Tag Archives: True Cut motion grading

Pixelworks hires post vets to lead TrueCut motion grading initiatives

Pixelworks, which provides video and display processing solutions, has beefed up its team with the hire of industry veterans Sarah Priestnall and Bruce Harris. The duo will lead TrueCut motion grading technology initiatives in North America, specifically targeting Hollywood.

Introduced in 2019, Pixelworks TrueCut motion grading provides filmmakers with the ability to deliver at a cinematically tuned high frame rate while filming at any frame rate. This allows for a broader set of motion appearances. The platform takes advantage of current cinema and home-entertainment displays while also ensuring a consistent motion appearance across different devices and screens that is faithful to the original artistic intent.

Priestnall joins as the director of product marketing, heading up the Burbank office and advancing the TrueCut commercial rollout. Harris joins as creative engineer and artist, responsible for usability design, customer training and both technical and artistic support. Priestnall and Harris both report directly to executive vice president of technology Richard Miller, who will continue to lead strategic development of the TrueCut platform.

“We’re excited to bring Sarah and Bruce on board as we ramp our efforts in Hollywood and continue the success of our TrueCut technology around the globe,” Miller says. “We are working with studios, streaming services, post production facilities and creatives to ensure that original intent of artists and filmmakers is displayed on screens across all sizes, from the cinema to the home and beyond.”

Priestnall has been evangelizing new technologies for movie, television production and post throughout her career. She was deeply involved in the development of the digital intermediate process at Cinesite, working closely with Roger Deakins, ASC, BSC, and the Coen Brothers on O Brother, Where Art Thou? She also led Codex’s worldwide marketing efforts. Priestnall is a board member of the Colorist Society International and an associate member of the American Society of Cinematographers. She wrote the chapter on digital post production in the latest ASC manual.

Harris began his career working on movie sets as a propmaker, including on major motion pictures such as Pulp Fiction and A River Runs Through It. He then transitioned into visual effects, becoming a longstanding member of the Visual Effects Society. Working all over the world, he has used his artistic talents as a compositor on productions such as The Aviator and Guardians of the Galaxy.