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3D Film Factory's 3D Training Workshop Feb. 22, 2011, in San Diego, California. Students use the 3D-BS MINI (beam-splitter) Rig with 2 Canon XH-G1's (gen-locked), while viewing real-time 3D with the 3D MASTER monitor.
The 3D Film Factory is the leader in professional, affordable 3D camera systems and real-time 3D monitoring solutions. On a day-to-day basis we provide 3D camera rig and monitor rentals, expert stereographers ‘for hire’, and 3D post and 3D production services Worldwide. In addition, we offer intensive monthly 3D training workshops. Past clients include ESPN, DISNEY, NASA, Honeywell, HD Cinema, Pinewood Studios, and many others. For more information visit www.3DFilmFactory.com
Visit www.3DFilmFactory.com
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Postproducción workflows; en el marco de actividades del trigésimo cuarto Festival Internacional de Cine en Guadalajara. Participan: Andrés Marrine, Cynthia Navarro y David Rodríguez Paredes. Guadalajara, Jalisco, México. Martes 12 de Marzo de 2019. Foto: © FICG / Gonzalo García
Located in the heart of the glamorous city of Cannes —close to the Palais du Festival and famous Croisette walk— the Vieux Port de Cannes has been a long time favourite port of call for boats of all sizes. A wooden quay in front of the Capitainerie can accommodate yachts up to 40m there (50m upon request)
[yachtinsidersguide.com]
The Promenade de la Croisette, or Boulevard de la Croisette, is a prominent road in Cannes, France. It stretches along the shore of the Mediterranean Sea and is about 2 km long. The Croisette is known for the Palais des Festivals et des Congrès, where the Cannes Film Festival is held. Many expensive shops, restaurants, and hotels (such as the Carlton, Majestic, JW Marriott Cannes, and Martinez) line the road. It goes completely along the coastline of Cannes [Wikipedia.org]
artis 2100U A4 LED UV printer.
Setup your artwork, ease your workflow with artisJet’s custom print files guidelines and templates and on demand printing jigs, enjoy the benefits of the user-friendly artisRIP software and hit the print button.
Check the video tutorial here: www.youtube.com/watch?v=BF3abiW7OH4&t=14s
Product page: artisjet.com/index.php/en/en-products/en-led-uv-printers/...
Get in touch with artisJet :
info@artisjet.com
start to end digital cinema post production workflow. color grading, visual effects, encoding for digital cinema.work for the feature film a proper name. all done at my studio. please check:http://www.bevarela.com/cat/case04b-nome-proprio/
The initial 3D model of the wolf was modeled in Rhino. The points of the model were written to an external file (via Grasshopper,) and imported into Processing for manipulation/animation.
Viewers of my photostream may wonder what those renderings of weird geometric shapes are all about. Here's a hint or two. Check the notes, and then view large.
See also: 3D Maze Test #3
This is the edit from phot number one. On shooting this film, I decided to over expose the film to get the details In the shadows. And in editing i bought down the exposure and core tied the color to match the environment as it was a sunset. I added color correction and contrast to the over all images.
in an effort to stay focused i started putting close to complete tracks on the wall...
more on the subject here www.placeguntohead.com/the-real-wall-of-knives
Photograph from Red Hat's JUDCon 2012: India held January 24-25 in Bangalore, homespun by Saltmarch Media. Only non-commercial use permitted with attribution and linkback to this page on Saltmarch's Flickr photostream. All other rights reserved.
sketching ideas for optimize workflow and innovation cycles -
preparing for the Open hardware documentation Jam
Crew and Technicolor consultant discuss the "new digital workflow" behind Steven Soderbergh's movie "Ocean's Twelve." They did not see any celluloid at all until the very end of post production, all dailies were digital, with 2K dcinema projector on location throughout for cinema quality digital preview.
Snip from panel description:
Ocean's Twelve took digital technology on the road in its globetrotting production. The filmmakers used HD dailies and 2K projection on location in Chicago, Amsterdam, Rome and Lake Como. Back in Hollywood, the picture finished with a true 4K digital intermediate. Sound editing and re-recording were accomplished entirely with ProTools. Long-time Soderbergh associate Larry Blake, leads the discussion about the making of this film, joined by Greg Ciaccio of Technicolor and Terra Bliss of Efilm.
(sent from my Treo handheld)
Xeni Jardin
xeni@xeni.net
vanity site: xeni.net
blog: boingboing.net