Syntex Workshop

We would like to invite you to the Syntex RED WEAPON MONSTRO 8K VV Workshop dedicated to the high-end digital film camera RED WEAPON and the new MONSTRO 8K VV sensor! The seminar, organized in cooperation with RED EUROPE, will be free of charge and will take place on 13 March at 10:00 at Syntex Praha s.r.o., Michelská 291/21, 140 00, Prague 4

The WEAPON 8K VV camera with the new MONSTRO sensor offers recording of 8K FF material at up to 60 fps or 8K 2.4:1 at up to 75 fps, with a bitrate of up to 300 MB/s (RED MINI-MAG 480GB and 960GB). The new 40.96 x 21.60 mm sensor offers a dynamic range of 17+ apertures and a resolution of 8,192 x 4,320 effective pixels. It can record at up to 120 fps in 4K FF resolution and 240 fps in 2K FF resolution. Like other cameras in the DSMC2 series, the WEAPON VV MONSTRO 8K simultaneously records REDCODE RAW and proxy data in Apple ProRes or Avid DNxHD/HR format. The new RED WEAPON camera model is now on sale!

WHEN:
March 13, 2018 (free admission for registered users from 9:45am)

WHERE
Syntex Praha s.r.o
Michelská 21
14100 Praha 4 - Michle

PROGRAM
10:00 - 11:00 Camera presentation
11:00 - 11:30 Comparison of material recorded with MONSTRO VV
11:30 - 12:00 Promotional event for participants, discussion
12:00 - 12:30 Break
12:30 - 13:00 Demonstration camera setup
13:00 - 15:00 Camera testing

See Facebook or direct registration here for more information

The ‘URSA Mini Pro for Professionals’ event is for cinematographers, videographers and freelance camera operators who want to examine the features and increase their understanding of URSA Mini Pro. With a mix of presentations, workshops and hands-on time attendees will learn how to achieve the best from URSA Mini Pro and how to import media, backup, edit, color correct and finish your projects with DaVinci Resolve.

• Live comparison of latitude, sensor performance and compression in digital film
• Learn and compare camera compression options including Pro-Res, H.264, MPEG and RAW
• How and when to use compressed and RAW recording formats
• How URSA Mini Pro compares to alternative digital film cameras
• Understanding URSA Mini Pro as a camera platform
• How to change lens mounts between EF, PL and B4 lenses on URSA Mini Pro
• Understanding and shooting for HDR
• What is Dolby Vision, HDR10 and Hybrid Log?
• How to work with HDR in post-production and delivery
• What is a LUT and how to use them on set in camera and in post-production
• Using lens metadata in post-production
• Managing and optimising your media for fast and efficient post-production
• Using DaVinci Resolve to import, backup, edit, color correct and finish your projects

Date and Time
Thu 1 March 2018
09:30 – 16:00 CET

Location
Syntex Praha s.r.o
Michelska 291/21
140 00 Praha 4

In the movie selection at this 70th edition of Cannes Film Festival, Angénieux zoom lenses were on set of

COMPETITION

• Les Fantômes d’Ismaël /Ismaël’s Ghosts de /by Arnaud Desplechin -DoP Irina Lubtchansky
• 120 battements par minute / 120 beats per minute by Romain Campillo – DoP Jeanne Lapoirie AFC
• Les Proies /The Beguiled by Sofia Coppola –DoP Philippe Le Sourd AFC
• Rodin by Jacques Doillon –DoP Christophe Beaucarne AFC
• Happy End by Michael Haneke –DoP Christian Berger
• Wonderstruck by Todd Haynes –DoP Edward Lachman ASC
• Le Redoutable by Michel Hazanavicius –DoP Guillaume Schiffman AFC
• L’amant Double / The Double Lover by François Ozon – DoP Manu Dacosse SBC

UN CERTAIN REGARD

• Lerd / A Man of Integrity by Mohammad Rasoulof – DoP Askan Ashkani
• L’Atelier / The Workshop by Laurent Gantet – DoP Pierre Milon AFC

SEANCES SPECIALES / SPECIAL SCREENINGS

• Promised land by Eugene Jarecki – DoPs Tom Bergman and Etienne Sauret
• Nos Années Folles / Golden Years by André Téchiné – DoP Julien Hirsch

SEMAINE DE LA CRITIQUE

• Une Vie Violente by Thierry de Peretti – DoP Claire Mathon

Press Release

Blackmagic Design announced that Axis Animation used Fusion Studio for its work on the game cinematic and cutscenes for the latest real time strategy game from Relic Entertainment and SEGA Europe, Warhammer® 40,000®: Dawn of War III®.



Axis Animation has previously worked on AAA SEGA titles such as “Aliens: Colonial Marines” and “Alien: Isolation.” For “Dawn of War III” however, the team adopted a brand new approach to its VFX pipeline, allowing the studio to streamline its 3D characters and environments into a 2.5D compositing setup in Fusion Studio.

“It was the work of Polish surrealist painter Zdzisław Beksiński that was the essential ingredient in our pitch to Relic. We worked with the team at Relic to strike a careful balance between our intended aesthetic with Beksiński's ethereal imagery and the established WH40K world created by IP holders Games Workshop®,” explains Lead LRC artist on the project, John Barclay.

Axis produced the award-winning trailer for “Dawn of War III” which received great responses from fans and critics alike. With the success of the trailer, developers Relic Entertainment wanted to take the same art direction into the cutscenes.

To do this, the Axis team assembled their scenes within the standard studio pipeline but automated the process of converting the 3D scene into the multitude of image planes required for their 2.5D comps. “This helped us enormously, especially for the cutscenes, which featured limited camera movement,” Barclay reveals. “It was incredible that we had the flexibility to use effects like volumetric fog and insert them into the same scene as characters and environments built from 2.5D cards. It also meant our lighting artists could work on the scene as though it were any other 3D set.”



Brought into Fusion using a custom Python and Lua script to ensure all the data was positioned correctly, the cards meant that every artist at Axis could automatically render their character from Houdini and import it as a projection into Fusion. An alembic export was then used to bring in the camera positioning from Maya.

“Using image planes in Fusion allowed us some significantly reduced render times and also greater flexibility with more creative iteration over the whole show. The workflow allowed artists familiar with our standard pipeline to create something a little more unusual,” Barclay concludes. “Fusion is key to helping us solve both creative and logistical challenges. It was an essential part of our toolbox on Dawn of War III.”



Press Photography
Product photos of all Blackmagic Design products, are available at www.blackmagicdesign.com/press/images.

About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Press Release

Blackmagic Design announced that European cultural television channel arte has commissioned a new series of travel documentaries exploring the vibrant colors and cultures of the former Indochina region, shot exclusively on the Blackmagic Pocket Cinema Camera.

Berlin based Story House Productions developed five programs, in which a small crew travelled across each of the countries that previously formed Indochina; Thailand, Vietnam, Laos, Cambodia and Myanmar. The production crew chose the Pocket Cinema Camera as it would enable them to capture beautiful images, while retaining a ‘backpacker’ look that would be the overarching theme for each of the standalone documentaries.

The challenge for Story House was how they would translate not only the physical beauty of the region, but also the essence of the country and what it is like to actually travel there. “To achieve that feel of backpacking through a country, we relied on traditional public transport throughout filming. Each of the documentaries also offers a glimpse into the lives of eight locals,” explains Christian Schidlowski of Story House Productions.

Christian directed the first two programs set in Vietnam and Cambodia. To ensure consistency, workshops were held with the two other directors, and DoP André Götzmann was present across all five shoots. The majority of filming was done handheld, and the team used the Pocket Cinema Camera’s film mode in order to access the camera’s full dynamic range and bring a real vitality to the footage.

André was extremely impressed by the image quality that could be achieved by a camera with such a compact form factor. “The Pocket Cinema Camera’s size was incredibly important in allowing us to film very natural scenes. The smaller the camera, the faster people forgot its presence, which enabled me to stay in eye contact with the protagonists and get physically close to people without disturbing them. I picked up the camera in the morning and didn’t put it down until evening; it became my constant companion. I captured so many little spontaneous things along the road, in a way I’ve never been able to before. The camera let me literally soak into the country.”

“Whatever we shot with had to be capable of producing both stunning landscape shots, for example, shooting wide angle to demonstrate the idyllic beaches across the region, but also needed to give us stunning detail in the close up portrait shots that we used when interviewing local people. As we were traveling with such a small crew, our lighting options were extremely limited, but we knew that wherever we were shooting, we would always capture great looking images with the Pocket Cinema Camera.”

From a director’s perspective, Christian was extremely pleased with the rich color scale that the Pocket Cinema Camera captured, for example in the marketplaces in Thailand, which are a whirl of bright fabrics, street food and streets packed full of people. “As we finished in DaVinci Resolve, the footage has been fantastic to grade. It was incredibly simple to import the footage into a timeline, and apply an overall grade to each of the films to make the vivid colors of the region really pop out. We knew from the start that the camera would be the right choice for our objectives, and this remains the case, now that post production is completed.”

The Asia From Above documentaries will be shown on arte, which broadcasts in France and Germany later in 2014.

Press Photography

Product photos of the Blackmagic Pocket Cinema Camera and DaVinci Resolve are available at www.blackmagicdesign.com/press/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, United Kingdom, Japan, Singapore, and Australia. For more information, please check www.blackmagicdesign.com.