There's gear that helps you to get the shot and then there's gear that makes you think about the shot in a whole new way: Steadicam. 3D rigs. Cranes. Camera Cars. Every one revolutionizing production -- moving from game changer to indispensable. Find out what's hot, what's cool, and what's coming when you dig in with a panel of operators, cinematographers, lighting experts, product and rental experts in this interactive discussion. Cranes, storage, lighting, camera cars, grip and dolly, tripods, and more. How can you put new products to work on set with maximum success. Don't miss this rare opportunity to see, touch, and discuss with working experts all that gear. Panelists include: Mark August, SOC, David Frederick, SOC, Dan Kneece, SOC, Larry Mole Parker, Mole Richardson, and Paul Kobelja, PRG. Moderated by: Jessica Sitomer, CEO, The Greenlight Coach.
Dan McGraw (Seven Dials Media) moderates a panel of production professionals who integrate DAM, MAM and PAM into their workflows, including The Portal Group's Raj Chaudhuri, Cognizant's Timothy Day and HBO's Peter Price.
To see the rest of the panel, click here...damcoalition.com/createasphere-dam/story/dam-in-production
Rebel Alliance's John Attard talks with John Huddles, director of the film "The Philosophers" about how using digital asset management allowed them to streamline the creation of spectacular special effects on time and on budget.
Huge thanks to Dan Moran twitter.com/danmorancolor for this. Hopefully this is first of a series from him.
If this has been useful for you please show your thanks to Dan by using the tipjar function on this page. All the money (minus the Vimeo small fee) will got to Dan, not me!
For my review of this excellent new camera go here: vimeo.com/50394211
"Some before and after comparison scenes from Atıf Yılmaz's 1977 film "Selvi Boylum Al Yazmalım" (The Girl with The Red Scarf)."
The digital film restoration and color correction has been carried out by Vipsas A.S. Istanbul and it took around 60 days in total to restore pictures to the current state.
The DI color correction was applied in guidance of the film's DOP Çetin Tunca and producer Arif Keskiner.
The restoration of the movie was handled in its original Academy Format(4:3) for archival purposes and was also projected as is in its premiere, however considering the new cinema screen standards, a 1.85 version have been prepared for further theatrical releases.
The sound restoration has been done by Fono Film İstanbul.
- - - - - - - - - - - - -
"Atıf Yılmaz'ın 1977 filmi Selvi Boylum Al Yazmalım'ın restorasyonuna dair karşılaştırmalı sahneler."
Dijital film restorasyonu ve renk düzenleme İstanbul Vipsaş A.Ş. stüdyolarında yaklaşık 2 aylık bir sürede gerekleştirildi.
Tekrar dijital renk düzenleme fimin görüntü yönetmeni Çetin Tunca ve yapımcısı Arif Keskiner'in öncülüğünde gerçekleştirildi.
Filmin restorasyonu arşivleme maksadıyla orijinal aspekti olan akademi(4:3) formatta yapıldı ve galada da bu şekilde gösterildi, fakat vizyona girecek olan kopyası için günümüz geniş sinema perdeleri göz önünde bulundurularak 1.85 versiyonu da hazırlandı.
Filmin ses restorasyonu ve miksajı Fono Film tarafından yapıldı.