Helps You Create a Curriculum Vitae Tailored to Your Experience
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Splice Brochure Page Layout
We've come a long way from the early days of color correction, with the current trends leading toward Digital Intermediate (DI). So how will you cross the bridge to DI, gaining the benefits of non-linear operation using existing infrastructure while maintaining compatability with existing workflows? For this transition da Vinci created Splice™ — a “virtual telecine” which allows a linear color corrector to operate as a non-linear device. SPLICE™. VIRTUAL TELECINE FOR NON-LINEAR IMAGE PROCESSING from the genius of Operating as a server based front end for the da Vinci 2K, Splice provides colorists with the types of image processing controls normally associated with a telecine environment, like real-time pan tilt zoom and rotate. fig. 01 _ [ SPLICE ] WORK STATION / SPLASH SCREEN Colorists will make a seamless transition to Splice with its familiar interface on the da Vinci 2K Plus. “VIRTUAL TELECINE” Powered by da Vinci's exclusive Transformer 2K, Splice provides conform enhancements da Vinci offers colorists the advantages of image processor, Splice offers real-time for EDL handling, switching on the fly non-linear color correction and in-context optical quality pan, tilt, zoom and rotate, between source and record order and an add grading with Splice, a new “virtual telecine” coupled with 4:4:4 uncompressed storage handles function for deliverables. Splice is for the 2K® and 2K Plus™. and processing for the ultimate in image integrated with ColorTrace and the 2K to quality. manage grades, matching editorial changes Operating as a server based front end for the with color decisions, thereby making da Vinci 2K, Splice appears as a new device ADVANCED CONFORM CAPABILITIES reconforming editorial revisions painless. -
JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009
JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009 Annotations and citations (Law) -- Arizona. SHEPARD'S ARIZONA CITATIONS : EVERY STATE & FEDERAL CITATION. 5th ed. Colorado Springs, Colo. : LexisNexis, 2008. CORE. LOCATION = LAW CORE. KFA2459 .S53 2008 Online. LOCATION = LAW ONLINE ACCESS. Antitrust law -- European Union countries -- Congresses. EUROPEAN COMPETITION LAW ANNUAL 2007 : A REFORMED APPROACH TO ARTICLE 82 EC / EDITED BY CLAUS-DIETER EHLERMANN AND MEL MARQUIS. Oxford : Hart, 2008. KJE6456 .E88 2007. LOCATION = LAW FOREIGN & INTERNAT. Consolidation and merger of corporations -- Law and legislation -- United States. ACQUISITIONS UNDER THE HART-SCOTT-RODINO ANTITRUST IMPROVEMENTS ACT / STEPHEN M. AXINN ... [ET AL.]. 3rd ed. New York, N.Y. : Law Journal Press, c2008- KF1655 .A74 2008. LOCATION = LAW TREATISES. Consumer credit -- Law and legislation -- United States -- Popular works. THE AMERICAN BAR ASSOCIATION GUIDE TO CREDIT & BANKRUPTCY. 1st ed. New York : Random House Reference, c2006. KF1524.6 .A46 2006. LOCATION = LAW TREATISES. Construction industry -- Law and legislation -- Arizona. ARIZONA CONSTRUCTION LAW ANNOTATED : ARIZONA CONSTITUTION, STATUTES, AND REGULATIONS WITH ANNOTATIONS AND COMMENTARY. [Eagan, Minn.] : Thomson/West, c2008- KFA2469 .A75. LOCATION = LAW RESERVE. 1 Court administration -- United States. THE USE OF COURTROOMS IN U.S. DISTRICT COURTS : A REPORT TO THE JUDICIAL CONFERENCE COMMITTEE ON COURT ADMINISTRATION & CASE MANAGEMENT. Washington, DC : Federal Judicial Center, [2008] JU 13.2:C 83/9. LOCATION = LAW GOV DOCS STACKS. Discrimination in employment -- Law and legislation -- United States. EMPLOYMENT DISCRIMINATION : LAW AND PRACTICE / CHARLES A. SULLIVAN, LAUREN M. WALTER. 4th ed. Austin : Wolters Kluwer Law & Business ; Frederick, MD : Aspen Pub., c2009. KF3464 .S84 2009. LOCATION = LAW TREATISES. -
Spirit 4K® High-Performance Film Scanner with Bones and Datacine®
Product Data Sheet Spirit 4K® High-Performance Film Scanner with Bones and DataCine® Spirit 4K Film Scanner/Bones Combination Digital intermediate production – the motion picture workflow in which film is handled only once for scan- ning and then processed with a high-resolution digital clone that can be down-sampled to the appropriate out- put resolution – demands the highest resolution and the highest precision scanning. While 2K resolution is widely accepted for digital post production, there are situations when even a higher re- solution is required, such as for digital effects. As the cost of storage continues to fall and ultra-high resolu- tion display devices are introduced, 4K postproduction workflows are becoming viable and affordable. The combination of the Spirit 4K high-performance film scanner and Bones system is ahead of its time, offe- ring you the choice of 2K scanning in real time (up to 30 frames per second) and 4K scanning at up to 7.5 fps depending on the selected packing format and the receiving system’s capability. In addition, the internal spatial processor of the Spirit 4K system lets you scan in 4K and output in 2K. This oversampling mode eli- minates picture artifacts and captures the full dynamic range of film with 16-bit signal processing. And in either The Spirit 4K® from DFT Digital Film Technology is 2K or 4K scanning modes, the Spirit 4K scanner offers a high-performance, high-speed Film Scanner and unrivalled image detail, capturing that indefinable film DataCine® solution for Digital Intermediate, Commer- look to perfection. cial, Telecine, Restoration, and Archiving applications. -
User Manual 16.3 MB
Welcome to DaVinci Resolve 8 The world’s most powerful color correction now on Linux and Mac! DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci is the name behind more feature films, television commercials, documentaries, television production and music videos than any other grading system. When you’re in a room full of demanding clients with conflicting ideas, colorists know that DaVinci Resolve has the quality, real time performance, creative features, and powerful control panel you need to work fast! DaVinci Resolve is now available for both Mac OS X and the clustered super computer power of Linux! CONTENTS USER MANUAL DaVinci Resolve 8 Chapter 1 Introduction 14 Introducing DaVinci Resolve 15 What’s New in DaVinci Resolve 8 16 Chapter 2 System Setup 22 Media Storage Volumes 23 Video Capture Hardware 24 Control Panel Type 24 Chapter 3 Quick Start Guide 26 Quick Start Project 34 Chapter 4 Control Panels 36 Chapter 5 Getting Started 40 Starting DaVinci Resolve 41 User Login Screen 41 Login To An Existing User 41 Exiting Resolve 41 Creating A New User 42 Deleting An Existing User 42 Changing A User Password 43 Multiple Database Support 43 Selecting the Database 43 Creating a New Database 44 Create a New Database Image 45 Remote Database Server 45 Optimizing a Database 45 Backing up a Database 45 Restoring a Database 45 Chapter 6 Configuration 48 The User List 50 The Configuration List 51 Modifying -
Digital Intermediate
Digital Intermediate: (typically abbreviated to DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. Josh Haynie SVP Operations, Efilm. Member of the Worldwide Deluxe Family Team Leader: Colorists, Production, Editorial, Data Management, Scanning/Recording, Quality Control, Restoration, Vault, Security, Facilities 13 Years with Efilm Over 500 Feature Films delivered since 2003 Traditional and emerging Post Production since 1991 [email protected] efilm.com 79 Worldwide Locations 6570+ Fulltime Employees 800+ Metadata Technicians 120+ System R+D Developers 30,000 DCP’s delivered per month 60,000 Digital Distribution deliveries per month Let us take a look at what we have completed and a glimpse of what are are working on… Complex Projects Overall Workflow Testing Location Services Dailies VFX Pulls/ Shots Marketing Assembly Grading Render HD/ Blue Ray HDR UHD Large Format Archiving Looks and LUT’s Lighting Room Colors Costumes Locations Aspect Ratios Arri Alexa Digital Camera 35mm Film Camera Canon 5D Digital Camera/SLR Arri 65 Digital Camera Sony F65 Digital Camera Go Pro Imax Film Camera Red Digital Camera Phantom Digital Camera Canon C300 Digital Camera IPhone 6S Black Magic Digital Camera EC3: Hollywood, Location, Near Set, WW Receive, Archive and Verify Data Grade and QC each day’s footage Create Editorial Media daily Create and Distribute Studio Screening elements daily On Set Near Set Dailies Deliverables H.264 Network Deliverable Transfer Station Camera Mag Editorial Dailies Processing Colorstream NAS Storage Audio ARRI RAW Multiple LTO EC3 Archive DeBayered SAN Storage Backup I/O Station Controller Meta Data VFX Pulls Pulling frames for VFX creation during shoot Post shoot frame pulling for VFX creation. -
Steve Aaron CAS Resume
Steve C. Aaron, C.A.S. - Production Sound Mixer - Page 1 of 6 Professional sound mixing for the motion picture industry for over 35 years. Complete equipment packages to accommodate all aspects of location, stage and remote recording, as well as sync music playback, wireless ear wig prompting & ‘Voice Of God’ PA systems. Comprehensive background in ‘Post Production’ processing to include final mixing to ADR. “Solid sound tracks back up my body of work”. All credits listed are ‘actual worked’ credits. Feature film credits “Clover“ (aka She Hulk) MARVEL Studio Productions “Architect“ (aka LOKI) MARVEL Studio Productions Producers: Kevin Feige, Wendy Jacobson, Brad Winderbaum, Producers: Kevin Feige, Michael Waldron, Victoria Alonso, Victoria Alonso, Louis D’Esposito, Producer / Writer: Jessica Gao Louis D’Esposito, Tom Hiddleston Supervising Prod: Kevin Wright Line Producer: Trish Stanard Production Super: Amy Chance Line Producer: Trish Stanard Production Super: Amy Chance Director: Kat Coiro, Anu Valia Director: Kate Herron “Fear Street“ (Trilogy features 1994, 1666 & 1978) 20th Century Fox “Goosebumps 2“ – Sony Pictures Producers: Timothy Bourne, Peter Chernin, David Ready, Kori Adelson Producers: Timothy Bourne, Tania Landau, Neal Moritz, Deborah Forte Prod. Supervisor: Heath Howard Director: Leigh Janiak Prod. Supervisor: Heath Howard Director: Ari Sandel “MILE 22“ – STX Entertainment “The Hate U Give“ – 20th Century Fox Producers: Peter Berg, Mark Wahlberg, Stuart Besser, Stephen Levinson Producers: Tim Bourne, Wick Godfrey, Robert Teitel, Marty Bowen, Prod. Supervisor: Sharyn Shimada Director: Peter Berg Prod. Supervisor: Heath Howard Director: George Tillman Jr. “The Best of Enemies“ – Peachtree Cinema 2 “Simon vs The Homo Sapien Agenda“ – 20th Century Fox Prodrs: Jeremiah Sanders, Fred Bernstein, Dominique Telson, Matt Berenson Prodrs: Wyck Godfrey, Marty Bowen, Tim Bourne, Pouya Shahbazian Prod. -
Digital'intermediate' ' ' ' ' ' ' ' ' '
Digital'Intermediate' ' ' ' ' ' ' ' ' ' Film shooting Digital shooting Digital postproduction Digital workflow How to choose ? Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com` The$first$ques+ons! What is the feature or program’s end destination? . 35 mm theater exhibition? Imax? Imax 3D? . D-cinema digital projection (2K / 4K)? 3D? . HD digital projection, E-cinema, large displays? . Ultra HD? HDTV broadcast? 3D broadcast? . Internet? . Current TV broadcast? . DVD - HD distribution? ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com The DCP The$first$ques+ons! The DCP or Digital Cinéma Packaging is the release format for D-Cinéma (Digital Cinema), the frame being encoded in JPEG 2000. D-cinema digital projection (2K / 4K)? 3D ? D-Cinema 2K frame format: 2048 pixels x 1080 lines (this is neither HD nor 2K). D-Cinema 4K frame format: 4096 pixels x 2160 lines. FORMAT: Compressed, split up in ‘reels’ SECURITY: Encrypted using 128-bit AES ! Reusable!hard!disk!capacity:!! ! 2!long7feature!films! $ Commun!hard!disk!dimensions:!! ! 17!x!12!x!4!cm!(L!x!l!x!h)! $$ ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com SHOOT POST-PRODUCTION SCREENING FILM SENSORS CHEMICAL 35 mm / 70 mm ! Super 8 Digital still ! camera ! ! Film DIGITAL screening Super 16 Standard Definition SD SD / HD / 2K / 4K Standard Telecine Definition From DVcam to 35 mm Digital Betacam ! 4 P HD ! 3 P High High Digital 2 P TeleScan Definition Definition screening 65 mm From EX-3 to -
SHAY CUNLIFFE Costume Designer
(4/19/21) SHAY CUNLIFFE Costume Designer FILM & TELEVISION DIRECTOR COMPANIES CAST “PEACEMAKER” James Gunn HBO Max John Cena (Series) The Safran Company Lochlyn Munro Warner Bros TV Robert Patrick “WESTWORLD” Jonathan Nolan HBO Evan Rachel Wood (Season 3) Amanda Marsalis, et al. Bad Robot Aaron Paul Winner: Costume Designers Guild (CDG) Award Thandie Newton Nomination: Emmy Award for Outstanding Fantasy/Sci-Fi Costumes “GONE BABY GONE” Phillip Noyce 20th Century Fox TV Peyton List (Pilot) Miramax Joseph Morgan “BOOK CLUB” Bill Holderman June Pictures Diane Keaton Jane Fonda Candice Bergen Mary Steenburgen “50 SHADES FREED” James Foley Universal Pictures Dakota Johnson Jamie Dornan “50 SHADES DARKER” James Foley Universal Pictures Dakota Johnson Jamie Dornan “A DOG’S PURPOSE” Lasse Hallström Amblin Entertainment Dennis Quaid Walden Media Britt Robertson Pariah “THE SECRET IN THEIR EYES” Billy Ray Gran Via Productions Nicole Kidman IM Global Julia Roberts Chiwetel Ejiofor “GET HARD” Etan Cohen Warner Brothers Will Ferrell Gary Sanchez Kevin Hart Alison Brie “SELF/LESS” Tarsem Singh Ram Bergman Prods. Ryan Reynolds Endgame Ent. Ben Kingsley “THE FIFTH ESTATE” Bill Condon DreamWorks Benedict Cumberbatch Participant Media Laura Linney “WE’RE THE MILLERS” Rawson Thurber New Line Cinema Jennifer Aniston Ed Helms Jason Sudeikis “THE BOURNE LEGACY” Tony Gilroy Universal Pictures Jeremy Renner Rachel Weisz Edward Norton “BIG MIRACLE” Ken Kwapis Universal Pictures Drew Barrymore Working Title Films John Krasinski Anonymous Content Kristen Bell “MONTE -
Editorial Background: Kodak Scientists Discuss Why and How the New Intermediate Film Was Developed
Editorial Background: Kodak Scientists Discuss Why and How the New Intermediate Film was Developed Kodak has introduced a color intermediate film optimized for digital intermediate (DI) postproduction applications. KODAK VISION3 Color Digital Intermediate Film 5254/2254 is designed for use with contemporary film recorders, with the objective of faithfully retaining nuances in colors, contrast and other characteristics of digitally manipulated images. After the film-out, the new intermediate film is used as a master for generating high-quality release prints for projection on cinema screens. In the following conversation, Kodak scientists David Niklewicz and Ana Castro discuss the emulsion science behind the new film: When you began to design and develop a new color intermediate film specifically for digital intermediate postproduction applications, how did you determine the characteristics of the new film? NIKLEWICZ: From the earliest days of the motion picture industry, Kodak scientists have listened to filmmakers who share their thoughts and experiences about real-world production situations. Filmmakers who are choosing to follow a DI postproduction path suggested there was a need for a color intermediate film optimized for use with contemporary film recorders. KODAK VISION 2242 Color Intermediate Film remains the industry standard for high-quality traditional release printing processes. How does the new color intermediate film fit into the DI workflow? NIKLEWICZ: The vast majority of motion pictures produced for the cinema originate on color negative film. The negative is often scanned and converted to digital files for color grading and other DI image manipulation. The timed DI is recorded onto a color intermediate stock that is used as a digital original negative or as a duplication element for release printing. -
CHAPTER 3. Film Sound Preservation: Early Sound Systems
CHAPTER 3. Film Sound Preservation: Early Sound Systems 3.1 Film Sound Preservation In the introduction I argued that the nature of film sound consists of different dimensions: the textual and material dimensions, the human and technological dimensions, the institutional, experiential and memorial dimensions. Each of these should be taken into account in preservation and presentation practices. Some of these dimensions were investigated in the first two chapters, where I outlined a set of key concepts related to recorded sound that I derived from social and artistic sound practices as well as media theories: the noise of the material carriers and technological devices, cleaned and cracked sounds, the notion of soundscape and high fidelity, and the concepts of media memory and audiovisual trace. In the following chapters I will further analyze the nature of film sound and its core dimensions beginning with the analysis of film sound preservation and presentation case studies. In this chapter, I examine preservation and restoration projects of films where the issue of sound is particularly relevant, while chapter four analyzes the work of film heritage institutions with respect to film sound presentation. The case studies discussed here are prompted by the following questions: how can we preserve and restore film sound materials? What are the different approaches to film sound preservation and restoration? What are the problems and defects of different film sound carriers and apparatuses? Which kind of actions can be taken to solve those problems? How can the actions undertaken to preserve film sound be recorded and documented? How is it possible to exhibit and display film sound in present-day theatres? The answers to these questions as provided by the case studies will contribute to the definition of the nature of film sound, which will be elaborated in chapter five. -
MINDY HALL Make-Up Artist IATSE Local 706 and 798 FILM
6715 Hollywood Blvd #206 Los Angeles, CA 90028 Phone 323.466.4441 Fax 323.460.4442 www.miltonagency.com [email protected] MINDY HALL Make-Up Artist IATSE Local 706 and 798 FILM MORNING GLORY Department Head Director: Roger Michell STAR TREK Department Head Paramount Pictures Director: JJ Abrams SISTERHOOD OF THE Department Head TRAVELING PANTS 2 Director: Sanaa Hamri Warner Bros. P.S. I LOVE YOU Personal Make-Up Artist to Hilary Swank Warner Bros. Director: Richard LaGravanese THE NANNY DIARIES Department Head & Personal Make-Up Artist to Laura Linney The Weinstein Company Director: Shari Springer Berman and Robert Pulcini WORLD TRADE CENTER Department Head Paramount Pictures Director: Oliver Stone RENT Department Head Revolution Studios Director: Chris Columbus THE EXORCISM OF EMILY ROSE Personal Make-Up Artist to Laura Linney Lakeshore Entertainment Director: Scott Derrickson BEE SEASON Department Head Fox Searchlight Pictures Director: Scott McGehee & David Siegel KINSEY Personal Make-Up Artist to Laura Linney Fox 2000 Pictures Director: Bill Condon WICKER PARK Personal Make-Up Artist to Josh Hartnett Lakeshore Entertainment Director: Paul McGuigan HOLLYWOOD HOMICIDE Personal Make-Up Artist to Josh Hartnett Evolution Entertainment Director: Ron Shelton CRADLE 2 THE GRAVE Department Head Warner Bros. Director: Andrzej Bartkowiak THE MOTHMAN PROPHECIES Department Head Lakeshore Entertainment Director: Mark Pellington Mindy Hall Page 1 of 3 SWORDFISH Department Head Warner Bros. Director: Dominic Sena PEARL HARBOR Key Make-Up Artist Walt Disney Pictures Director: Michael Bay READY TO RUMBLE Department Head Warner Bros. Director: Brian Robbins SUNSET STRIP Department Head Make-Up Fox 2000 Pictures Director: Adam Collis STUART LITTLE Key Make-Up Artist Columbia Pictures Director: Rob Minkoff PATCH ADAMS Key Make-Up Universal Pictures Director: Tom Shadyac PAYBACK Co-Department Head Warner Bros. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.