Warner Bros. Discovery Access has partnered again with Reel Works to launch the Post Production Coordinator Training program in NYC & LA!
This 8-week remote training program will prepare post-production coordinator trainees for high-end scripted programming. Industry professionals will provide real-world knowledge, collaborative practicums, and tools to enhance communication, critical thinking, and collaboration skills.
• Be 21+ years old
• Eligible to work in the U.S.
• Must be within commuting distance of NYC or LA (2 hours max)
• Strong computer skills (MS Office, Excel, Google Suite, etc.)
• Have 1-3 years experience as a Post Production Assistant or Edit Room Assistant OR equivalent related coordinating/office administrative experience
To learn more, register for their info session on Wednesday, August 23rd at 4:30PM PT/ 7:30PM ET here.
Feel free to email email@example.com with any questions, with the subject line: Post Coordinator Training.
We acknowledge that access for media professionals from marginalized communities is an area of growth for the media and entertainment industry. We strongly urge those with the following identities to apply: BIPOC (Black, Indigenous, People of Color), LGBTQIA+, women and non-binary people, people living with disabilities, and others with lived experience being part of marginalized communities to apply for this training.
ZEISS introduces new camera tracking system at SIGGRAPH Los Angeles, August 8-10, 2023
With CinCraft Scenario, ZEISS presents a new powerful and flexible camera tracking system as part of their CinCraft ecosystem. Built upon Ncam’s unique tracking technology and ZEISS’ expertise in lens data, the camera tracking system is easy to use and introduces a user experience designed to match the film crew’s workflow.
Designed for all major applications
ZEISS CinCraft Scenario provides camera tracking data for use in real-time rendering engines for virtual production or live compositing. In addition, it lets the user record tracking data for post-production: “While camera tracking is known to be extremely useful for pre-visualization and virtual production, CinCraft Scenario can bring major benefits to any production that includes VFX as it can record the tracking data on set to be then used in post-production, where it can help significantly optimize an artist’s workflow,” explains Tom Evans, Product Manager and Camera Tracking Specialist at ZEISS.
The new camera tracking system can be used in practically every environment, indoors and outdoors, on film sets, with green or blue screens and in LED volumes. This is made possible by its unique hybrid tracking technology that not only allows for tracking specially placed reflective markers – the industry standard – but also tracks features of the surroundings, like object edges. In addition, CinCraft Scenario also works with digital markers on LED walls that are invisible to the main camera.
Plug and Play through ZEISS CinCraft lens data
As part of ZEISS’ CinCraft ecosystem, CinCraft Scenario also makes use of the ZEISS database of lens characteristics: “When used with ZEISS and ARRI/ZEISS cine lenses, Scenario benefits from the CinCraft lens characteristics. Their inclusion makes the system plug and play and eliminates the cumbersome lens mapping and calibration process,” adds Sundeep Reddy, Product Manager Digital Cinematography at ZEISS.
Modular components for individual needs
Designed to work with regular off-the-shelf equipment, CinCraft Scenario is natively compatible with major camera and lens encoder systems to provide all the data the system needs to track properly. It is comprised of several hardware and software components that can be individually configured to exactly match the users’ needs: CinCraft CamBar captures the raw data out of the environment and hands it over to CinCraft Origin that runs the main software and aggregates the data to compute position and movement. CinCraft Link connects CamBar and Origin and enables user interface access through mobile devices. The software components allow for computing position and movement and recording the data, exporting the recorded data to industry standard file formats as well as for real-time inclusion in Unreal Engine.
Users will be able to configure their CinCraft Scenario camera tracking system according to their specific needs or choose one of four pre-configured bundles. The system will be available through select dealers and the ZEISS CinCraft website by late Fall, 2023.
For more information visit zeiss.ly/cincraft-scenario
Ncam's hybrid tracking technology complements ZEISS' cinema product portfolio
ZEISS has acquired UK-based camera tracking pioneer Ncam Technologies Ltd. With this acquisition, ZEISS is expanding its technology portfolio specifically for the cinema, broadcast, and visual effects industries. Ncam’s multi-award-winning hybrid camera tracking technology makes it possible to spatially track the camera indoors and outdoors by utilizing different tracking methods. The acquired tracking data is essential for virtual production and live compositing and offers a huge added value for postproduction. This technology is an excellent complement to ZEISS’ cinema product lineup which includes Supreme Prime and Supreme Prime Radiance, Cinema Zoom and CP.3 lenses as well as recently introduced lens data related services in the CinCraft ecosystem. Together, ZEISS and Ncam are aiming to deliver outstanding, easy to use tracking and VFX solutions for professional production workflows.
“We are happy to be combining Ncam’s unique tracking technology with ZEISS’ longstanding expertise in cinema lenses, lens data and the cinema market,” says Christophe Casenave, responsible for the cine portfolio at ZEISS, adding, “This enables us to think beyond current camera tracking capabilities to offer innovative solutions especially for visual effects, virtual production and other applications.”
Brice Michoud, Head of Research and Development at Ncam adds, “The team is excited to be working together with our new colleagues at ZEISS on the next step in camera tracking technology and making it available to more users than ever before.”
Ncam was founded in 2012 and has locations in London and Los Angeles. Combining global resources of Ncam and ZEISS will lead to improved customer support and exciting innovations in the cine and broadcast markets and beyond.
ZEISS plans to ensure that every new feature and improvement brought to the technology will also benefit existing Ncam users and will offer a compelling upgrade program. A first product announcement will follow later this summer.
In case of questions about the acquisition, interested parties can reach out to the ZEISS team (firstname.lastname@example.org).
Experience the brilliant sound team behind "The Sound of Bono and The Edge: A Sort of Homecoming" elevating storytelling through sound.
Join Sight, Sound & Story for an extraordinary panel discussion, where they talk with the brilliant sound team behind the captivating documentary “Bono and The Edge: A Sort of Homecoming.” Immerse yourself in their world of creativity as they share unique insights into their artistic process, the hurdles they conquered, and the innovative ways they harnessed sound to elevate the storytelling experience.
Attendees will be inspired by the expertise of renowned professionals Brian Riordan, Phil DeTolve, and Woody Woodhall, CAS, as they take us on a journey through the captivating world of sound in filmmaking. This event will feature carefully selected film clips that exemplify the masterful use of sound techniques and underscore the undeniable significance of high-quality audio.
All attendees who register for this event will receive a link and password 30 minutes prior to the event. The event will be available at 8:00 PM ET/ 5:00 PM PT on July 20th. This will gain free access for all attendees who register.
This event wouldn’t be possible without their Master Storyteller Sponsors: AJA Video Systems, American Cinema Editors & EditFest Global; as well as their Technology Sponsors: ZEISS, and Filmmaker U. They are also grateful for the continued support of their partners ProductionHUB, Digital Cinema Society, LAPPG, NYWIFT, Film Fatales, and The D-Word.
To register, please go to: https://bit.ly/3OhsmFd
About the Panelists:
Daytime Emmy and OFTA Television Award winner Phil DeTolve has been with Levels Audio for thirteen years. DeTolve has an exceptional ear and unmatched talent for music performance and episodic re-recording mixing. Throughout his career he has worked on well over 200 projects and can proudly say he is the lead re-recording mixer on most things he works on today. As a proud member of Cinema Audio Society (CAS) and the Television Academy, DeTolve is highly skilled at mixing in ATMOS, paving the way for new collaborations and sonic opportunities for each client who comes through Levels.
Brian Riordan is a Re-Recording mixer, Music Mixer, Music Producer, Musician, Entrepreneur and founder and CEO of Levels Audio. Brian is a 3-time Grammy Award Winner, 4-time Emmy Award Winner and has received 20 Primetime Emmy nominations. Levels Audio Post is the embodiment of his life’s dream to facilitate the absolute best in audio post in an unmatched atmosphere of luxury.
Woody Woodhall, CAS, is the owner of Allied Post Audio in Santa Monica, CA and is an award-winning supervising sound editor, sound designer and re-recording mixer. His work spans feature films, documentaries, podcasts, commercials, and television programming including hundreds of hours for outlets such as Netflix, Amazon Studios, YouTube Red, CBS, Comedy Central, and Food Network He has recently completed mixing the 1st season of the series Cal Fire for Discovery Network, a feature documentary on the electronic musician, Moby, called, Moby Doc, as well as an upcoming feature film release starring Mena Suvari called, The Greatest Inheritance. Woody is author of the college textbook, Audio Production and Postproduction, used at universities across the world. He also heads the Los Angeles Post Production Group (LAPPG) where he shares his filmmaking expertise alongside other working professionals on a monthly basis.
Whether working on a feature film, episodic series, or unscripted show, crafting the look of content before it reaches post requires technical acumen and a creative eye. The DIT (Digital Imaging Technician) is integral to this process, bridging the technical realities with the creative goals on-set to ensure the team can achieve its desired aesthetic early in the process; the role is especially vital now that virtual production has brought typical post production work into the production process. Local 600 DIT Sam Petrov has made a name for himself in doing exactly that for a wide range of scripted and unscripted projects. A self-proclaimed technology geek, Petrov stays on top of how the DIT role is evolving within the larger on-set environment and is hyper-aware of the dynamic nature of the technology involved. While he customizes the technology he uses for each project, he’s begun leaning into AJA ColorBox for setup and look management with live grading.
Petrov recently wrapped up an unscripted dating series for a popular streaming platform, setting the initial look for the season and ensuring it worked across all the different components of the show. The production leveraged more than 30 digital cinema cameras in addition to a similar quantity of robotic (robo) cameras. Several of the cameras recorded up to 70 terabytes of 4K footage to AJA Ki Pro Ultra 12G ProRes and DNx recorder/players a day, and the AJA ColorBox in-line HDR/SDR algorithmic and LUT color transform box supported live grading on-set in 1080 SDR.
“ColorBox gives us the confidence that the look of all the different camera angles match up; it’s powerful, robust, and cost-efficient, and fills a real niche,” explained Petrov. “Our profession has long awaited a device like this. Just having the ability to generate a signal up to 4K and test a system is invaluable.”
Working closely with a team, he helped establish the look for a range of motifs and scenes used for the studio portion of the show, such as a lounge where dates are held and the hallway for transition shots. Together, they applied set looks across the different cameras, each with its own unique characteristics and color science. Petrov spent time matching the different cameras in the context of the available hardware on-set. Given the scale and genre of the show, he didn’t reside at his traditional DIT cart but instead worked in an entire tech room, which included equipment like the Ki Pro Ultra 12Gs. Equipment operators ensured that there were no signal errors, and that recordings were happening at the right time, among other tasks.
The workflow and interactions on-set diverged from traditional film or even episodic projects. With so many cameras, hardware, coloring gear, and other technology on his latest project, Petrov would go into the tech room early and collaborate with the lighting director, technical supervisor, and other team members to examine all the technical aspects of the project from resolution to creative. He was one of several key people involved in executing the creative and technical look for the cameras, the show, and different motifs.
“In post, it’s important to have a holistic understanding of processes, workflow, and ultimate vision, so as I moved from post to set in my career, I found myself working upstream. When looking at the screen for a project like this, I know from a coloring standpoint the things I need to watch out for and can course correct earlier in the process, and a product like ColorBox is helpful in this respect,” Petrov shared. “It’s really fun to be able to get the dynamic feedback that ColorBox supports in this environment. I’m able to live grade without having to worry about running into limitations. While I’m currently monitoring and coloring most projects in 1080, having the ability to also work in 4K as it becomes more prevalent is a huge advantage.”
For live grading, Petrov set up his hardware, including the ColorBox, in the tech room, and the team provided a line with a dedicated router, so he could choose the sources coming into his system. This made it easier to work with the show director and lighting director to examine all the various setups and cameras. Once they’d established a base look that they were happy with, the team could quickly switch between cameras to compare, with the live grading aspect in mind, so they knew how it would look from another angle in the exact same space or the same angle but in a different room. This flexibility was paramount with filming taking place across a dozen identical rooms, all with analogous camera configurations; Petrov had to ensure everything correlated from one space to the next.
With ColorBox, Petrov can pull out a single standalone device and get to work. He continued, “ColorBox is just fantastic. I simply navigate to the web UI and can crank out a color test pattern, then change different frame rates to whatever we need for the technical standard. I know we’re getting exactly what’s needed from the hardware before we even get to the creative side of color.”
He also finds the ability to stack multiple ColorBoxes and generate different signals with different test patterns, resolutions, or frame rates useful. It allows for flawless execution in the moment when Petrov and the team need to shift focus to more time-sensitive work. “Having a tool like ColorBox is a huge boon to my work,” he concluded. “It gives me peace of mind and makes it easier to deal calmly with situations that would normally present nuanced challenges.”
About AJA ColorBox
AJA ColorBox is a powerful video processing device designed to perform LUT-based color transformations and offers advanced-level color science with AJA Color Pipeline, as well as several look management approaches including Colorfront, ORION-CONVERT, BBC, and NBCU LUTs.Featuring 12G-SDI in/out and HDMI 2.0 out, AJA ColorBox is capable of up to 4K/UltraHD 60p 10-bit YCbCr 4:2:2 and 30p 12-bit RGB 4:4:4 output, perfect for live production, on-set production, and post-production work. ColorBox’s browser-based user interface makes it simple to adjust color processing settings, whether connecting directly via Ethernet or via a third-party WiFi adapter.
Jon Joffin, ASC brings decades of experience to craft the look for Season 2 of Schmigadoon, the musical comedy extravaganza, with a star-studded ensemble led by Cecily Strong and Keegan-Michael Key. The cinematographer has been instrumental in shaping the looks for shows like Star Trek: Picard, Keep Breathing, and Julie and the Phantoms. Showrunner (and the show’s songwriter) Cinco Paul tapped Joffin to create a new look for Season 2, which would pay tribute to a different era of musicals than Season 1. In approaching the need for deep color space and reliable optics that could handle the intense workflow of such a highly choreographed show, the cinematographer chose Sony Venice 2 with Zeiss Supreme Prime Radiance lenses.
Schmigadoon is the story of a couple who end up in a strange town where all the residents are living in a musical. “The main characters want to go back into this musical fantasy land, but instead they end up in a town called Schmicago, which is darker and seedier,” explains Joffin. “The first season was brighter than I normally do, but the creators wanted the second season to be based on Cabaret, Chicago, Hair, Godspell, Sweet Charity, Umbrellas of Cherbourg–all these visually interesting films.”
For the second season, the show planned to depart from the happy, theatrical coloring of Season 1 and move to a much darker version of the three strip Technicolor film prevalent in the 1930s-1950s. The process exposed three separate strips of black and white film, which relied on an internal beam splitter to each capture a different color wavelength: red, green, and blue. The process required lots of light on the subject, lending a tendency for vivid color, but flat lighting. “I wanted to put my own stamp on the show and give it a Technicolor, but more modern look.” Joffin worked with the Company 3 to create a unique LUT for Schmigadoon. “I worked with Jill Bogdanowicz and my gaffer and we came up with this Technicolor look that still had lots of color separation information, but also has a softer light and richer contrast.”
To complement this custom look, Joffin selected the Sony Venice 2 with Zeiss Supreme Prime Radiance lenses. “One of the reasons we used the Sony Venice 2 was for its deep color space.” He elaborates, “When we set out to pick a lens package for Schmigadoon, we wanted something that was vintage because it’s a period film.” He tested a lot of vintage lenses, along with the Zeiss Supreme Prime Radiances, optics Joffin is familiar with, having participated in the original Zeiss focus group during the lens design process. “The thing about the Radiance lenses is they’re reliable and I always know exactly what I’m getting. After two weeks of shooting, we realized we weren’t using the vintage lenses and we sent them back.”
One of the cinematographer’s most fondly remembered sequences is the Chicago-reminiscent ‘Bells and Whistles’ musical number starring Jane Krakowski. “We all fell in love with Jane when she came out and we saw her performance for the first time. Everyone was so excited about it: she came down from the ceiling; she was roller-skating; she was blindfolded with the scales of justice; she did the splits.” There were only two days allotted to the sequence which is dense with varied coverage. “We wanted to do everything possible to get as many shots as we could, because it was such a special performance. When you see the sequence, I think it’s a great achievement. It was great having the reliability of the Radiance lenses for that scene.”
Schmigadoon pushed an ambitious and demanding production schedule. Each episode has its own choreographed musical numbers and the ability to shoot efficiently without compromising shooting time to deal with temperamental equipment was critical. Frequently, the first time the crew saw the entire performance of a musical number in person was the day of shooting. “Another thing to mention is that about 85% of the performances, were recorded live. The performers are not lip-synching. When we shot Ariana Debose’s ‘Over and Done,’ it was a such a tough song, with a lot of vocal gymnastics in it, we were told she could only do it four times. So we had to be very strategic in how we shot it. Having a great, reliable camera with reliable lenses made all the difference.” ‘Over and Done,’ a Dreamgirls tribute, wraps up the season finale with smooth panache.
“You’ve got these performances with A+ actors, and you really want to see it all. You don’t want to hide any of it. Most of my job is just doing justice to what with the production design, the costumes, and the actors are doing,” says Joffin. Schmigadoon continues to please, with all six episodes of Season 2 available for streaming on Apple TV+.
Watch Jon Joffin’s conversation with Zeiss Cinematography: https://youtu.be/KmmXA7oIJQk
Or for the full Lenspire interview: https://lenspire.zeiss.com/cine/en/article/jon-joffin-asc-on-getting-the-look-for-schmigadoon/
iZotope’s audio production software has always relied on innovation and teamwork to bring you the absolute best experience. Today, they’re excited to let you know that their next chapter is all about keeping that awesome promise of ingenuity and collaboration alive and kicking.
iZotope, Brainworx, and Plugin Alliance are becoming part of Native Instruments!
What does this mean Exactly?
This move will help them create a seamless and consistent experience for customers that use iZotope, Native Instruments, and Brainworx products.
They’re working towards a future where you can:
Use one unified login for your accounts across their brands, so you don’t have to remember multiple sets of login details
Utilize Native Access as the preferred destination for installing and authenticating a broader range of products, reducing the need for multiple product installation tools
Get access to one Customer Care center to get the support you need, across all product lines
Visit a one-stop Shop and discover all the products across their brands, including all your loyalty offers and upgrades in one place
Explore more tightly connected experiences and technologies across their products
This year, you can expect to see:
- More iZotope products available in Native Access (and more Brainworx products early next year)
- More educational content and stories featuring iZotope and Brainworx products on the NI blog and social media channels
- More cross-brand integration, ranging from product features to new product bundle offers
As a complementary marketplace featuring many third-party plug-ins, the customer experience at Plugin Alliance will remain distinct, but they will continue to coordinate sales and special pricing throughout the year, just like they’re doing now with their Summer of Sound campaign.
What About Soundwide?
Some of you might remember back in 2022 when iZotope, Native Instruments, Plugin Alliance, and Brainworx came together as a group called Soundwide. While the spirit of Soundwide lives on — these brands coming together to empower creativity — the Soundwide name wasn’t as familiar to their community.
With that in mind, they made the choice to move forward with a brand that more people know and love: Native Instruments.
Keep an eye out for more updates about how they’re growing together as Native Instruments. They also have some amazing product releases planned that you’ll want to hear about.
P.S. Right now, they are all celebrating Summer of Sound together, with 50% or more off all software and plug-ins across iZotope, Native Instruments, Plugin Alliance, and Brainworx. Check out the offers here.
The SMPTE Hollywood Section and the Digital Cinema Society invite you to a special screening of the HBO Camera Assessment Series on June 29.
The HBO Camera Assessment Series, started over 10 years ago, was created to assist producers, directors, and cinematographers across the entire Warner Brothers Discovery family to select the most appropriate capture system for their productions. The goal of these highly objective and format agnostic tests is not to determine which camera system is “best”, but which best matches the needs of each individual production.
These tests highlight common shooting situations and scenarios that are traditionally difficult to photograph. By staging complex and real-life scenarios, encountered by real shows, and shooting them with the latest high end imaging tools, the strengths and weaknesses of each camera system are revealed allowing filmmakers to make educated decisions for their projects. ZEISS Cinematography lenses were exclusively employed and the camera systems tested included:
The ARRI Alexa Mini, SONY Venice 2, RED V-Raptor, BLACKMAGIC Ursa 12K, ARRI Alexa 35 and KODAK 5219 Film.
Hollywood SMPTE and the Digital Cinema Society are grateful to the producers for sharing their work for this special screening. DCS Founder James Mathers will moderate a Q&A following the screening with the HBO CAS team.
Thursday, June 29:
6:00 PM – Networking Reception
7:00 PM – Program begins at the AMPAS Dunn Theater
The meeting is FREE and details and registration are here:
Join ZEISS for an exciting online event where they will be hosting a conversation with Jonathan Ingalls, a renowned expert in the field of documentary cinematography.
The event will take place online on Thu Jun 29 2023 at 12:00:00 GMT-0700 (Pacific Daylight Time).
Based in Los Angeles, Ingalls’ work includes Emmy-winning and Oscar short-listed projects for television, streaming, and theatrical release. They’ll start the conversation with his latest project: “100 Years of Warner Bros.,” shot on ZEISS CP.3 and CZ.2 Cinema Zooms. Then they’ll cover other favorites such as “Blackfish,” “The Imagineering Story,” and at the end they’ll take questions from the audience.
Reserve a spot here!
June 1-3, 2023 - Hollywood
Held at The Studios at Paramount
Spirits are up in anticipation of the industry’s number one opportunity to learn, see, share, and mingle with friends, mentors, and colleagues when Cine Gear Expo returns to Hollywood after 4 years.
Activities rev up Thursday, June 1 with the Film Competition Screenings, featuring entries from students and professionals in the Independent Short Films, Student Films, and Music Video/Commercial categories. Friday at noon doors open to the exhibits. Technology vendors line the famous New York streets and the B-Tank area which is hard to miss with its authentic Adams Family hearse from the hit show Wednesday that’s parked nearby OnLocation’s shiny 17’ one-stop location production truck. This year four soundstages house scores of indoor exhibits where lights-out zones best display the latest lighting, monitors, cameras, and other technology for motion pictures.
Lighting brands will be there in force with the newest tech from ARRI, Astera, Aputure, Creamsource, DeSisti, Hudson Spider, Kino Flo, Fiilex, Godex, Hobolite, K5600, Litepanels, Lux Lighting, Mole-Richardson, Nanlite, Quasar Science, Rotolight, Rosco, Sumolight, Velvet, Zylight, and more. To remotely control minute positioning of hefty fixtures, Matthew’s Studio Equipment demos new Litemover.
There will be hands-on opportunities galore to peek at the latest cameras from ARRI, Blackmagic, Canon, Sony and Panasonic Lumix. With the age of optics in full swing, the field widens with over 15 brands: Angenieux, Atlas, Canon, Cooke, Hawk, Vantage, Zeiss, Sigma, Fujifilm, Leitz, Irix, Duclos, Schneider, Tokina and P+S Technik. For insight into the field, visitors can meet Jay Holben and Chris Probst ASC, authors of The Cine Lens Manual.
To rig camera packages, attendees can demo the newest cages, handles, etc. from the likes of Wooden Camera, Vocas, and Bright Tangerine, as well as on and off camera monitors from SmallHD, Atomos, Sony, Flanders, Lilliput, and wireless video systems from Teradek. Camera support too, will be on hand including trusted brands like Miller, Libec, and Ronford Baker, cranes from Technocrane, dollies from Chapman, and human worn systems like the Tiffen Steadicam, Topcrane, and Cinema Devices. Not to forget Gimbals demo’d by DJI and robotics systems from Emotimo, MRMC, Motion Impossible, and Sisu.
Virtual production anyone? Look for virtual LED wall exhibitors Brompton and Roe, and for the big picture, visitors can see the Stepping into Virtual Production panel sponsored by Rosco and Lux Machina, on Friday, June 2.
Educational panels will be in full swing on Friday and Saturday with presentations by Synology, Canon, Sony, Sony CI MediaCloud and Teradek, Band Pro, Digital Cinema Society, Women in Media, Lumix & Lux Machina, Rosco, ARRI, Abel Cine, and IATSE 728. The popular Got Agent? panel returns as well as the always-popular Dialogue with ASC Cinematographers.
Film Screenings are back. This year Digital Cinema Society and Zeiss Cinematography present a special showing of the talked-about HBO CAS 2023 Camera Assessment in the state-of-the-art Paramount Theatre, complete with a Q&A following. Plus, there will be a special screening of Air, featuring Ben Affleck, followed by a discussion with award-winning cinematographer Robert Richardson, ASC.
Cine Gear admission is Free before May 27, 2023, 11:59pm PDT. For directions, schedule, and more information visit www.cinegearexpo.com. Register for Free admission at https://www.cinegearexpo.com/la-expo/registration/
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We are thrilled to announce that Avid Technologies, Inc. has joined the LAPPG
HUSSLUP is a professional network that connects creative talent with each other and
We couldn’t be more excited to welcome our newest Silver Partner, Shift Media
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