Blackmagic Design has introduced two new attention-getting cameras at NAB 2024 in Las Vegas. The flagship URSA Cine 12K LF (large format) has a new full-frame sensor with 16-stop dynamic range, comes with 8TB of built-in storage, and starts at $14,995. It ships with a Canon EF mount, but also accommodates ARRI PL. Blackmagic will also make the URSA available with a 17K sensor, but has yet to share pricing (though it is expected to cost from $20,000 to $25,000). The $2,995 PYXIS 6K cinema box-style camera offers a choice of three lens attachments: EF, PL or L-mount. Continue reading NAB: Blackmagic Unveils Two New Full-Frame Cine Cameras

ETC@USC is hosting its 9th vETC virtual conference at this year’s IBC in Amsterdam, September 15-18. The event — which highlights significant presentations of emerging technologies and their impact on the M&E industry — will explore how generative AI, machine learning, and other compelling new tools help simplify building 3D worlds and tackle today’s computer vision challenges. The sessions will be recorded and posted on ETC’s YouTube channel. For those attending IBC who may be interested in attending the sessions (located in Hall 7 at Booth C28), visit the program guide, which includes a full schedule and speaker bios. Continue reading vETC Coming to IBC 2023: The Path of Sustainable Innovation

ETC@USC will host its 8th vETC virtual conference at SIGGRAPH 2023 in Los Angeles, August 8-10. The event – which highlights significant presentations of emerging technologies and their impact on the M&E industry – will explore how generative AI, machine learning, and other compelling new tools help simplify building 3D worlds and tackle today’s computer vision challenges. Three days of sessions will be recorded and posted on ETC’s YouTube channel. For those attending SIGGRAPH who may be interested in attending the sessions (located at Z by HP Booth 215), visit the program guide, which includes a full schedule and speaker bios. Continue reading ETC Will Host Sessions at SIGGRAPH Conference This Week

The film “Fathead,” produced by the Entertainment Technology Center@USC, continues to garner recognition. Nominated earlier this year for a NAACP Image Award in the Outstanding Short Film (Live Action) category, the film was most recently included in The American Pavilion’s Emerging Filmmaker Showcase at the 76th annual Cannes Film Festival. “Fathead” — directed by c. Craig Patterson and produced by Erik Weaver, ETC’s director of adaptive production — was featured among 38 short films in the Showcase at Cannes and was announced winner in the Student Short Film category. Continue reading ETC’s ‘Fathead’ Receives Honors at the Cannes Film Festival

Netflix has the largest global audience of any paid streaming service and produces the most original content, optimum position to recommend camera specs and photographic best practices. Netflix requires that at least 90 percent of a program’s content be captured using hardware from its “approved camera list,” which currently includes 51 models from seven manufacturers. There are some exceptions, mainly for documentaries. But the care the company takes in vetting the list — with input from creatives, camera manufacturers and global experts — makes the five-year-old tradition respected guidance for video professionals. Continue reading Netflix-Approved Camera List Has Expanded to 51 Models

The Entertainment Technology Center@USC has begun releasing its case study entitled “Fathead: Virtual Production & Beyond.” Section 1 of the four-part white paper is “Cloud Computing: Growth Without Bounds.” “Everything on this production was done in the cloud, minus the shoot on set,” explains ETC@USC head of virtual & adaptive production Erik Weaver, executive producer of the 20-minute “Fathead” film. “We did some very innovative work, ingesting ARRI Alexa RAW to Amazon S3 buckets on the AWS cloud in real time, which had never been done before and I don’t think has been done since.” Continue reading ETC Releases First Section of Virtual Production White Paper

A sold-out crowd celebrated Hollywood’s top technical achievements at the HPA Awards 2022, where FotoKem’s David Cole took top feature film honors in color grading for Warner Bros. Pictures’ “The Batman” and Picture Shop’s Steven Bodner was recognized for the “How Do You Get to Carnegie Hall?” episode of Amazon Prime Video’s “The Marvelous Mrs. Maisel.” Amazon Web Services’ Color in the Cloud was one of four corporate efforts to take home a coveted Engineering Excellence Award. The technology is capable of lossless image quality using JPEG XS over AWS Direct Connect, AWS VPN or the open Internet. Continue reading Innovative Tech, Industry Leaders Celebrated at HPA Awards

The Entertainment Technology Center@USC will host its 6th vETC virtual conference at SIGGRAPH 2022 in Vancouver, British Columbia, August 9-11. During this year’s vETC at the Amazon Web Services booth (1039), speakers will present concepts, workflows, business models and case studies as they apply to virtual production. Many of the companies that worked on ETC’s latest R&D film project, “Fathead” will discuss their discoveries in sessions that will be recorded and posted on ETC’s YouTube channel. The 3-day program with list of speakers and gear to be demonstrated is available on the ETC site. Continue reading vETC to Discuss Virtual Production During SIGGRAPH

Netflix has updated details for approved camera systems as part of its content delivery requirements. “While capturing at a higher resolution is certainly important to image quality, we know it’s not everything,” Netflix camera systems specialist Kris Prygrocki shared, emphasizing that other attributes include dynamic range, color accuracy, noise performance, sensor readout speed, compression, chrome subsampling and bit depth. Other considerations are post-production software support for the recorded file format, proper color management and metadata options, Prygrocki said. Netflix has had camera standards since 2019. Continue reading Netflix Explains Its Camera Requirements and Best Practices

Cloud computing and virtual production were the hot tickets at NAB 2022, where attendance was 52,468, down 40 percent since the previous most recent live show in 2019, when 91,500 convened in Las Vegas. And there were fewer exhibitors (about 900 vs. roughly 1,600 three years ago). But some things never change. Amazon Web Services, ARRI, Blackmagic, Quasar Science and Mo-Sys were among the notable companies touting cloud-based and virtual production solutions. And Sony Electronics wowed the crowd with a sprawling booth that featured its new Venice 2 digital cinema camera. Continue reading Cloud, Virtual Production Power New Workflows at NAB Show

As the Renaissance was a reaction to the Dark Ages that preceded it, so too the entertainment industrial complex finds itself on the brink of a fruitful new era of technological and creative achievement triggered by COVID-19. The need for remote production has encouraged a cross pollination of new tools and techniques that will likely lead to significant change in the next era of media production. Roaring back to an in-person event in Rancho Mirage last week after hosting a virtual summit in 2021, the HPA Tech Retreat 2022 showcased the groundbreaking exchange between content-makers and tech providers. Continue reading HPA Tech Retreat: Bridge Between Creatives and Tech Firms

The Entertainment Technology Center at USC has selected filmmakers Hannah Bang, Margo Sawaya and Sabina Vajrača to receive the 2020 Innovative Technology Award for their virtual production-based project, “The Ripple Effect.” The trio developed the futuristic live-action project with the aim of testing the limits of virtual production. “With Unreal Engine, we can minimize on set crew and provide better controls for talent and staff,” explained executive producer Erik Weaver. “We want to get people back to work while keeping cast and crews safe.” Continue reading ETC and Partners to Pilot Test Virtual Production Capabilities

Netflix launched its Post Technology Alliance logo program last week, with plans to certify post-production products and systems from manufacturers and vendors that meet the streaming service’s technical and content delivery specs. “The Post Technology Alliance will build a more seamless experience from production through post-production,” said Chris Fetner, Netflix director of post partnerships and integrations, noting that certified vendors are “committed to better interoperability and faster innovation cycles.” Adobe, Avid, Blackmagic Design, Canon, Panasonic, RED Digital Cinema and Sony are among those with products already certified. Continue reading Netflix’s New Logo Program Will Certify Post Production Tools

The American Society of Cinematographers announced its ASC ARRI Educational Center to be built behind its historic Hollywood clubhouse and slated to open in 2019, ASC’s centennial as an organization devoted to educating the next generation of cinematographers. ASC president Kees van Oostrum and ARRI Inc. president/chief executive Glenn Kennel symbolically broke ground at the site yesterday, which will house the print/digital publications staff and serve as a hub for its educational activities. Continue reading ASC and ARRI Break Ground on Planned Educational Center

Panavision made its Cine Gear Expo debut of the Millennium DXL2 8K camera, 8K workflow improvements, a customized optics system for specific use with drones and gimbals, four new large-format lenses and a technology demonstration of a major advance in filter technology. The new products, said Panavision chief executive Kim Snyder, are intended to evolve the ecosystem surrounding the Millennium DXL2. “We’re building a bridge between products and processes,” said senior vice president of innovation Michael Cioni. Continue reading Panavision: Lenses for Drones, New Filter Tech, 8K Workflow