Gavin Barclay Joins Bling Digital

Posted by on May 23, 2013

Former “Suits”/”Covert Affairs” Co-Producer to oversee expansion of on-set/near-set post-production services.

Los Angeles—SIM Digital has appointed veteran television producer Gavin Barclay as Vice President of its Bling Digital unit. Barclay, whose television credits include such shows as Suits, Covert Affairs, Nip/Tuck and Knight Rider, will oversee the expansion of Bling’s on-set and near-set post-production services, which include solutions for dailies processing, color grading, offline Avid rentals, online editorial and other operations. He will have both operational and client services responsibilities.

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Today in Art | SIM Digital News

Codex to Show Vault 2 at Cine Gear in Hollywood

Posted by on May 22, 2013

The new Codex/ARRI internal recording module for Alexa will also be on view.

London, UK – 22 May 2013Codex will demonstrate Vault 2, the latest iteration of its industry-leading line of location-based media management environments, at Cine Gear Expo, May 31 through June 2 in Hollywood. The Vault, which has been used on a number of recent feature productions including Marvel’s blockbuster Iron Man 3, now supports Sony’s F5 and F55 cameras. It also includes support for REDMAGs used by RED Epic and Scarlet cameras.

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Today in Art | Codex News

MTI Film Partners with LumaForge to Provide Dailies Solutions to Film and TV Productions

Posted by on Nov 13, 2012

On-set/near-set dailies solution demonstrated at Collaborative Workflow event.

HOLLYWOOD—November 13, 2012—MTI Film has formed a reseller partnership with LumaForge, a Southern California-based value added reseller and systems integrator, to represent its new Cortex family of dailies and transcoding software, as well as its Correct DRS™ restoration solutions. A specialist in collaborative workflows, LumaForge will supply MTI Film’s Cortex::Control Dailies products to film and television productions seeking fast, simple and cost effective solutions for processing dailies on-set or near-set.

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Today in Art | MTI Film News

AbelCine Adds Codex Onboard S to Support Canon C500 and ARRI Alexa

Posted by on Nov 13, 2012

London, England –  AbelCine, one of the largest suppliers of cameras and camera accessories in the United States, has boosted its digital cinema resources through the purchase of multiple Codex Onboard S camera recorders. AbelCine purchased the recorders to support productions using the new Canon Cinema EOS C500 cinema camera, the Arri Alexa camera and other digital cameras that generate high resolution raw data.

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Today in Art | Codex News

MTI Film Releases Cortex

Posted by on Nov 8, 2012

New family of on-set/near-set dailies solutions supports all camera systems and features tools for playback, color, synchronization, metadata and transcoding.

HOLLYWOOD— MTI Film (http://www.mtifilm.com) announces the release of its groundbreaking Cortex line of software-based dailies solutions. Developed from the ground up to support today’s file-based production workflows, Cortex provides an all-in-one solution for digital media management with simple but powerful tools for playback, color, audio synchronization, metadata management and transcoding.

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Today in Art | MTI Film News

“CUBAN FURY” STREAMLINES ON-SET WORKFLOW WITH CODEX’S THE VAULT

Posted by on Oct 25, 2012

StudioCanal comedy is one of the first film productions to use new standalone workflow solution.

London, England – The move to digital acquisition has transformed many film and television sets into something akin to the control center for a moon launch as they have taken on a hoard of high-tech equipment for capturing, storing, processing and backing-up digital camera data. Not so with Cuban Fury, StudioCanal’s new romantic comedy, which was among the first film productions to use The Vault, Codex’s new on-set digital laboratory solution that reduces the technology required to manage camera data to a single box the size of a small suitcase.

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Today in Art | Codex News

MTI Film Demonstrates Cortex::Control Dailies at BIRTV

Posted by on Oct 22, 2012

On-set/near-set dailies solution, slated for release in November, shown as part of an end-to-end workflow.

HOLLYWOOD— MTI Film recently unveiled a beta version of its new on-set/near-set dailies solution Cortex::Control Dailies at BIRTV, China’s largest trade show for the film and television industry. Cortex::Control Dailies was featured in a live demonstration of an end-to-end digital cinema workflow conducted by Jebsen Industrial, a leading supplier of production and post-production technologies to Asian markets. MTI Film plans to release Cortex::Control Dailies worldwide in November.

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Today in Art | MTI Film News

FilmLight Links with Italian Technology Reseller Blutek

Posted by on Oct 22, 2012

LONDON—FilmLight, a leading manufacturer of colour grading, colour management and film scanning systems for film and television production, has forged a strategic alliance with Rome-based technology reseller Blutek to represent its product line in Italy.

Blutek will provide sales support in Rome and throughout Italy for FilmLight’s full product line, including its Baselight colour grading system, Blackboard control surface, FLIP real-time onset image processor, FLUX data management platform and Baselight Editions software. FilmLight will continue to handle marketing, service and support.

For more information, contact Antonello Di Vincenzo.

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Today in Art | FilmLight News

Codex Powers ARRIRAW Workflow for French/Italian Thriller “The Lookout”

Posted by on Sep 19, 2012

London, UK –  The Lookout (Le Guetteur), the new French-language crime thriller from Italian director Michele Placido (Crime Novel, Angel of Death) is a riveting tale of bank robbers, a sniper and hard-nosed cops that plays out in the meanest streets of Paris—it’s also one of the latest films to employ the Codex/ARRIRAW workflow.

Cinematographer Arnaldo Catinari shot the majority of the film with ARRI Alexa cameras, capturing ARRIRAW data on Codex Onboard M recorders. Codex Transfer Stations were employed on-set to process dailies, so that media from each day’s shoot could be delivered to the film’s editorial team, without the need for additional post-house processing. The result was a workflow that delivered imagery of the highest quality, while facilitating a production schedule of just nine weeks and a production budget of 14 million euros. 

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Today in Art | Codex News

Framewright/Codex On-Set Color Solution Used on “Hope Springs”

Posted by on Aug 6, 2012

As more and more film and television productions move to digital acquisition, directors and cinematographers have increasingly sought simple means to “pre-visualize” color on the set in order to have better control over the look of their footage from dailies through post production.

Many filmmakers have found that predefined 3D look-up tables (LUTs) are inadequate for projects shot with digital cameras, especially when recording in raw modes. While these preset LUTs are of some value for previewing intended looks, their lack of flexibility and the color information they provide can be limiting, or lost during post production as it is often not retained as part of the original camera media.

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Today in Art | Codex News