Tag Archives: Panavision

Academy honors 18 Scientific and Technical achievements

The Academy of Motion Picture Arts and Sciences has announced that 18 scientific and technical achievements represented by 34 individual award recipients, as well as five organizations, will be honored at its annual Scientific and Technical Awards Presentation on February 11.

“This year we are particularly pleased to be able to honor not only a wide range of new technologies, but also the pioneering digital cinema cameras that helped facilitate the widespread conversion to electronic image capture for motion picture production,” says Ray Feeney, Academy Award recipient and chair of the Scientific and Technical Awards Committee. “With their outstanding, innovative work, these technologists, engineers and inventors have significantly expanded filmmakers’ creative choices for moving image storytelling.” 

Unlike other Academy Awards to be presented this year, achievements receiving Scientific and Technical Awards need not have been developed and introduced during 2016. Rather, the achievements must demonstrate a proven record of contributing significant value to the process of making motion pictures.

The Academy Awards for scientific and technical achievements are: 

 Technical Achievement Awards (Academy Certificates)

Thomson Grass Valley for the design and engineering of the pioneering Viper FilmStream digital camera system. The Viper camera enables frame-based logarithmic encoding, which provides uncompressed camera output suitable for importing into existing digital intermediate workflows.

Larry Gritz for the design, implementation and dissemination of Open Shading Language (OSL). OSL is a highly-optimized runtime architecture and language for programmable shading and texturing that has become a de facto industry standard. It enables artists at all levels of technical proficiency to create physically plausible materials for efficient production rendering.

Carl Ludwig, Eugene Troubetzkoy and Maurice van Swaaij for the pioneering development of the CGI Studio renderer at Blue Sky Studios. CGI Studio’s groundbreaking ray-tracing and adaptive sampling techniques, coupled with streamlined artist controls, demonstrated the feasibility of ray-traced rendering for feature film production.

Brian Whited for the design and development of the Meander drawing system at Walt Disney Animation Studios. Meander’s innovative curve-rendering method faithfully captures the artist’s intent, resulting in a significant improvement in creative communication throughout the production pipeline.

Mark Rappaport for the concept, design and development, Scott Oshita for the motion analysis and CAD design, Jeff Cruts for the development of the faux-hair finish techniques, and Todd Minobe for the character articulation and drive-train mechanisms of the Creature Effects Animatronic Horse Puppet. The Animatronic Horse Puppet provides increased actor safety, close integration with live action, and improved realism for filmmakers.

Glenn Sanders and Howard Stark for the design and engineering of the Zaxcom Digital Wireless Microphone System. The Zaxcom system has advanced the state of wireless microphone technology by creating a fully digital modulation system with a rich feature set, which includes local recording capability within the belt pack and a wireless control scheme providing realtime transmitter control and timecode distribution.

David Thomas, Lawrence E. Fisher and David Bundy for the design, development and engineering of the Lectrosonics Digital Hybrid Wireless Microphone System. The Lectrosonics system has advanced the state of wireless microphone technology by developing a method to digitally transmit full-range audio over a conventional analog FM radio link, reducing transmitter size, and increasing power efficiency.

Parag Havaldar for the development of expression-based facial performance-capture technology at Sony Pictures Imageworks. This pioneering system enables large-scale use of animation rig-based facial performance-capture for motion pictures, combining solutions for tracking, stabilization, solving and animator-controllable curve editing.

Nicholas Apostoloff and Geoff Wedig for the design and development of animation rig-based facial performance-capture systems at ImageMovers Digital and Digital Domain. These systems evolved through independent, then combined, efforts at two different studios, resulting in an artist-controllable, editable, scalable solution for the high-fidelity transfer of facial performances to convincing digital characters.

Kiran Bhat, Michael Koperwas, Brian Cantwell and Paige Warner for the design and development of the ILM facial performance-capture solving system. This system enables high-fidelity facial performance transfer from actors to digital characters in large-scale productions while retaining full artistic control, and integrates stable, rig-based solving and the resolution of secondary detail in a controllable pipeline.

Scientific and Engineering Awards (Academy Plaques)

Arri for the pioneering design and engineering of the Super 35 format Alexa digital camera system. With an intuitive design and appealing image reproduction achieved through close collaboration with filmmakers, Arri’s Alexa cameras were among the first digital cameras widely adopted by cinematographers.

Red Digital Cinema for the pioneering design and evolution of the Red Epic digital cinema cameras with upgradeable full-frame image sensors. Red’s design and innovative manufacturing process have helped facilitate the wide adoption of digital image capture in the motion picture industry.

Sony for the development of the F65 CineAlta camera with its pioneering high-resolution imaging sensor, excellent dynamic range and full 4K output. Sony’s photosite orientation and true RAW recording deliver exceptional image quality.             

Panavision and Sony for the conception and development of the Genesis digital motion picture camera. Using a familiar form factor and accessories, the design features of the Genesis allowed it to become one of the first digital cameras to be adopted by cinematographers.

Marcos Fajardo for the creative vision and original implementation of the Arnold Renderer, and to Chris Kulla, Alan King, Thiago Ize and Clifford Stein for their highly-optimized geometry engine and novel ray-tracing algorithms which unify the rendering of curves, surfaces, volumetrics and subsurface scattering as developed at Sony Pictures Imageworks and Solid Angle SL. Arnold’s scalable and memory-efficient single-pass architecture for path tracing, its authors’ publication of the underlying techniques, and its broad industry acceptance were instrumental in leading a widespread adoption of fully raytraced rendering for motion pictures.

Vladimir Koylazov for the original concept, design and implementation of V-Ray from Chaos Group. V-Ray’s efficient production-ready approach to raytracing and global illumination, its support for a wide variety of workflows, and its broad industry acceptance were instrumental in the widespread adoption of fully ray-traced rendering for motion pictures.

Luca Fascione, J.P. Lewis and Iain Matthews for the design, engineering and development of the FACETS facial performance capture and solving system at Weta Digital. FACETS was one of the first reliable systems to demonstrate accurate facial tracking from an actor-mounted camera, combined with rig-based solving, in large-scale productions. This system enables animators to bring the nuance of the original live performances to a new level of fidelity for animated characters.

Steven Rosenbluth, Joshua Barratt, Robert Nolty and Archie Te for the engineering and development of the Concept Overdrive motion control system. This user-friendly hardware and software system creates and controls complex interactions of real and virtual motion in hard realtime, while safely adapting to the needs of on-set filmmakers. 

Quick Chat: Josh Haynie Light Iron’s VP of US operations

Post services company Light Iron has named veteran post pro Josh Haynie to VP of US operations, a newly created position. Based in Light Iron’s Hollywood facility, Haynie will be responsible for leveraging the company’s resources across Los Angeles, New York, New Orleans and future locations.

Haynie joins Light Iron after 13 years at Efilm, where, as managing director, he maintained direct responsibility for all aspects of the company’s operations, including EC3 (on-location services), facility dailies, trailers, digital intermediate, home video and restoration. He managed a team of 100-plus employees. Previously, Haynie held positions at Sunset Digital, Octane/Lightning Dubs and other production and post companies. Haynie is an associate member of the ASC and is also actively involved in the HPA, SMPTE, and VES.

“From the expansion of Light Iron’s episodic services and New York facilities to the development of the color science in the new Millennium DXL camera, it is clear that the integration of Panavision and Light Iron brings significant benefits to clients,” says Haynie.

He was kind enough to take time out of his schedule to answer some of our questions…

Your title hints Light Iron opening up in new territories. Can you talk about this ? What is happening in the industry that this makes sense?
We want to be strategically located near the multiple Panavision locations. Productions and filmmakers need the expertise and familiarity of Light Iron resources in the region with the security and stability of a solid infrastructure. Projects often have splinter and multiple units in various locations, and they demand a workflow continuity in these disparate locations. We can help facilitate projects working in those various regions and offer unparalleled support and guidance.

What do you hope to accomplish in your first 6 to 12 months? What are your goals for Light Iron?
I want to learn from this very agile team of professionals and bring in operational and workflow options to the rapidly changing production/post production convergence we are all encountering. We have a very solid footing in LA, NY and NOLA. I want to ensure that each unit is working together using effective skills and technology to collaborate and allow filmmakers creative freedom. My goal is to help navigate this team though the traditional growth patterns as well as the unpredictable challenges that lie ahead in the emerging market.

You have a wealth of DI experience and knowledge. How has DI changed over the years?
The change depends on the elevation. From a very high level, it was the same simple process for many years: shoot, edit, scan, VFX, color — and our hero was always a film print. Flying lower, we have seen massive shifts in technology that have re-written the play books. The DI really starts in the camera testing phase and begins to mature during the production photography stage. The importance of look setting, dailies and VFX collaboration take on a whole new meaning with each day of shooting.

The image data that is captured needs to be available for near set cutting while VFX elements are being pulled within a few short days of photography. This image data needs to be light and nimble, albeit massive in file size and run time. The turnarounds are shrinking in the feature space exponentially. We are experiencing international collaboration on the finish and color of each project, and the final render dates are increasingly close to worldwide release dates. We are now seeing a tipping point like we encountered a few years back when we asked ourselves, “Is the hero a print or DCP?” Today, we are at the next hero question, DCP or HDR?

Do you have any advice for younger DI artists based on your history?
I think it is always good to learn from the past and understand how we got here. I would say younger artists need to aggressively educate themselves on workflow, technology, and collaboration. Each craft in the journey has experienced rapid evolvement in the last few years. There are many outlets to learn about the latest capture, edit, VFX, sound and distribution techniques being offered, and that research time needs to be on everyone’s daily task list. Seeking out new emerging creative talent is critical learning at this stage as well. Everyday a filmmaker is formulating a vision that is new to the world. We are fortunate here at Light Iron to work with these emerging filmmakers who share the same passion for taking that bold next step in storytelling.

New large-format digital camera from Panavision

Panavision will be showing three working prototypes and a demo reel of its new Millennium DXL large-format digital camera at this weekend’s Cine Gear Expo in Los Angeles. Three companies came together to share their technology in the creation of the DXL — Panavision supplied large format optics and modular accessories, Red Digital Cinema brought an 8K sensor, and a new color science and optimized workflow came from Light Iron. They are clear that this isn’t just a “Panavised” Red camera. The sensor is a Red sensor, but the body is all Panavision.

While at Cine Gear, Panavision will be collecting feedback from the community, and that will continue through the development process. For those of you not on the West Coast, keep an eye out for shows on the East Coast and internationally this fall.

According to Kim Snyder, president/CEO of Panavision, DXL is offered in response to heightened demand for large-format cinematography. “Our fleet of large format and anamorphic lenses has been extremely popular in this resurgence of large format capture, and with the Millennium DXL, cinematographers now can capture more than 20 megapixels of true 4K anamorphic pictures.”

At the core of DXL is a proprietary image mapping process called Light Iron Color, which provides a cinematic look directly out of the camera. The camera body was designed with ergonomics and temperature management in mind: its mid-size form factor is extra lightweight, yet allows for an airflow system that dissipates heat quietly. DXL also has built-in, crew-friendly, modular accessories to improve versatility and quick changeovers during production.

“Our streamlined workflow includes simultaneous recording of 4K proxy files — ProRes or DNx —alongside the 8K RAW files,” explains Michael Cioni, DXL product director and president of Light Iron, a Panavision company. “This creates a direct-to-edit workflow with the NLE of your choice. Using efficient SSD media, the cost of capturing 8K files with DXL is more economical than using third-party recorders on lower resolution cameras. Light Iron Color and our Panavised Outpost Systems provide a workflow for DXL that can be easily adopted for shooting large format photography.”

Cioni says that cinematographers will notice how 8K acquisition creates images that are smoother, not sharper. “With a full frame 35-megapixel imager, DXL provides a super-sampled image, much like large format still photography, so that its smoothness is retained whether you finish in 4K, 2K, or HD.”

The Millennium DXL will be rented exclusively through Panavision and will be available in early 2017.

Quick Chat: Light Iron New York supervising colorist Steven Bodner

By Randi Altman

Turn your TV to any network or streaming channel any evening and you will immediately be reminded just how much television production is currently going on in New York City. This boon is directly related to New York’s inviting production tax incentives. And thanks to the state’s post production tax incentives, many of these shows are now staying in New York for finishing.

In response to this increase in work, Panavision’s Light Iron in New York has been growing its episodic division, most recently with the addition of supervising colorist Steven Bodner, who joins after eight years at Deluxe in New York.

Bodner’s extensive television resume includes Girls, Blue Bloods, Treme, True Detective and the new HBO series Vinyl. Bodner also works on features, including the recent Beasts of No Nation, starring Idris Elba.

Considering his history and his new position, we figured there was no better time to reach out and learn more about Bodner and how he works.

Why was now the right time to make a move, and why was Light Iron the right choice?  
I was with Deluxe for the past eight years and felt I needed a change. I was approached by Light Iron and was impressed right off the bat with their technological know-how and advancements. The Panavision connection also influenced my decision. I love the fact that I can be involved from the early stages of choosing the camera and lenses to the final delivery.

What do you hope to accomplish in your new position at Light Iron? Your title says supervising colorist, but you will you be hands-on for shows as well?
I am 100 percent hands-on with all the projects I work on. I feel like I can connect more with the filmmakers and creatives by touching every frame of the show or film. My title is more for building a strong team and department. I want to help our new colorists polish their skills so that we can all grow together and collaborate. I have a lot of knowledge I can spread through our new department, and the title allows me to do that.

What is your color grading tool of choice?
I feel like we as artists use many tools to mold a picture. A great colorist can shape pretty pictures with whatever platform we are given — it’s more about the creative vision. That being said, I am currently using the latest version of Resolve from Blackmagic. (Light Iron’s New York facility just installed a Quantum StorNext 5 SAN (700 TB) and a Sony X300 for HDR monitoring.)

What is your ideal way of working on a TV show, and does that differ from how you work on a feature?
What I like to do, whether it be TV or a film, is get involved as early as possible. I like to get into the head of the DP and/or director and see what his or her visions are for the show. Then, during testing, I like to find time to sit and play around a bit and get some “look-book” stills done for reference going forward. When a delivery actually comes in, I like to do a quick pass unsupervised and get everything in a ballpark with my look-book stills and then go from there with the clients.

Do you prefer getting visual examples of looks or talking about the look and feel?
It’s always nice to get visual examples of what the DP or creative wants. However, there are situations when time doesn’t allow for that and a quick conversation is all you get. That’s why, for me, it’s important to be involved from the start and to communicate as often as possible or needed.

As a New York post veteran, it must be fun watching all this episodic work come to New York, and stay in NY for post. 
It’s been great watching the amount of NY work grow. I remember years ago only doing the dailies and hoping for a day when we could keep the finishing here as well. It’s a dream come true.

What changes/trends have you noticed over the past few years relating to color grading?
The biggest changes or trends I’ve noticed are related to speed and capabilities. With most projects being digital now, there is an expectation for speed. We have to be fast and precise while retaining the look and the feel of the show. I also feel like we are doing a fair amount of beauty work in color due to the stronger color tools and better trackers.

Finally, where do you find inspiration for looks? Photography? Museums? The streets of New York?
I get my inspiration from everyday life, photography and other shows or films. I also like to sit in my color suite and just try things that I normally wouldn’t do, when a client is present, to see what comes out of it.

Worlds collide: Panavision buys Light Iron

So the news broke this morning that Panavision has purchased Light Iron. Yes, Panavision, with its incredibly long history in filmmaking, has bought Light Iron, a post house that is aggressive in terms of finding efficient digital paths from set to post. They most recently worked on David Fincher’s Gone Girl, with its 6K workflow (see our story here).

In addition to its post houses in Hollywood and New York, Light Iron also rents mobile post systems called Outpost to productions. These systems will now be available at Panavision rental facilities worldwide. Light Iron, now operating as a wholly owned subsidiary of Panavision, will retain its name and branding.

Michael Cioni

According to the press release Michael Cioni, CEO of Light Iron, believes that partnering with Panavision will extend Light Iron’s international reach. “The fusion of our two companies, and the creation of new optimized tools, will mark the beginning of a new era in digital acquisition and delivery on a global scale.”

Says Panavision president Kim Snyder, “Together, we are poised to offer creative clients a deeper and more progressive level of support and services across all market segments.  This union uniquely positions us both to serve the industry through collaboration, advanced engineering and optimized services all over the world.”