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* For Immediate Distribution * Modus FX Creates Surreal Combat Scene for Immortals Dream Sequence Conjures Imagery of Greek Mythology Montreal, Que: Nov. 17, 2011... Montreal-based visual effects studio Modus FX delivered a surreal dream sequence for Immortals, the stereo 3D feature film released in theaters on Nov. 11. The 16-second scene produced by Modus depicts a surreal combat sequence between Theseus (Henry Cavill) and King Hyperion (Mickey Rourke) on a small boat, set on a sea of shields. Other than a live action shot of the actors in the middle of the sequence, the entire scene was created and rendered in CG. “It’s a very artistic piece which aims to capture the iconic imagery of Greek mythology,” explained Martin Pelletier, CG supervisor at Modus. “Developing the sequence was a collaboration between our artists and director Tarsem Singh. For us it was an in-depth process of visualizing and clarifying the director’s imagination.” The Sequence The scene begins when the film’s hero Theseus touches Phaedra – a psychic oracle played by Freida Pinto. In that instant, the camera swoops into Phaedra’s mind for the vision sequence. Red CG petals fall from the sky and we see King Hyperion and Theseus spinning around in combat on the boat. The scene cuts to a wider shot and various fighting poses are discernable in the whirling mass. The audience sees that the boat is sitting on a mass of warriors’ shields, like a Greek phalanx, with the water in the background. For a moment, Hyperion and Theseus freeze and the camera pans down to show a mummy lying on the ground with the petals falling onto it: beauty, transience and death in a single image. As they begin to fight and spin again, the view pulls back to a wider shot. In the background the sea, created by Scanline VFX, swells up into a giant tsunami approaching the shore. Capturing the Imagination as Moving Imagery The imagery is ambitious. At the start of the project in September 2010, Modus FX had several meetings with director Tarsem Singh to map out the shots and the look of the scene. Singh wanted what he referred to as a “clay effect,” with the figures becoming malleable organic forms, blending together as they spin in combat. After the initial meetings, the team at Modus spent four months developing the ideas in a process of exploration and refinement, gradually shaping the final look of the scene. Test shots were sent back to the director for review on a weekly basis. Early on the team had decided the scene would be done in three shots: close up, wide and very wide. Then they began working on the spinning figures – how fast they should rotate and how many poses should appear. Testing was done with Softimage XSI combining textures, including skin, glossy black helmets, a gold mask, blue cloth and brown leather. The textures were tried at different speeds with different motion blurs and shutter speeds. “It took a lot of experimentation, but as we progressed, we started to develop some really interesting ideas,” said Pelletier. “We liked the clay effect, but it still needed something more to look believable.” He explained that the team at Modus then developed a “force field” effect to augment the scene, which had to fit in seamlessly with the overall aesthetic and the other surreal effects of the film. “It worked very well,” said Pelletier. “It shows how important it can be to keep the creative process going right to the end. The effort paid off.” The Sea and the Sky “We wanted the lighting to look magical or even supernatural,” said Pelletier. “We played around with sky colors until we had the right tones and then redid the lighting on the live plates to match the CG lighting. This was an interesting challenge because usually we do the opposite – match the CG to the lighting in the live shots.” The sea of shields was realized much more quickly. “We hit bull’s-eye on the first try with that,” recalled Pelletier. A Company That Solves Problems “Relativity Media saw us as a company that solves problems,” said Yanick Wilisky, visual effects supervisor and co-founder of Modus FX. “It was a very complex sequence, artistically and technically, but we found the way. We solved it for them.” Immortals is a 3D fantasy adventure film directed by Tarsem Singh and starring Henry Cavill, Freida Pinto and Mickey Rourke. It was released in 2D and 3D on Nov. 11 by Universal Pictures and Relativity Media. About Modus FX Since launching in 2007, Modus FX has become an industry leader in high-end feature film visual effects and animation, boasting an international clientele and a talented team of hand-picked artists from around the globe. Led by co-founders Marc Bourbonnais and Yanick Wilisky, Modus has developed a unique approach to creating digital content, combining a cutting-edge production pipeline with personalized on-going project coordination. The studio collaborates with each director through the artistic process, from editorial script and on-set supervision to final delivery. Based just outside Montreal, Modus offers a full scope of services in its modern 12,000-square-foot studio. For more information, visit www.modusfx.com. Press Contact Eric Philpott philpott | communications (905) 773-6651 Boogie Studio Announces Key New Hires
Top Technicolor Creatives Join Growing Boutique House Team
Montreal: Oct. 18, 2011… Montreal-based audio and VFX house, Boogie Studio, announced a spate of new hires and appointments, including new producer/business development manager Patrice Cormier, online assistant/color artist Cristel Bergeron and online editor and visual effects artist Cadie Desmeules-Desbiens, all formerly with Technicolor Montreal’s commercial/VFX division, as well as internationally renowned colorist Gary Chuntz.
“Technicolor decided to cut the commercial/VFX division and go back to its roots in DI,” explained Cormier. “So we spoke with Boogie Studio and discovered we had a perfect fit. Everything was aligned – even the timing was perfect for all parties. They have an exceptional team at Boogie and we’re delighted to be able to join them.”
Patrice Cormier, Producer
Cormier comes to the new position with over 25 years of experience in the visual effects industry. Prior to joining Technicolor, where he served as operations manager and senior producer for the company’s commercial/VFX division, he worked both freelance and for numerous facilities, including MétéoMédia, RDS, Buzz, Autodesk and Technicolor. He was also an instructor at Autodesk and participated in the development of Smoke, the comprehensive postproduction system widely used in commercials work.
Cormier has played a key role in the world of film and advertising postproduction. He is recognized for his organizational skills, business acumen, artistic expertise and encyclopaedic knowledge of postproduction and visual effects.
Cormier explained that some former Technicolor advertising clients will be making the move to Boogie Studio as well. “We’re looking forward to filling the niche that Technicolor left for us. When the announcement was made, I’d already booked sessions for a national campaign for Nissan and we had several clients we’d been working with for years,” said Cormier.
Cadie Desmeules-Desbiens, Online Editor and Visual Effects Artist
A native of the Saguenay, Desmeules-Desbiens studied media arts and technology in Jonquière. After spending the next three years as a journalist for the Grand Journal TQS, she began co-producing live segments and editing reports while diving into postproduction technologies and online editing. She spent four years at Technicolor where she mastered compositing and visual effects on Smoke, Flame, After Effects and Modul8 and worked on the visual effects for films such as Incendie, Les amours imaginaires, Filière 13, Le journal d’Aurélie Laflamme and Gerry pour l’amour de Dieu, as well as TV commercials for Nissan, Rogers, Danone, and many other brands. An artist in her own right, Desmeules-Desbiens is also known for her remarkable VJ performances! Gary Chuntz, Senior Colorist
Gary Chuntz is one of the world’s top commercials colorists and has worked with many of the best facilities, directors and cinematographers in the business.
Chuntz began working in a film lab before starting his digital career in South Africa at Video Lab in 1982. He was senior colorist at The Moving Picture Company in London and at Command Post/Toybox in Toronto. He was a co-founder of Notch, one of Canada’s premiere boutique post houses.
Most recently, Chuntz served as a senior colorist at Technicolor Montreal where he became part of the core commercials team now making the transition to Boogie Studio. Chuntz’ client list is a virtual who’s who of international brands, including Ford, VW, Budweiser, Molson, Canon, Hyundai, Pepsi, and countless others.
“Gary and Patrice and their group are a strong addition to our facility,” said Boogie Studios’ co-founder Benoit Martel. “We are delighted to have them join our team.”
About Boogie Studio
Founded by Benoit Martel, Andres Norambuena and Denis-Éric Pedneault in 2006 as an audio production facility, Boogie Studio expanded in 2010 to offer state-of-the-art visual effects. Boogie Studio’s mission is to provide comprehensive postproduction services for clients in the advertising, interactive and film industries. Along with three fully equipped audio mixing studios and video transfer services, Boogie Studio offers a high-end 2D compositing, 3D production, online editing, color grading and finishing. Boogie Studios has served hundreds of clients including LG2, Sidlee, Ubisoft, Y&R, Rethink Vancouver, KBS+P, DDB Anderson Toronto, Cirque du Soleil, Télé-Québec, TVA Accès and Nurun. Boogie Studio is a privately-held company based in Montreal, Canada. For more information, please visit http://www.boogiestudio.com.
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Press Contact
Eric Philpott
philpott | communications
(905) 773-6651
Modus FX Crafts Subtle CGI for Latest Twilight Film
Facility Delivers Organic Effects for The Twilight Saga: Breaking Dawn - Part I
Montreal, Que: Oct 20, 2011... Montreal-based studio Modus FX recently delivered invisibly integrated visual effect shots for The Twilight Saga: Breaking Dawn - Part 1. The latest installment in the wildly popular romantic vampire series based on the novels by Stephenie Meyer opens in theatres on Nov 18. Incorporating a stylized look as a visual expression of the more-than-human qualities of the characters, the film required seamless CGI and a refined aesthetic. A team of 12 artists at Modus had six weeks to complete 42 shots for the film, which included creating a pregnant belly for lead actress Kristen Stewart, digitally removing a wrist brace she was wearing in another sequence and a variety of subtle cosmetic refinements.
Yanick Wilisky, visual effects supervisor and co-founder of Modus FX, described the challenges of creating organic CG. “We are all so used to seeing organic objects and surfaces. If something is just slightly off, you know it’s fake - even if you can't put your finger on exactly what the problem is.”
Making Stewart look pregnant was one of the tasks assigned to Modus. “They wanted the baby to kick and move inside her belly,” said Wilisky. “We had to match the camera moves, the lighting, even the film grain, along with the subtleties of her skin.”
In fact, according to CG supervisor Martin Pelletier, “The two hardest things to work with in CG are water and skin.”
“For this project, we had to be really quick in terms of turn around,” he explained. “We made use of very complex lighting from the set, adding 3D layers, and a matchmove of her stomach, to make her look pregnant. We took our time at the start to get the recipe right and that paid off in efficiency once we got going. We were soon able to turn around several shots each day.”
"Hand-Crafted" Visual Effects
In one central sequence – the wedding of Bella Swan (Kristen Stewart) and Edward Cullen (Robert Pattinson) – the camera pans around the newlyweds as they embrace. However, due to a minor wrist injury, Stewart was wearing a brace on the day of the shoot. Naturally, the brace had to be removed in post.
“Matchmoving a close-up is a good example of the challenges of organic CG,” said Pelletier. “We started with a CG model of the hand and then carefully crafting the rig to create natural motions. Once we had that, every minute movement of the hand had to be matched exactly.”
The shot, which is over 300 frames, called for extensive camera tracking and object tracking. Lighting artists at Modus rendered the actor's hand with subsurface scattering to capture the partial translucence of skin and make it look believable.
“Tracking was particularly challenging, because when they were shooting it, they weren’t thinking about it as an effects shot. There was no camera metadata for the sequence,” Pelletier explained. “The solution was to do a series of careful manual adjustments until we had correctly replicated the light sources on the set. For work like this, it really takes the eye of a skilled artist to get it right.”
“Bella is moving in the shot as the camera circles around her,” Wilisky added, “She’s holding Edward’s hand, so we needed to recreate parts of his hand, along with some of the background. It was a highly technical and complex shot, but no one will see any of that when they watch the movie.”
The Modus Pipeline
"We have developed a very efficient pipeline for visual effects in live action shots, particularly for aspects such as motion tracking," said Wilisky. Along with in-house proprietary technologies, Modus uses tools such as PFTrack, Mocha Pro and the Nuke 3D package. “The shots we delivered on Twilight are similar to the type of invisible effects work we’ve done in the past on films like The American, Barney’s Version and Jane Eyre. The studios recognize that we have a strong pipeline and that we know how to deliver.”
Directed by Bill Condon, The Twilight Saga: Breaking Dawn - Part 1 will be released Nov 18, 2011 by Summit Entertainment. The film stars Kristen Stewart, Robert Pattinson and Taylor Lautner.
About Modus FX
Since launching in 2007, Modus FX has become an industry leader in high-end feature film visual effects and animation, boasting an international clientele and a talented team of hand-picked artists from around the globe. Led by co-founders Marc Bourbonnais and Yanick Wilisky, Modus has developed a unique approach to creating digital content, combining a cutting-edge production pipeline with personalized on-going project coordination. The studio collaborates with each director through the artistic process, from editorial script and on-set supervision to final delivery. Based just outside Montreal, Modus offers a full scope of services in its modern 12,000-square-foot studio. For more information, visit www.modusfx.com. Press Contact
Eric Philpott
philpott | communications
(905) 773-6651
* For Immediate Distribution *
QubeMaster Xport Delivers Digital Cinema for Fancy Film
Santa Monica Facility Providing DCP Mastering for Doc and Independent Filmmakers
Los Angeles: August 16, 2011 ... Santa Monica-based Fancy Film is using QubeMaster Xport to generate DCI-compliant Digital Cinema Packages (DCPs) for filmmakers. QubeMaster Xport is a plug-in which works within Apple Compressor, simplifying the process of mastering digital cinema content. Thanks to QubeMaster Xport, facilities like Fancy Film are able to provide high quality digital cinema at rates that are affordable for documentary makers and independent film companies.
"We've been getting more and more inquiries about DCP mastering," said Bill Macomber, principal and founder of Fancy Film Post Services. "It used to be that the only people who wanted digital cinema were the big Hollywood films who were releasing to at least 500 or 1,000 screens," he added. "Now we're getting calls from people who want to release on just 10 screens, or even just for one film festival. Those filmmakers need a cost-effective solution."
Bill Macomber started out as a documentary editor in 2000. In 2001 he founded Fancy Film. The facility provides complete postproduction services, including grading, assembly and output, along with editing, and caters to the growing market of independent filmmakers and television production companies.
"We don't compete with the people who edit their movies in their own garage, but there is a lot of demand for finishing to the correct specs for the various distribution formats," said Macomber. "There's no room for error in this business: the deliverables have to work perfectly wherever they are sent."
"Finishing is a very technical task, and you have to stay in close contact with the different networks and distributors, so that you alway know exactly what they need," explained Macomber. "I like the engineering side, so this kind of perfectionism appeals to me."
Most of Fancy Film's clients have been doing their films with the facility for years. "It's about building long-term relationships," noted Macomber. Recent projects include America's Wildest Refuge, Underwater Universe for the History Channel, the documentary Undefeated, as well as Part-Time Fabulous, an independent film, for which Fancy Film did the color grading, laid-off to tape, and the DCP mastering with QubeMaster Xport.
QubeMaster Pro Packager
As the demand for DCPs grows, Fancy Film is now also looking to add QubeMaster Pro Packager, a Windows application which provides quality control, as well as the ability to create alternate versions of a DCP without having to re-encode the whole file. "It will be the last step in our pipeline, said Macomber. "Along with QC, Packager allows us to offer encryption, as well as the ability to add new soundtracks and subtitle options. It's a complete DCP workflow."
"The Qube software is rock solid and the algorithm they use to generate JPEG 2000s is very powerful," commented Macomber. "We're very happy with the output from QubeMaster Xport and our customers have been delighted."
"The world of theatrical distribution will evolve radically over the next few years," said Eric Bergez, Qube Cinema director of sales & marketing for the Americas. "Qube is helping to drive the change by making digital cinema a lot simpler for everyone."
QubeMaster Xport runs on Mac OS X and is Lion compatible. QubeMaster Xport requires Compressor 3.5, part of the Final Cut Pro Suite, or Compressor 4, which is available as a stand-alone application. For more information visit http://www.qubecinema.com/products/xport.
Information about the QubeMaster Pro Packager application is available at http://www.qubecinema.com/products/QubeMasterPro_Packager.
About Fancy Film
Founded in 2001, Fancy Film Post Services is a one-stop shop for film, documentary, and television postproduction services, specializing in online finishing, HD and 2K video. Fancy Film provides editing, color grading, assembly and output. Fancy Film is a privately-held company based in Santa Monica, California. Visit www.fancyfilm.com.
About Qube Cinema, Inc.
Qube Cinema, based in North Hollywood, CA, is an international manufacturer of Digital Cinema technology and mastering solutions. A subsidiary of Real Image Media Technologies, Qube Cinema draws on decades of experience in cinema and holds a leadership position in the transition from analog to digital technology. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with DCI-compliant products that are flexible, reliable and highly cost-effective. Qube Cinema's product lines include the Qube XP-D and Qube XP-E servers, QubeMaster software solutions, Qube Keysmith KDM generation, and the new Qube Xi Integrated Media Block. For more information, visit www.qubecinema.com.
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Apple, Final Cut Studio and Final Cut Pro are trademarks of Apple Inc. Windows is a registered trademark of Microsoft Corporation in the United States and other countries. Other company and product names may be trademarks of their respective owners.
Press Contact
Eric Philpott
philpott | communications
(905) 773-6651
This press release is available online at http://www.philpott.ca/category/news. FOR IMMEDIATE RELEASE
CONTACT: Jenn Heinold, Show Director Hosted Payload Summit 301-354-1813 jheinold@accessintel.com Producers of SATELLITE Conference and Exhibition to Launch Hosted Payload Summit Rockville, MD – June 28, 2011 – The producers of the SATELLITE Conference and Exhibition are pleased to announce the launch of the Hosted Payload Summit on October 4, 2011 at the Grand Hyatt Washington in Washington D.C. The Hosted Payload Summit will feature a one day program focused on the opportunities and challenges of hosted payloads. Hundreds of satellite professionals will gather at the Hosted Payload Summit to take an in-depth look at the business case, policies and challenges surrounding hosted payloads, including government/military requirements, involvement in the scientific research and enterprise communities, risk and cost analysis, and a look to the future for hosted payloads. “There are questions and concerns surrounding hosted payloads, and we aim to shed light on the answers by bringing together the subject matter experts, the satellite operators and launch providers, and the end-users who can benefit from hosted payloads into one room to facilitate conversation and move the discussion forward,” said Jeffery Hill, News Editor for SatelliteTODAY.com. The Hosted Payload Summit program will features sessions such as:
“The Hosted Payload session at the SATELLITE Conference and Exhibition was such a success, it proved there was a need in the market to expand on the subject, and provide the satellite community with an entire day focused solely on the opportunities of hosted payloads,” said Jenn Heinold, show director of the SATELLITE Conference and Exhibition. “We are pleased to be able to capitalize on the resources we have at hand and bring this Summit to fruition.” The Hosted Payload Summit will also feature a keynote luncheon and conclude with a cocktail reception. To view the complete Summit program, visit www.HostedPayloadSummit.com. The Hosted Payload Summit will be held October 4 at the Grand Hyatt Washington located at 1000 H Street NW, Washington, D.C. 20001. For more information or to register, visit www.HostedPayloadSummit.com. About the Hosted Payload Summit * For Immediate Distribution *
Modus FX Puts the Fright into F.3.A.R.
Crafting Cinematics for Third Instalment of Popular Gaming Franchise
Montreal, Que: June 21, 2011... The Cinematics Division at Modus FX teamed up with Digital Dimension recently to create 20 minutes of spine-tingling cinematics for F.3.A.R. - the third instalment of the popular game from Warner Bros. Interactive, which was released today. Developed by Day 1 Studios, the game was directed by Rocky Newton with the participation of acclaimed horror filmmaker John Carpenter. Working closely together with Digital Dimension, the primary vendor on the project, Modus created the looks and delivered evocative filmic imagery for 20 story segments, comprising a total of 189 shots.
"F.3.A.R. is a first-person shooter set in a very creepy environment. It's like playing a game within a horror movie," explained Martin Pelletier, VFX supervisor at Modus. "We were given a lot of freedom on this project to create the mood for the cinematics, as well as adding gory detail!"
Work on F.3.A.R. involved a pipeline spanning two facilities and paired Modus' Pelletier with Jean-François Ferland, artistic director at Digital Dimension. Along with look development, Modus provided lighting, simulations, and compositing. Digital Dimension created the layout, matte painting, camera work and character animation. The project lasted 6 months and involved 49 Modus FX artists and technicians.
The Look of F.3.A.R
Cinematics for the game began as basic storyboards, which Digital Dimension used to plan out each scene. Modus was then given low-resolution graphics derived from the game for each segment. Look development artists at Modus selected representative shots. They were then asked to explore ideas with those images to see how they might be evolved for the more detailed, narrative-driven graphics needed for cinematic sequences.
"Cinematics give the games their narrative drive and enrich the overall experience," explained Pelletier. "If you can make that imagery really compelling, you add a lot of depth to the game, especially for a more story-driven one like F.3.A.R. We asked ourselves how we could bring these scenes to life visually, what effects we could add that enhance the spooky and gory atmosphere. It became a very creative and collaborative process with Digital Dimension."
Once the look development team had ideas they liked, Modus assembled master shots and presented them to the client for approval. "They loved what we brought them and those shots became our references for the rest of the project," said Pelletier.
For much of the work, Modus applied shading and lighting to existing models, but the primary characters in the game, Fettel and Pointman, needed to be enhanced in order to provide the necessary detail for close-up shots. Along with the game's characters, Modus enriched the environments and added effects, including explosions, fire, smoke, fog and, of course, lots of blood.
"One of our favourite segments is the scene at Port Authority - one of the levels in the game," laughed Pelletier. "In this scene, a character becomes possessed. We can't give the story away, but let's just say there is a lot of splatter! We had fun designing those shots."
From the Cinema to Game Cinematics
There is a big difference between first-person shooter video game imagery and the composition of cinematics. In the game, the environment is like a playground - the imagery is focused on the interactive experience of the gamers as they pursue their objectives. Cinematics introduce narrative and dramatic elements - here the creepy environment has a different function: storytelling.
In support of this, Modus made extensive use of filmmaking techniques, such as rack focusing and de-focusing. Playing with the depth of field in this way enhances the eeriness of the shots and draws the viewer's attention to different story elements. The facility used a range of effects, such as rolling fog, both to accentuate the three-dimensional feel of the space and to highlight or obscure different parts of the canvas.
"Our core expertise in film was a big help on this project," said Yanick Wilisky, VP of production and co-founder of Modus FX. "Much of our feature film work is on 'invisible' VFX, so we have a lot of experience applying digital enhancements to live-action photography. Our cinematics team put that to full use on F.3.A.R."
"You make discoveries when you move across genres like this," added Pelletier. "Video games have a more immediate, 'in-your-face' visual style. I think we can learn from that in film. At the same time, we have developed very refined approaches to CG environments and effects elements, which can serve the gaming world very well."
"We learned a few technical things, too" reflected Pelletier. "You don't need to push the geometry as far as we thought. You can get excellent results from lower resolution models, even for the big screen. We're constantly enhancing our efficiency at Modus and what we learned on F.3.A.R. will directly benefit our other clients and our ability to deliver high quality results quickly."
F.3.A.R. is the second project for which Modus and Digital Dimension have teamed up. Recently the two facilities collaborated on the cinematics for Lord of the Rings: Aragorn's Quest. Cinematics for F.3.A.R. were scripted by Steve Niles and directed by Rocky Newton, with John Carpenter as consultant. F.3.A.R. was released by Warner Bros. Interactive on June 21. For more information on this project or other work completed by Modus FX, visit www.modusfx.com.
About Modus FX
Since launching in 2007, Modus FX has become an industry leader in high-end feature film visual effects and animation, boasting an international clientele and a talented team of hand-picked artists from around the globe. Led by co-founders Marc Bourbonnais and Yanick Wilisky, Modus has developed a unique approach to creating digital content, combining a cutting-edge production pipeline with personalized on-going project coordination. The studio collaborates with each director through the artistic process, from editorial script and on-set supervision to final delivery. Based just outside Montreal, Modus offers a full scope of services in its modern 12,000-square-foot studio. For more information, visit www.modusfx.com.
Press Contact
Eric Philpott
philpott | communications
(905) 773-6651
This press release is available online at http://www.philpott.ca/category/news. PRESS RELEASE
* For Immediate Distribution *
Qube Xi 4K IMB Spurred by Demand for Boothless Designs
A Smart New Alternative for Digital Screens from Qube Cinema
See Qube at CineEurope 2011, Booth #400
Amsterdam: June 30, 2011… Qube Cinema has seen significant interest in the new Qube Xi 4K Integrated Media Block. Along with true 4K capabilities, the Qube IMB allows for innovative new theatre layouts, including boothless projection designs. Escape Cinemas recently launched a luxurious new 8-screen booth-less multiplex in Chennai, India and placed an order for the Qube Xi IMB to upgrade their screens to 4K. Numerous chains planning new construction or renovations have also committed to boothless designs thanks to to the flexibility and space efficiencies this offers.
"Escape Cinemas promises a premiere experience to its customers and our philosophy has always been to spare no expense in making sure they get that," said Kiran Reddy, managing director at Escape Cinemas. "The Qube Xi Integrated Media Block excites us greatly because of its support for 4K and high frame-rate 3D. All of our screens will shortly be upgraded to 4K and we will adopt high frame-rate 3D as soon as that is available."
Growth in Europe
Qube technologies continues to garner interest in European markets, with Qube Cinema and Arts Alliance Media recently agreeing to work as partners in the UK and Ireland. Qube also expects to conclude its verbal agreement to be included as a server supplier within days.
Rich Phillips, VP of engineering for AAM said: "We have been following Qube's progress closely and testing their technology for some time. Qube is an industry innovator and we are excited about their next generation technologies and the benefits that they can bring to our clients."
Qube Xi 4K IMB
The new Qube Xi 4K will work with any digital projection system that supports an Integrated Media Block. Rather than using a PCI Express extension cable, the Qube Xi 4K is Ethernet-based, ensuring that there are no limitations of distance between the projector and the server, as well as eliminating any potential shielding problems.
"The Qube Xi 4K opens up a whole new world of possibilities for theater design," said Nigel Dennis, director of sales and marketing for Qube Cinema in Europe. Attractive, space-saving boothless projection is now a practical possibility, as is the option of using secure centralized storage locations."
The Qube Xi 4K IMB support HD, 2K, 4K and stereoscopic 3D content in a wide variety of DCI-compliant formats.
Qube at CineEurope
Visitors to CineEurope can see the new Qube Xi 4K IMB, as well as the Qube XP-D Series 2 digital cinema server, at the Qube Cinema, booth #400, June 28-30 at the RAI convention center in Amsterdam.
About Qube Cinema, Inc.
Qube Cinema, based in North Hollywood, CA, is an international manufacturer of digital cinema technology and mastering solutions. A subsidiary of Real Image Media Technologies, Qube Cinema draws on decades of experience in cinema and holds a leadership position in the transition from analog to digital technology. The company is committed to creating a seamless digital cinema environment for exhibitors, filmmakers and postproduction companies with DCI-compliant products that are flexible, reliable and highly cost-effective. Qube Cinema’s product lines include the Qube XP-D and Qube XP-E servers, QubeMaster software solutions, Qube Keysmith KDM generation, the Qube Xi Integrated Media Block, and the new QubeShare centralized cinema storage.
For more information, visit Qube Cinema at www.qubecinema.com.
Press Contact:
Eric Philpott
philpott | communications
(905) 773-6651
This press release is available online at http://www.philpott.ca/category/news.
YoYo Saves the Dailies
Postproduction Workflow Software Suite Comes to NAB
London: March 18, 2011… YoYotta will be showing the latest version of the YoYo postproduction workflow system at NAB 2011 in Las Vegas, April 11-14. Deployed around the world at top commercial post houses, including Framestore, The Mill, Smoke & Mirrors, Glassworks and many others, the YoYo software suite streamlines and automates file-based data management. This year YoYotta is introducing YoDailies, a new system for creating review reels. Visitors to NAB this year can see YoYo at the Cintel booth (SL1716), including a demo of YoYo archiving material and metadata directly to LTO5 utilising the open LTFS standard.
The versatile YoYo platform allows users to search for material, transcode and standardize multi-format projects and ensure that all required metadata is retained for online processes. YoYo can resize, colour manage and prepare material for deliverables without tying up expensive online suites. YoYo also allows offline and online comparisons with multiple wipes and mixes ensuring conforms are accurate, making it a workhorse system at facilities all over the world.
YoYo can ingest from tape and film and import file-based content including Alexa ARRIRAW, ProRes, RED R3D, DSLR Raw and H.264 formats. YoYo also outputs file and tape deliverables at the end of the creative process.
Introducing YoDailies
YoDailies is a new system for generating dailies with timecode burn-ins and audio syncing for multiple deliverable formats. YoDailies works with digitally acquired source material, as well as scanned film footage. The new application is designed for use both on set and during postproduction.
“YoYo offers comprehensive postproduction workflow system,” said Adam Welsh, sales director at YoYotta. “Instead of mixing and matching tools, or investing in expensive dedicated transcoding hardware, facilities are increasingly going for the efficiency and economy of the YoYo software.”
YoYo runs on Mac OSX. Along with the new YoDailies, the full suite includes 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. YoYo is available from YoYotta at www.yoyotta.com, or as part of the Pandora Revolution Express colour grading system.
YoYo at the Cintel booth (SL1716) at NAB at the Las Vegas Convention Center, April 11-14. Please contact Adam Welsh, adam@yoyotta.com to schedule an appointment.
About YoYotta
Founded by Martin Greenwood in 2006, YoYotta has created a cost-effective workflow management system for postproduction. YoYo gives post houses the ability to manage their data and video workflows, freeing up talent and expensive infrastructure for creative work. YoYotta is a privately held company based in London. For more information, visit http://www.yoyotta.com
Press Contact
Eric Philpott
philpott | communications
(905) 773-6651
* For Immediate Distribution *
Qube Cinema to Introduce Qube Xi 4K Integrated Media Block at CinemaCon
Realizing the Potential of Digital Technologies for Theater Owners
CinemaCon 2011, Booth #407A
Las Vegas, NV: March 24, 2011 … Visitors to CinemaCon will have a first-hand look at the future of digital exhibition with the new Qube Xi 4K Integrated Media Block. Qube Cinema designed the new Qube Xi 4K as a high-speed redundant Gigabit Ethernet-based system, which will allow exhibitors to place their storage servers anywhere within, or even outside, the theater complex. Besides saving valuable square footage, Qube’s new system will allow for whole new theater designs, making boothless projection a practical reality.
The Qube Xi 4K is designed to work with any digital projection systems that support an IMB. The Qube Xi 4K uses redundant Gigabit Ethernet to connect to the server, decrypting and decoding content in real time. With this system, all of the exhibitor’s server storage can be located in a secured central room. The Qube Xi 4K technology overcomes the significant restrictions of PCI Express-based IMBs, so there are no practical limitations of distance and no potential shielding issues.
“Instead of loading up projection rooms with more and more complicated electronics, we are streamlining and simplifying the setup,” said Rajesh Ramachandran, CTO of Qube Cinema. “Exhibitors have much more flexibility in how they use their space and how they manage their operations. The Qube Xi 4K is the smart way to do Digital Cinema.”
The new Qube Cinema system also opens the door to powerful centralized storage options. “This is where theater owners can start realizing the benefits of Digital Cinema instead of just the hassles,” explained Ramachandran. “With a QubeShare central cinema storage solution, exhibitors will be able to change content on the fly, such as adding a new theater when ticket sales for a film exceed expectations, or moving a showing to a different screen.”
The Qube Xi 4K supports HD, 2K, 4K, and stereoscopic 3D content in a wide variety of DCI-compliant formats.
Qube Cinema will introduce the Qube Xi 4K at CinemaCon, March 28-31 in Las Vegas, at Caesar's Palace, Booth #407A.
About Qube Cinema, Inc.
Qube Cinema, based in North Hollywood, CA, is an international manufacturer of Digital Cinema technology and mastering solutions. A subsidiary of Real Image Media Technologies, Qube Cinema draws on decades of experience in cinema and a leadership position in the transition from analog to digital technology. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with DCI-compliant products that are flexible, reliable and highly cost-effective. Qube Cinema’s product lines include the Qube XP-D and Qube XP-E servers, QubeMaster software solutions, Qube Keysmith KDM generation, and the new Qube Xi Integrated Media Block.
For more information, visit Qube Cinema at www.qubecinema.com.
Press Contact:
Eric Philpott
philpott | communications
(905) 773-6651
249 S. Hwy 101
Solana Beach, CA 92075 grip@cox.net 760 943-8671 Acme Lighting & Grip is pleased to introduce the KOMET PIPE LIGHT The PIPE LIGHT is designed for use in situations where a large amount of light is required is a short amount of time. Lightweight and totally self contained the PIPE LIGHT is simple to use and sets up in seconds. With 9 hours of battery life powering the K6500 CREE LEDs for up to 3600 lumens. Designed for EFP and ENG professionals for and off camera full adjustable daylight source. The powerful par LED (8 degree beam) also includes and wide lens (120 degree beam) and four way barn doors. The PIPE LIGHT is perfect for remote documentary productions. Deploys in 20 seconds, 3600 Lumens, K6500, Weather proof, 17 lbs, Up to 8’ height, 3 Power levels, 2.5 to 9 hours operating time Four Way Barn Door Wide Lens 4 Gel Frames Car Power Adapter Physical Characteristics · Nylon 66 Body with T6 Aluminum Head · Dimensions Folded – Cylindrical Length: 32” (810mm) Diameter: 4.5” (115mm) · Weight 17 lbs/17kg · Base The tips of the legs fit within a 41” (104mm) diameter base · All Weather 14 F (-10) to 300 F (149 C) Operating temperature Electrical Characteristics · Maximum light intensity 500 foot candles @ 6’ (1.8 meters) 3,600 Lumens · Kelvin 6500K · Rechargeable Lithium Ion Batteries 200WH · 75 Watt Power Consumption (maximum intensity) · 3 Operational Modes Low, Medium & High · Operating Time- 2.5 hours to 9 hour, depending on selected intensity · Time to Recharge Approximately 8 hours A lighted strip adjacent to the ON button indicates battery condition · International power supply & charger included Optional solar charger available
* For Immediate Distribution *
Pandora PSI Supercharging the Workflow at Deluxe142
Digitising the Netherlands' Film Heritage
London: February 10, 2011... Pandora PSI, together with YoYotta's YoYo software, is playing a key role in a new four-year archiving project at London's Deluxe142 for the Dutch Institute for Sound and Vision - creating a comprehensive digital record of the Netherlands' film heritage. Psi is a hardware interface add-on for Spirit Classic DataCine that allows for faster-than-real-time 2K scanning, more than tripling the Spirit Classic's speed. The YoYo software suite manages the data workflow, including file format conversions. The result is that Deluxe142 will be able to digitize 8,000 hours of high-quality HD content efficiently and cost effectively.
We spoke with Matthew Amos, chief engineer at Deluxe142, from his offices in London about the job.
Q: It sounds like a very large project! Tell us about it.
Matthew Amos: The project is an HD archive project for the Dutch Institute for Sound and Vision. We are scanning their library of 16mm film to HD data as part of their "Images for the Future" project. This means preserving, digitising and archiving what is, in essence, the audiovisual heritage of the Netherlands. Their ultimate goal, of course, is to make this material available to the public and for future generations.
Q: You have 8,000 hours of footage and a four-year schedule. How did you design a system that could handle this workload?
Amos: We had a dedicated team of about 10 people working on the design and testing phases of the scanning and data capture process for about six months. We have also had a team of film preparation specialists at our Deluxe Soho Lab examining samples of the content to work out how best to treat and prepare the film prior to scanning.
Q: What made you decide to use YoYo and PSI on this project?
Amos: When first saw what the YoYo-PSI tandem could do, we were attracted to the possibility of speeding up some of our existing postproduction film workflows. When Sound and Vision approached us, we realised that PSI and YoYo would be a perfect fit with what they needed done.
At that time, we were also looking at some more traditional scanning technologies and trying to find ways of speeding them up or scaling them to do more, but it soon became clear that we could get the speed we needed with one PSI/YoYo combination.
Q. Describe your workflow.
Amos: To start, the film is received, inspected, repaired and cleaned for scanning at our Deluxe Soho Lab. We create lots of XML metadata about each asset throughout the prep stage. Then the film is moved to Deluxe142 in Wardour street and scanned by our scanning team based on the XML created at the film lab. The pictures, comopt, commag or sepmag sound are scanned in sync.
Q. What formats are you scanning to?
Amos: We create 1440x1080 HD data as uncompressed DPX files in real time together with 2- or 4-track, 24bit BWavs. Monochrome film is recorded as single channel DPX files to save archive storage space. We record numerous data fields in both the DPX and BWav files as well as XML data for the Workflow Manager. The scans then go through an audiovisual QC step on a separate workstation also on the SAN.
For each picture element, we return a DPX sequence, in-sync sound and XML data to Sound and Vision on LTO4 tapes. Our Workflow Management software performs QC processes on the data, and then packages the files to LTO4 tape automatically.
Q. Do you always use PSI and YoYo in tandem, or do you use the YoYo software on its own in any parts of your workflow?
Amos: We have two YoYos. One is attached to the PSI to manage the scanning data, and the other one is used for quality control of the scans. Both are attached to the SAN.
Q: It sounds like a massive undertaking. What have the biggest challenges been?
Amos: We create a vast amount of XML data for each of the Sound and Visions assets from our film preparation stage right through scanning, QC, to the writing of the LTO4 tape. We soon realised we needed to design and build a software-based workflow management tool to enable us to maintain a 100% consistent process over the four years of the project.
Q. How have PSI and YoYo helped you with this?
MA: The PSI has enabled us to combine the picture quality of a DFT Spirit telecine machine with real-time uncompressed DPX data capture. And with the YoYo we can record pictures and sound simultaneously. It can record 1440x1080 DPX RGB and single channel files. It's tremendously efficient!
This is a demanding project and we've had to make feature requests. YoYotta was incredibly fast with updates, which made implementing the system very easy for us.
I'm not sure how we would be getting on now if we hadn't opted for a YoYo-PSI combination for this project. It is an amazing device; we have already placed an order for a second system.
Q. Thank you, Matthew. Good luck with the project!
Deluxe142 (formerly Ascent142) is a based in London's Soho district and provides postproduction services for film and broadcast clients.
PSI is a hardware Interface from Pandora that plugs directly into the data path of a Spirit Classic to capture the full-frame 2k (2048 x 1556) DPX data in real time. PSI is available from Pandora or through Pandora's world-wide reseller network.
YoYo is a software suite runs on Mac OS X and provides comprehensive data workflow management. YoYo is available from YoYotta at www.yoyotta.com, or as part of the Pandora Revolution Express colour grading system.
Visitors to BVE Expo in London, Feb. 15-17, 2011, can see YoYo in action at the stand L.52 (Big Pic Media).
YoYo will also be at NAB, at booth# SL1716 (Cintel) at the Las Vegas Convention Center, April 11-14. For more information, please contact Adam Welsh at +44 1279 758285 or adam@bigpicmedia.net
About Pandora
Pandora International Limited is a pioneer in the design and manufacture of creative colour correctors for the worldwide postproduction industry. The Revolution is Pandora's non-linear, resolution-independent, software colour corrector - the fastest on the market always working in real time regardless of resolution, number of layers or complexity of grade. Pandora has been established for over 20 years and is dedicated to creating technologies crafted from the wish list of the artist. Pandora is a privately held company based in London. For more information, visit http://www.pandora-int.com/
About YoYotta
Founded by Martin Greenwood in 2006, YoYotta has created a cost-effective workflow management system for postproduction. YoYo gives post houses the ability to manage their data and video workflows, freeing up talent and expensive infrastructure for creative work. YoYotta is a privately held company based in London. For more information, visit http://www.yoyotta.com
Press Contact:
Eric Philpott
philpott | communications
(905) 773-6651
For Immediate Distribution *
Modus FX Integrates Seamless Effects for Jane Eyre
Using CGI to Help Realize Classic Victorian Romance
Montreal, Que: March 11, 2011... Montreal's Modus FX provided 47 visual effects shots for Cary Joji Fukunaga’s retelling of Charlotte Bronte’s classic novel Jane Eyre. Set in the mid-19th century English countryside, the CG for this visually rich adaptation had to be invisible and blend seamlessly. Along with removing the trappings of modern life from a number of shots, such as overhead wires or telephone poles, the team at Modus changed the season in which several sequences are set. The most complex part of the project called for a digitally altered environment to create the burned-out ruins of Thornfield Castle.
Jane Eyre is the story of an orphaned girl whose strength of character has inspired readers since its publication in 1847. There have been numerous film and TV versions of the novel, but the new film, written by Moira Buffini, emphasizes the gothic aspects of the book and re-orders the narrative sequence, creating greater dramatic immediacy for modern audiences.
“Atmosphere is everything for a film like this, so our work had to support the mood of the story and the scenic locations,” said Yanick Wilisky, VP of production and VFX supervisor at Modus. “The film uses a soft palette and natural light to capture the feeling of a world before the age of electricity, so our visual effects had to be entirely invisible.”
Initially, Modus was hired on this project to alter the appearance of a run-down country manor so that it would show the aftermath of the fire at Thornfield Castle, a pivotal moment in the story. “Focus Features came to us shortly after we had completed work on The American last summer,” explained Wilisky. “Everyone understood that transforming the castle was going to present challenges. They had a tight timeline, but they knew we could do it.”
Shooting on Jane Eyre had already wrapped up when Modus came on to the project. “There was no CG model of the castle. We just had the footage to work with, and because the camera was moving in every shot, we had to use motion-tracking techniques to build our own environment.”
Modus used Science.D.Visions’ 3DEqualizer to generate a point cloud based on the footage. “From that data we were able to remodel the surface of the castle so that we could re-texture the walls,” said Wilisky.
The most difficult shots in the castle sequence were those which included the lace hat worn by actress Mia Wasikowska. The blackened walls of the castle had to show through countless perforations in the hat as the actress moves through the shots. “The castle model had to track exactly on the plate, or the audience would have been able to see the textures moving on the wall,” explained Jacinthe Cote, Modus’ production director. “These shots required a lot of rotoscoping, and then frame-by-frame work with a mix of keying and painting to make everything fit perfectly.”
As the postproduction progressed, Modus’ work on the project expanded. In one sequence shot in late autumn, the season was changed to look like early summer. “The trees were bare, so we had to add CG leaves and a gentle breeze,” said Cote. “The challenge was to match the colors so that everything looked real and fit in imperceptibly with the live action.”
Cote explained that the team collaborated with director Cary Fukunaga from his production offices in London via cineSync – a review and approval system. “We’re used to working with clients from who are based elsewhere and we always work with cineSync. It really is an excellent communication tool for long-distance collaboration,” said Cote.
“Cary has a great eye and he is one of these directors who really understands visual effects in a way that he can talk to us in very technical terms,” said Wilisky. “That was a real asset on this project. It was like working with a visual effects artist.”
A Focus Features Release, Jane Eyre opens March 11. Mia Wasikowska (Alice in Wonderland) and Michael Fassbender (Inglourious Basterds) star in the iconic lead roles of the romantic drama.
About Modus FX
Since launching in 2007, Modus FX has become an industry leader in high-end feature film visual effects, boasting an international clientele and a talented team of hand-picked artists from around the globe. Led by co-founders Marc Bourbonnais and Yanick Wilisky, Modus has developed a unique approach to creating digital effects, combining a cutting-edge production pipeline with personalized ongoing project coordination. The studio collaborates with each director through the artistic process, from editorial script and on-set supervision to final delivery. Based just outside Montreal, Modus offers a full scope of services in its modern 12,000-square-foot studio. For more information, visit www.modusfx.com.
Press Contact:
Eric Philpott
philpott | communications
(905) 773-6651
This press release is available online at http://www.philpott.ca/category/news.
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