jaumann, product manager for Sachtler, notes, “If a video-enabled DSLR is being used for filming, precise panning and tilting are only possible with fluid heads equipped with a corresponding tilt range, and it also requires well-engineered damping.” The fluid head also comes with a special camera plate with a long sliding range and an anti-twist retainer.

The lightweight, compact, easy-to-transport Cine DSLR has a robust metal housing that protects it from exterior influences. Thanks to Sachtler’s lubricated oil damping, shooting is possible in extreme temperature ranges. Additionally, Sachtler’s Speedbalance technology enables a fast and target-oriented counterbalance. Other features include a self-illuminating Touch Bubble.

contact info:  
www.sachtler.com
Camera Duck Braves Elements

International Supplies has introduced the all-weather Camera Duck, which allows photographers and videographers to protect their cameras from harsh weather conditions.

The Camera Duck is essentially a cover that fits around the camera, with openings on both ends, allowing it to fit snugly around the lens while leaving room at the back so users can continue shooting regardless of the weather conditions. The Camera Duck is made with waterproof rip-stop nylon capable of protecting cameras from rain, snow, sand, sun, salt spray and other adverse environmental elements.

Designed to maintain a constant camera temperature, the Camera Duck combats condensation and fogging on the lens. Built-in pockets on the inside of the Camera Duck can hold up to four air-activated heat packs, similar to those used to keep hands and feet warm in extremely cold weather; these non-toxic, odorless, disposable heat packs provide up to 24 hours of gentle heat, keeping the camera warm even in below-freezing temperatures.

“The low-temperature specification on almost all cameras is 32°F, which means cameras fail at or below that temperature,” says Loren Alan, inventor of the Camera Duck. “Camera batteries dramatically lose power in cold temperatures. But when using the heat packs, the Camera Duck protection system surrounds your camera with constant warmth, keeping the camera well above the camera manufacturer’s minimum temperature specifications, at least 20 to 30 degrees warmer than the outside temperature, and ensuring continued optimum performance. When users are no longer shooting, they can use the drawstring cord lock to keep in the warmth.”

Camera Ducks are available in a variety of modes. For photographers, there is the standard Camera Duck, which can be used with SLRs and camcorders, and users can also apply a number of different layers to better suit whatever weather conditions they might encounter. The Downpour Cordura Camera Duck, an outer shell that can be used over the standard Duck, is ideal for heavy rain and cold down to about
-10°F. Additionally, the Polar consists of three layers of protection: a nylon inner shell (the standard Camera Duck), a Thinsulate insulated cover and a Cordura outer shell; the Polar can be used in -30°F temperatures. For videographers, a VEX Broadcast model is specifically designed for Sony’s line of EX video cameras. Unlike the other models, it features five internal pockets to strategically place heat packets for maximum effect. The VEX Broadcast also provides a Polar version, similar to the SLR layered protection system.

The standard Camera Duck weighs only 1.5 ounces; the Polar Thinsulate insulated cover weighs only 4.5 ounces. All Camera Ducks and their additional layers can be folded to conveniently fit into small compartments in backpacks or camera bags.

contact info:  
www.internationalsupplies.com
Tiffen Expands Line

The Tiffen Company has added two diffusion filters to its award-winning optical filter line: Soft/FX Black Pro-Mist and Black Glimmer Diffusion/FX.

The Soft/FX Black Pro-Mist is a combination of the existing Soft/FX filter and Black Pro-Mist filter. The Soft/FX 1⁄2 is maintained throughout with a range of Black Pro-Mist densities, adding an ethereal mood to images. The filter provides a wide range of diffusion while toning down excessive sharpness and creating a soft pastel effect. Additionally, this filter combination reveals more shadow detail and produces a dreamy glow to subjects with enhanced but controlled halation.

The Black Glimmer Diffusion/FX is a unique filter that cannot be reproduced by any combination of diffusion filters. Using the same advanced diffusion filter technology as the Digital Diffusion/FX, this filter is ideal for high-definition cameras and produces enhanced beauty while maintaining the richness of colors and blacks. The filter maintains sharpness and softens detail in a unique manner, brightens all skin tones and adds a mild glow and silky transition to highlights.

These filters are available in 4"x4" and 4"x5.650", with additional motion-picture sizes available upon request. 

contact info:  
www.tiffen.com
Film School in a Box

Filmmaker in a Box is a 10-DVD set offering a comprehensive look behind the scenes of an independent micro-budget feature from prep through post. Built around the independent feature 2 Million Stupid Women, directed by Jamie Neese, Filmmaker in a Box provides more than 17 hours of intensive, candid interviews and much more.

The DVD set is divided into Preproduction, Production and Postproduction sections, which are subdivided into 108 individual modules. Within those sections are detailed segments on subjects such as scripting, financing, casting, contracts, shooting schedule, obtaining permits (or not), and the complete post process, complemented by behind-the-scenes video of production meetings and the actual shoot, as well as interviews with key crew.

Viewers can watch the 10 DVDs in order or use the comprehensive index to access a particular subject. An accompanying CD-ROM contains dozens of documents from the 2 Million Stupid Women production, which can be used as templates for paperwork such as contracts, releases, call sheets and various reports. Additionally, 2 Million Stupid Women is included on its own DVD.

contact info:  
www.filmmakerinabox.com
Practical Effects from Reel EFX

Reel EFX has introduced the RE4 Fan, designed for professional studio, stage and location applications requiring maximum wind at the lowest possible noise level. The RE4 boasts advanced aerodynamics; a 2-horsepower, three-phase motor; and a sophisticated solid-state drive, which combine to create wind in excess of 33 mph at 1 meter. Additionally, a rotary molded housing, composite blade assembly and integrated DMX interface make the RE4 one of the quietest, lightest, most powerful and most versatile special-effects fans available. 

Weighing 49 pounds with a body size of 22"x24", the RE4 can draw up to 18 amps at 117 volts at full power. In addition to local control via a knob on the control panel, the fan’s speed can be adjusted remotely using a DMX lighting console; the RE4’s control panel provides input and pass-through DMX 5-pin XLR connectors.

The RE4 comes with a one-year parts-and-labor warranty. 

contact info:  
www.reelefx.com
VES Debuts Effects Handbook

The Visual Effects Society has released The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures, offering a wealth of information about the art and science of visual effects.

Written by 89 leading visual-effects practitioners and edited by visual-effects supervisor and VES Chair Jeffrey A. Okun and visual-effects producer Susan Zwerman, The VES Handbook covers visual effects from prep through post. The book outlines procedures and solutions all visual-effects artists, producers and supervisors need to know, and is filled with lessons, hard facts, tricks, shortcuts and wisdom garnered throughout the history of visual effects from research, trial and error, and practical experience.

“Finally, a complete manual of best practices and techniques, gathered together in one place to be used as a reference book or a learning book, is available,” says Okun. “The visual-effects industry has long needed such a compendium, and the VES is proud to be offering it.” Zwerman adds, “This book contains the wisdom from the best and brightest in the industry and belongs on the shelf of anyone working in or aspiring to work in visual effects. It covers techniques and solutions all visual-effects artists, producers and supervisors need to know, from preproduction to digital-character creation, and compositing of live-action and CG elements.”

contact info:  
www.visualeffectssociety.com
DaVinci Resolve Enters Mac Platform

Blackmagic Design has introduced DaVinci Resolve 7.0, the latest version of the high-end DI grading system, which is now available on both Mac OS X and Linux platforms.

DaVinci Resolve 7.0 includes a new user interface, which provides quick, simple and intuitive creative control without clutter. Resolve 7.0 for Mac now reads and writes all the common Apple ProRes file formats, including 4444, 422, 422 (HQ), 422 (Proxy) and 422 (LT), directly on the timeline, with no conversion required. Colorists can select the clips in their media storage, and Resolve will play and grade them in real time, even if the timeline contains mixed resolutions and formats. Additionally, both Mac and Linux systems now support read and write of DNxHD files with the optional DaVinci Resolve DNxHD Update, which allows native DNxHD media files to move instantly between Avid and Resolve.

For productions using footage captured with DSLR cameras, Resolve 7.0 supports read and write of H.264 files on Mac and playback on Linux. Colorists can grade directly from DSLR media files in real time. Resolve also supports full playback for native Cineform 2-D and 3-D, and SI-2K files for real-time playback and grading.

Version 7.0 supports Red Rocket cards on both Mac and Linux platforms for native r3d file grading with full-resolution decoding and premium de-bayer all in real time. Colorists can extract r3d reel names from FCP, Adobe or Avid EDLs, grade and render to ProRes, DPX or DNxHD at near-real-time speeds. On Linux, Resolve now supports dual Red Rocket cards in a single computer for stereoscopic 3-D real-time performance with r3d files at full image quality.

Version 7.0 significantly upgrades Resolve’s stereoscopic grading features and includes 3-D features on the Mac platform that previously required multiple Linux CPUs. The system also features a new convergence control tool to let colorists separately program pan adjustments to change the point of convergence on 3-D projects while still making individual eye pan adjustments. Resolves’ 3-D support allows colorists to play back, grade and monitor in 3-D using side-by-side and line-mesh displays. Additionally, the system lets colorists automatically apply grades from one eye to the other, and a new eye-matching tool is included, allowing colorists to compare between eyes with a color or black-and-white difference display, or a new checkerboard view that allows a more accurate comparison in greater detail.

DaVinci Resolve is available now, starting from $995 for the software-only Mac OS X version. Existing DaVinci customers who have an older model DaVinci Resolve or DaVinci Splice will qualify to get version 7.0 software at no charge. Additionally, anyone who has an older DaVinci 2K system can use the control surface they already have and upgrade to DaVinci Resolve by paying only for the Linux license.

contact info:  
www.blackmagic-design.com
SpaceMan Tackles Color Management

Light Illusion has launched SpaceMan ICC, a unique ICC profile-management system that enables film and media industry standard 3-D look-up tables to be converted to computer industry ICC profiles, as well as enabling the editing of existing ICC profiles.

3-D LUTs have become a standard part of any color-critical post workflow, especially where digital-intermediate grading is performed. However, many of the creative tools that are now part of a project’s workflow are not LUT-capable and instead use computer and print industry ICC profiles for color management. SpaceMan ICC software allows creative systems based on ICC color management to display images in an identical way to LUT-based systems. Such compatible color management enables software systems, such as Adobe Photoshop and After Effects, as well as any other ICC-compliant software packages, to be color-accurate when performing work in parallel with mainstream post systems.

“The development of SpaceMan ICC has come from direct market requirements, and the tools and capabilities it delivers will help enhance facilities’ calibration capabilities and accuracy,” says Steve Shaw, CEO of Light Illusion. “SpaceMan ICC can very accurately convert LUTs to ICC profiles, allowing precise control over the final look of all material regardless of the creative systems being used. It doesn’t matter if the workflow pipeline is film source to film deliverable via a Rec 709, P3, XYZ or any other color-space environment, [or if it’s a] video or DCI deliverable — SpaceMan ICC can accurately generate matched ICC profiles from any original calibration or display LUT.”

The ability to generate matched ICC profiles from any LUT also means works in progress can be accurately viewed on non-LUT-based systems, such as a Mac or Windows PC, via images with embedded ICC profiles; this is ideal for remote checking when the end customer can’t be present at the grade.

contact info:  
www.lightillusion.com