Friday, February 22, 2019

Toolbox

  • Wednesday, Jan. 30, 2019
Cooke debuts Anamorphic/i Full Frame Plus SF lens at BSC Expo
Cooke's Anamorphic/i Full Frame lens
LEICESTER, UK -- 

Cooke Optics has announced that at BSC Expo 2019 it will present not only a standard Anamorphic/i Full Frame Plus lens, but also--for the first time anywhere--an Anamorphic/i Full Frame Plus SF coated version. The two 50mm lenses will be demonstrated on Stand 338 at BSC Expo, taking place at Battersea Evolution, London on February 1-2.

The new Anamorphic/i Full Frame Plus range has been designed to meet the growing appetite for large format production, while offering the popular anamorphic characteristics including flare and oval bokeh. When the SF “Special Flair” coating is applied, it enables an exaggerated flare that gives yet more choice to cinematographers.

Cooke will also present /i3 (/i Cubed), the latest version of its /i Technology metadata system that provides detailed lens data to VFX and post-production teams. /i3 firmware now provides distortion mapping--not just a theoretical measurement of all lenses of a particular focal length, but of the specific lens in use. Sony is currently working to integrate /i3 into the Sony Venice large format camera.

The stand will also feature the Panchro/i Classic 65mm Macro lens--a 2-1 Macro--which also covers full frame, along with the newly designed 21mm and 135mm designed to cover the S/35 image area. In addition Cooke lenses will be present on a number of camera manufacturer and reseller stands at the show.

  • Wednesday, Jan. 23, 2019
Panavision to showcase imaging ecosystem at BSC Expo 2019
Panavision DXL2
LONDON -- 

Panavision will return to BSC Expo (Feb. 1-2) with a demonstration of the company’s comprehensive and expanding ecosystem for feature film, television and commercial productions. Along with Panalux and LEE Filters, the array of integrated technologies--ranging from lenses, camera systems, and accessories, to filters and lights--illustrates the extent to which Panavision is committed to giving filmmakers the most versatile and creative storytelling tools possible.

“Panavision is excited to exhibit our latest innovations at BSC Expo and, in particular, to share how our products and services are designed to work together to help creatives tell their stories,” said Kim Snyder, president and CEO of Panavision. 

BSC Expo attendees were among the first in the world to get up close and personal with the DXL2 in 2018, and this year visitors can look forward to discovering a host of new options for the large format camera system. New to the DXL2 this year is an integrated C-Motion F.I.Z. module to allow the use of Arri WCU4 wireless lens control handsets with full lens mapping support. This important development broadens the DXL2 ecosystem for the European market.

D2E version 1.0 gave DITs the ability to wirelessly control the LUT and CDL directly in the DXL2 camera. New to the DXL2 ecosystem being shown at BSC Expo is the Comtek Audio Module, which is the basis for the D2E 2.0 enhancement.  In addition to the LUT and CDL from D2E 1.0, DXL2 now has the ability to receive audio feeds from the sound mixer via the industry standard Comtek transmitter, turning DXL2 in camera proxies into D2E dailies with color and sound.

Further advancing the popularity of the DXL camera system is the DXL-M Module and accessory kit for Red’s DSMC cameras, which includes expansive power and communication ports, the DXL menu system and LiColor2. Also included is an additional SDI output path giving users two independently controlled outputs as well as clones. Notable to the DXL-M package is the Panavision Primo HDR viewfinder and motorized cinema lenses, which create a unique option for filmmakers not found anywhere else.

Cinematographers keen to infuse distinct looks into their storytelling will be eager to see and handle the company’s proprietary portfolio of optics. Panavision’s team will be available at BSC Expo to offer tips and guidance on the large-format lenses on display, which include: Panaspeed, a large format update of the classic Primo look, offering the fastest option @ T1.4; Ultra Vista large format anamorphic optics with a 1.65x squeeze; H Series spherical lens set created with vintage glass for a classic portrait look; and the Primo X, the weather-proof compact and aerodynamic drone and gimbal solution.

“Panavision’s array of camera and glass options are meeting the demand for large-format filmmaking and illustrate the unmatched creative agility available to filmmakers,” added Snyder.

Additionally, wireless or wired control of DXL2 and DXL-M is now available for Android alongside iOS devices. The Android DXL Control app allows users the option of wired control in situations where wireless is not ideal, such as aerial, underwater, and for Techno cranes.

LEE Filters will be present at BSC Expo to highlight its range of next-generation filters, including the latest Zircon gels for essential fine-tuning LED control and ProGlass CINE IRND, the ultimate in precision Neutral Density filters for cinema.

Panalux will present a diverse range of products on practical display lighting the booth. In addition, there will be demonstrations of the Cine Reflect Lighting System by The Light Box illustrating how any light source can be shaped by diffusion reflectors to produce natural looking light and shadows. 

“As a camera and lens manufacturer that also serves filmmakers as a trusted equipment and service provider, Panavision is uniquely positioned to respond to the needs of the community,” noted Jeff Allen, managing director, EAME, Panavision. “All the technologies displayed at BSC Expo, including gels and lights, can be integrated in any combination and for any type and style of production to help creatives tell their stories with maximum control from the moment of capture through delivery and display.”

  • Tuesday, Jan. 22, 2019
RED rolls out DSMC2 Ultra-Brite Monitor
RED's DSMC2 Touch 7.0” Ultra-Brite LCD Monitor
IRVINE, Calif. -- 

RED Digital Cinema® has introduced the DSMC2® Touch 7.0” Ultra-Brite LCD Monitor to its line of camera accessories.

The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides the most intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. A 1920x1200 resolution display panel provides 2,200 nits of brightness to overcome viewing difficulties in bright outdoor environments, and the high pixel density (at 323 ppi) and 1200:1 contrast ratio deliver exceptional image quality.

The Ultra-Brite display mounts to RED’s DSMC2 BRAIN®, or other 1/4-20 mounting surfaces, and provides a LEMO connection to the camera, making it an ideal monitoring option for gimbals, cranes, and cabled remote viewing. Shooters can use a DSMC2 LEMO Adaptor A in conjunction with the Ultra-Brite display for convenient mounting options away from the DSMC2 camera BRAIN.

The new monitor is priced at $3,750.

  • Thursday, Jan. 17, 2019
Sundance filmmakers turn to Panavision for production and post services
A scene from "Brittany Runs a Marathon"
WOODLAND HILLS, Calif. -- 

As entertainment industry luminaries prepare to swarm Park City for the Sundance Film Festival, Panavision and Light Iron (Panavision’s postproduction subsidiary) announced their collaborations with filmmakers on more than 25 projects screening or competing at the 2019 event (Jan. 24 – Feb. 3). The independent filmmakers behind these unique stories leveraged the innovative services of Panavision and Light Iron to provide a full range of offerings from gear to final deliverables.

“We’re honored that independent artists join forces with us to achieve their vision,” said Kim Snyder, president and CEO, Panavision. “We are dedicated to delivering the tools and expertise that content creators need, wherever they are in the world, from pre-production to post.”

The 2019 Sundance lineup illustrates Panavision’s enduring commitment to supporting the creative community and reinforces the importance of fostering filmmaking around the world. Across a number of titles, Panavision provided camera, lens and accessory packages, as well as dailies, offline editorial, and final color services from Light Iron. The comprehensive and single-point offerings underscore the company’s dedication to meeting the individual needs of independent filmmakers and their budget demands.

Snyder added, “Panavision’s vast portfolio of cameras and lenses coupled with our technical expertise present filmmakers with a phenomenal mix of options to creatively assemble the right equipment for any job. Additionally, the workflow savvy and creative services from Light Iron provide critical components that ensure quality imagery throughout the entire process.”

Here’s a look at some of the highly anticipated productions at Sundance supported by Panavision and Light Iron:

U.S. Dramatic Competition
Big Time Adolescence (dir. Jason Orley, DP Andrew Huebscher) – Camera rental, Superspeed lenses, Panavision New York.

Brittany Runs a Marathon (dir. Paul Downs Colaizzo, DP Seamus Tierney) – Camera rental, Primo prime lenses, Panavision New York.  Color by Sean Dunckley, Light Iron New York.

Hala (dir. Minhal Baig, DP Carolina Costa) – Camera and optics package, Panavision Chicago.

Honey Boy (dir. Alma Har’el, DP Natasha Braier, ASC, ADF) – Camera and optics package, Panavision Hollywood.

Luce (dir. Julius Onah, DP Larkin Seiple) – Panavision XL2 camera, G Series lenses, Panavision New York.

To the Stars (dir. Martha Stephens, DP Andrew Reed) – Camera rental, Primo Prime lenses, Panavision Dallas.

Premieres
Animals (dir. Sophie Hyde, DP Bryan Mason) – Camera rental, Superspeed lenses, Panavision Ireland.

Extremely Wicked, Shockingly Evil and Vile (dir. Joe Berlinger, DP Brandon Trost) – Camera rental, C Series anamorphic lenses, Panavision Hollywood.

Late Night (dir. Nisha Ganatra, DP Matthew Clark) – Camera rental, Primo Zoom lenses, Panavision New York. Dailies by Light Iron New York. Color by Sean Dunckley, Light Iron New York.

Paddleton (dir. Alex Lehmann, DP Nathan M. Miller) – Color by Corinne Bogdanowicz, Light Iron Los Angeles.

Photograph (dir. Ritesh Batra, DP Ben Kutchins) – Offline editorial rentals, Light Iron New York.

The Boy Who Harnessed the Wind - Opening Night Film (dir. Chiwetel Ejiofor, DP Dick Pope, BSC) – Camera rental, Primo Prime lenses, Panavision Johannesburg.

The Tomorrow Man (dir. and DP Noble Jones) – Color by Corinne Bogdanowicz, Light Iron Los Angeles.

Top End Wedding (dir. Wayne Blair, DP Eric Murray Lui) – Camera and optics package, Panavision Sydney.

Troop Zero - Closing Night Film (dir. Bert & Bertie, DP Jim Whitaker) – Dailies by Light Iron New Orleans. Color by Corinne Bogdanowicz, Light Iron Los Angeles.

Velvet Buzzsaw (dir. Dan Gilroy, Robert Elswit, ASC) – Panavision Millennium DXL2, SP lenses, Panavision Woodland Hills.

NEXT Competition
Selah and the Spades (dir. Tayarisha Poe, DP Jomo Fray) – Camera and optics package, Panavision New York. Color by Steven Bodner, Light Iron New York.

The Wolf Hour (dir. Alistair Banks Griffin, DP Khalid Mohtaseb) – Camera rental and T-series, MAP55, and AWZ2.3 lenses, Panavision New York.

WORLD Cinema Dramatic Competition
Judy and Punch (dir. Mirrah Foulkes, DP Stefan Duscio) – Camera rental, C Series lenses, Panavision Sydney.

Midnight
Corporate Animals (dir. Patrick Brice, DP Tarin Anderson) – Color by Nick Hasson, Light Iron Los Angeles.

Little Monsters (dir. Abe Forsythe, DP Lachlan Milne, ACS) – Camera rental, anamorphic lenses, Panavision Sydney.

Spotlight
The Nightingale (dir. Jennifer Kent, DP Radek Ladczuk) – Camera rental, PVintage lenses, Panavision Sydney.

Doc Premieres
Ask Dr. Ruth (dir. Ryan White, DP David Jacobson) – Color by Nick Lareau. Light Iron Los Angeles.

Indie Episodic
It’s Not About Jimmy Keene (Dir. Caleb Jaffe, DP Noble Gray) – Color by Ian Vertovec. Light Iron Los Angeles.

Special Events
Lorena (dir. Joshua Rofé, DP Ronan Killeen) – Dailies by Light Iron Los Angeles. Color by Nick Lareau, Light Iron Los Angeles.

Now Apocalypse (dir. Gregg Araki, DP Sandra Valde-Hansen) – Camera rental, Primo Prime lenses, Panavision Hollywood.

U.S. Narrative Shorts
Lockdown (dir. Celine Held and Logan George, DP Caleb Heller) – Rental package, Panavision Woodland Hills.

  • Thursday, Jan. 17, 2019
ARRI Rental grows Atlanta team
Peter Fodero
ATLANTA -- 

ARRI Rental, a global provider of camera, grip and lighting equipment, has made two additions to the team at its Atlanta facility: Peter Fodero, who has joined as operations manager, will oversee day-to-day management of the rental operation, while new client contact Kyle Baggett will focus on customer service.

Fodero began his career as a production freelancer before joining another equipment rental house in 2011 where he held many roles, most recently as general manager. He studied Film and Video at Georgia State University and is a member of IATSE 479 and IATSE 600. Baggett has previous experience in the industry as a rental agent and rental supervisor.

Peter Crithary, president of ARRI Rental US Camera, said of Fodero and Baggett, “Their extensive knowledge and close connections within the creative community are a tremendous asset.”

Regional marketing executive Kelli Bingham will continue to focus on managing the company’s relationships with production and crew in Atlanta, as well as seeking new business opportunities. Working alongside her, sr. field support technician Mike Sippel is part of the location support team and responsible for all camera-related products, including the ALEXA 65.

  • Tuesday, Jan. 15, 2019
Autodesk launches Maya 2019
Maya 2019 Cached Playback menus
SAN FRANCISCO -- 

Autodesk has launched Maya 2019, the latest version of its popular 3D animation, modeling, simulation and rendering software, featuring significant updates to help artists achieve their creative vision within a faster, more interactive and visually engaging working environment. Maya 2019 addresses the key challenges artists face throughout production, providing faster animation playback to reduce the need for playblasts, higher quality 3D previews with Autodesk Arnold updates in viewport 2.0, improved pipeline integration with more flexible development environment support, and performance improvements that most Maya artists will notice in their daily work.

“The more you can make the technology behave and get out of the artists’ way, the more they can keep their thought process fluid. With Cached Playback, animators can iterate more, and they totally love that,” said Christopher Moore, technical program manager, Blue Sky Studios

“We’re not looking to make it so our artists get more shots per week off their plate. We’re doing this so we can set the bar even higher for the quality of art we can produce,” said Hank Driskill, CTO, Blue Sky Studios

“The new features in Maya 2019 give artists a more responsive working environment so they feel more creatively engaged and can iterate faster to produce better quality. Cached Playback is going to reduce the need for playblasts by animators, and Arnold updates take the guesswork out of the equation, by making viewport previews closer to the final Arnold render,” said Chris Vienneau, sr. director, Media & Entertainment Products, Autodesk.

Key new Maya 2019 features include:

  • Faster Animation: New cached playback increases animation playback speeds in viewport 2.0, giving animators a more interactive and responsive animating environment to produce better quality animations. It helps reduce the need to produce time-consuming playblasts to evaluate animation work, so animators can work faster.
  • Higher Quality Previews Closer to Final Renders: Arnold upgrades improve real-time previews in viewport 2.0, allowing artists to preview higher quality results that are closer to the final Arnold render for better creativity and less wasted time.
  • Faster Maya: New performance and stability upgrades help improve daily productivity in a range of areas that most artists will notice in their daily work.
  • Refining Animation Data: New filters within the graph editor make it easier to work with motion capture data, including the Butterworth filter and the key reducer to help refine animation curves.
  • Rigging Improvements: New updates help make the work of riggers and character TDs easier, including the ability to hide sets from the outliner to streamline scenes, improvements to the bake deformer tool and new methods for saving deformer weights to more easily script rig creation.
  • Pipeline Integration Improvements: Development environment updates make it easier for pipeline and tool developers to create, customize and integrate into production pipelines.
  • Help for Animators in Training: Sample rigged and animated characters, as well as motion capture samples, make it easier for students to learn and quickly get started animating.

Maya 2019 is available as a standalone subscription or with a collection of end-to-end creative tools within the Autodesk Media & Entertainment Collection.

  • Wednesday, Jan. 9, 2019
Remember virtual reality? Its buzz has faded at CES 2019
People use Oculus VR headsets at the Panasonic booth at CES International, Tuesday, Jan. 8, 2019, in Las Vegas. (AP Photo/John Locher)
NEW YORK (AP) -- 

Just a few years ago, virtual reality was poised to take over the world. After decades of near misses, the revolution finally seemed imminent, with slick consumer headsets about to hit the market and industries from gaming and entertainment to social media ready to hop on the bandwagon.

But the buzz over VR has faded to a whisper. At the CES 2019 tech show in Las Vegas, Facebook's Oculus unit isn't holding any glitzy press events, just closed-door demos for its upcoming Oculus Quest, a $399 untethered headset due out in the spring. Other VR companies are similarly subdued. HTC announced two new headsets — one with only sketchy details — while Sony has some kiosks for its $300 PlayStation VR set in the main hall.

It's a world away from the scene a few years ago, when VR products from Samsung, Oculus, HTC and Sony seemed omnipresent and unstoppable at CES. These days, VR is mostly a niche product for gaming and business training, held back by expensive, clunky headsets, a paucity of interesting software and other technological shortcomings.

"VR hasn't escaped the early adopter, gamer-oriented segment," said Forrester analyst J.P. Gownder — himself an early adopter who chafed in 2016 at delays in shipping Facebook's then-groundbreaking Oculus Rift system. Gownder said many existing VR setups are still too hard to use; even simpler mobile systems like Samsung's Gear VR, he said, don't offer "a clear reason for the average non-gamer to get involved."

VR proponents are still dreaming big, although the challenges remain formidable. Shipments of VR headsets rose 8 percent in the third quarter compared to the previous year, to 1.9 million units, according to data research firm International Data Corp. — an uptick that followed four consecutive quarters of decline . Nearly a quarter of a million units of Facebook's Oculus Go and Xiaomi's Mi VR — the same stand-alone VR headset, sold under different names in different markets — shipped worldwide in the quarter, IDC said.

Those still aren't huge numbers for a technology that seemed to hold such promise in 2012 when early demonstrations of the Oculus Rift wowed audiences — so much that Facebook acquired Oculus for $2 billion two years later. Despite large sums ploughed into the field by Facebook, Sony, Samsung, Microsoft and Google, VR hasn't yet made much of a dent in the real world.

Some of the biggest consumer complaints involve expense, laggy or glitchy graphics and the fact that many systems still tether the headsets to gaming consoles or PCs. "Technology is still what's holding VR back," said eMarketer analyst Victoria Petrock. Upcoming stand-alone headsets like the Oculus Quest could solve some of those problems.

More alarming, though, VR still suffers from a lack of hit software. Many major game publishers have largely avoided the field so far, and venture funding for VR software development has nosedived this year.

SuperData, a digital games and VR market research company owned by Nielsen Holdings, estimates that consumer VR software investments dropped by a stunning 59 percent in 2018, to $173 million from $420 million the year before.

Software makers are retrenching. IMAX said in late December it was shutting down its VR unit. Jaunt, a startup focused on cinematic VR and once backed by Disney, restructured this year. Its new focus? VR's cousin technology, "augmented reality," which paints consumer-simulated objects into the real world, a la the cartoony monsters of "Pokemon Go."

A few games have been modest hits. "Beat Saber" a VR game in which players move a lightsaber to music, sold over 100,000 copies in its first month and became the seventh highest-rated game on Steam, according to Forbes. But such titles are few and far between.

There's one other problem: VR isn't very social, Petrock said. There's no easy way to share the experience with others on social media or within the games themselves, making a VR experience less likely to go viral the way, say, "Fortnite" has. "You have your headset strapped on and you're in a virtual world but it is solitary," she said.

VR "is still is the next big thing, but anything good takes time and effort," said Gartner analyst Tuong Nguyen. "The industry as a whole did overhype it."

He compares the current VR industry to the TV industry when HDTV first came out. People bought new high-definition sets but were disappointed when there wasn't anything to watch in the new format. For VR, "the kind of breadth and depth of content isn't all quite there," he said.

AP Technology Writer Rachel Lerman contributed to this article from Seattle.

  • Tuesday, Jan. 8, 2019
CES 2019: Google brings a Disney-like ride to tech show
Sony President and CEO Kenichiro Yoshida, left, musician Pharrell Williams, middle, and Sony Music Entertainment CEO Rob Stringer, right, pose for a photograph at the Sony news conference at CES International, Monday, Jan. 7, 2019, in Las Vegas. (AP Photo/Ross D. Franklin)
LAS VEGAS (AP) -- 

The CES 2019 gadget show opened its doors Tuesday, with tech companies from giants to tiny startups showing off their latest products and services.
In recent years, CES's influence has declined as Apple, Google and other major companies throw their own events to launch new wares. Still, more than 180,000 people from about 150 countries are expected to attend. The sprawling event spans 11 official venues, plus scores of unofficial ones throughout Las Vegas. The four-day show in Las Vegas opened after two days of media previews.
Here are the latest findings and observations from Associated Press reporters on the ground.

CUTTING THROUGH THE BABEL
Google has transformed CES into a Disney-like theme park — complete with singing animatronic macarons — to showcase new features of its voice-enabled digital assistant.

This includes an "interpreter mode" that enables some of Google's smart home devices to work as a translator. It's being piloted at a hotel concierge desk near the Las Vegas tech conference and rolls out to consumer devices in several weeks.

Voice assistants are getting pretty good at translating speech into text, but it's a thornier challenge in artificial intelligence to enable real-time translation across different languages. Google's new feature expands upon real-time translation services it's rolled out to Android phones and headphones over the past year.

This is the second year that Google Assistant had made a huge splash at CES in an effort to outbid Amazon's Alexa as the voice assistant of choice.

Google this year has an amusement park ride that resembles Disney's "It's a Small World," though on a roller-coaster-like train at slow speeds. Talking and singing characters showcase Google's various voice-assistant features as visitors ride along.

Google isn't the only CES exhibitor promising the next generation of instant translation. Chinese AI firm iFlytek has been showing of its translation apps and devices that are already popular among Chinese travelers. And at least two startups, New York-based Waverly Labs and China-based TimeKettle, are promoting their earbuds that work as in-ear translation devices.

BRING THAT UMBRELLA
IBM is expanding its side job as the world's meteorologist.

IBM CEO Ginni Rometty used a keynote address Tuesday to unveil a new global forecasting system that promises more accurate local weather reports in places that never had them before.

The computing giant owns The Weather Company, which runs popular weather services including weather.com and the Weather Channel and Weather Underground apps (though not the Weather Channel television network). Those apps provide precise and constantly updating forecasts in places like the U.S. and parts of Europe and Japan, but not in most of the world.

IBM says its new forecasting model relies in part on "crowd-sourced" data — barometric pressure readings from millions of smartphones and sensor readings from passing airplanes.

Weather Company CEO Cameron Clayton says the new system is intended to aid IBM's business providing critical weather data to airlines, energy firms and other industries. But he says it will also have societal benefits, such as helping small farmers in India or parts of Africa yield better crops.

IBM may have trouble persuading some users to agree to transmit atmospheric data to IBM after the city of Los Angeles sued last week to stop the Weather Channel's data-collection practices. The lawsuit alleges that the company uses location information not just to personalize weather but also to track users' every step and profit off that information. The company has denied any impropriety with sharing location data collected from users, saying it does disclose what it does.

SAMSUNG WANTS TO BRING ROBOTS HOME
Up next for Samsung: a robot that can keep its eye on grandma and grandpa.

The rolling robot, which talks and has two digital eyes on a black screen, can track medicines they take, measure blood pressure and call 911 if it detects a fall.

The company didn't not say when Samsung Bot Care would be available, but brought the robot out on stage Monday at a presentation at CES. Samsung also said it is working on a robot for stores and another for testing and purifying the air in homes.

Samsung also unveiled TVs, appliances and other high-tech gizmos — but not a foldable phone it hinted at in November. But a startup called Royole did. The Royole FlexPai smartphone was first shown in November but the California-based company has more details. The phone will have a 7.8-inch display that can be folded like a wallet, priced at more than $1,300.

STAR DELIGHT
Sony brought some star power to CES with a visit from musician Pharrell Williams, straight from trip to Anguilla.

The star of hit songs such as "Happy" came to talk about a mostly secret project that he and Sony are supposedly undertaking. But in the end, it was clearly an attempt by Sony to sprinkle some stardust on launches for TVs and other products.

"I was a little bit worried that he was still on holiday, but he is here," Sony Music head Rob Stringer told the crowd.

AP Technology Writer Barbara Ortutay in New York and video journalist Jona Kallgren in Las Vegas contributed to this report.

  • Tuesday, Jan. 8, 2019
EFILM's Tom Reiser brings color to HDR Dolby Vision finish of "Escape Room"
A scene from "Escape Room"
HOLLYWOOD, Calif. -- 

Columbia Pictures’ Escape Room is a new psychological thriller that follows six strangers who find themselves in circumstances beyond their control and are forced to use their wits to find the clues or die. The film’s director, Adam Robitel, and cinematographer, Marc Spicer, tapped EFILM sr. colorist Tom Reiser for the color finish. 

Each room in the film is a world unto itself, replete with its own look, distinct environment, and feel, all of which translate into the color finish. Reiser essentially graded a series of mini movies that comprise a whole. Having collaborated on The Fate of the Furious, Spicer and Reiser enjoyed a creative short-hand and were in synergy throughout the color finish.   

“The most challenging aspect of the film was that each room required us to retain the same look, the same flavor, and make it cohesive throughout the scene. For example, there’s a room that appears to be in the snowy wilderness. I dialed up the blue-ice look to the point where it looks a bit artificial and made the snow overly white. This look had to remain consistent for the entire long sequence. Additionally, these choices all serve the fact that we’re not really in the snow wilderness, we’re in an artificially created environment,” explained Reiser. 

The film also makes striking use of the storytelling capabilities of High Dynamic Range. In the HDR Dolby Vision finish of the film, Reiser pushed the HDR during the sequence in which the characters experience the “first room” of the movie, which is a lobby inside a building. Various surfaces and walls in the room literally heat up to make the characters uncomfortable during the sequence. 

“With HDR, you can make contrast with the highlights that you can’t see anywhere else. You can actually see the rippling heat waves and the red of the heated surfaces really pops. It’s an almost immersive experience,” said Reiser. 

The screenplay is by Bragi Schut and Maria Melnik, and the story by Bragi Schut. The film is produced by Neal H. Moritz and Ori Marmur. Rebecca Rivo serves as executive producer. The movie stars Taylor Russell, Logan Miller, Deborah Ann Woll, Jay Ellis, Tyler Labine, Nik Dodani, with Yorick van Wageningen.

  • Tuesday, Jan. 8, 2019
CES 2019: TV set maker LG makes its sets disappear
David VanderWaal, vice president of marketing for LG Electronics USA, unveils the LG Signature OLED TV R during an LG news conference at CES International, Monday, Jan. 7, 2019, in Las Vegas. (AP Photo/John Locher)
LAS VEGAS (AP) -- 

The CES 2019 gadget show is revving up in Las Vegas. Here are the latest findings and observations from Associated Press reporters on the ground as technology's biggest trade event gets underway.

DISAPPEARING TELEVISIONS
In this age of smartphone streaming, big television sets are no longer the centerpiece of many living rooms. Now South Korean electronics company LG is doing its part to make TVs disappear altogether.

LG has unveiled a "rollable" TV — a 65-inch screen that can roll down and disappear into its base with the press of a button. The set can still play music when the screen is rolled down completely, or display a clock when it's just partially rolled down. LG says the TV will be available later this year. It didn't say how much it will cost.

Meanwhile, LG, Samsung and others unveiled "8K" sets, with four times the resolution of today's high-definition sets and twice that of 4K sets such as LG's rollable one. 8K represents the next generation of television viewing, but one that most people won't see for themselves for some time.

So far, 8K has only been deployed for the occasional experimental broadcast, such as during the Olympics. Even 4K shows and movies are just starting to catch on.

"As always with TVs, innovations come with display hardware first and adoption of things like content and delivery always follow later," said Paul Gagnon, an analyst with IHS Markit.

But unlike past developments that never caught on, such as 3D TVs, analysts believe 8K will become more popular eventually — just not ubiquitous.

Samsung announced its first 8K TV last year, an 85-inch model costing nearly $15,000. The company unveiled four additional sizes Monday, sans prices. Also Monday, TCL announced plans for 8K sets with Roku's streaming technology built-in. LG has two 8K sets coming.

ENOUGH ABOUT SELF-DRIVING CARS
Many people at CES would rather hear about better video games. Nvidia CEO Jensen Huang got a big round of applause when he told a crowd that he'd spend more time talking gaming than autonomous driving.

The Santa Clara, California-based chipmaker's computer graphics technology is used in both industries. But it was Huang's unveiling of a new gaming-oriented graphics processor that elicited the biggest cheers Sunday night. He also detailed how his company's advances in artificial intelligence and a graphics technology called "ray tracing" are helping to generate ever-more-realistic scenery in popular games.

This year's CES is less focused on autonomous cars compared with last year, though there's ongoing buzz about self-driving innovations. Ride-hailing service Lyft says that after launching a self-driving Las Vegas taxi service at last year's CES, it's now had almost 30,000 paid rides. Daimler on Monday unveiled a new self-driving truck and Bosch and May Mobility separately unveiled their concepts for a driverless shuttle bus.

Meanwhile, executives from Audi, Toyota, Cruise Automation, chipmaker Nvidia, Google spinoff Waymo and several startups are gearing up to convince the public that autonomous vehicles are safe.

They say the coalition is not a lobbying effort but a united front to invest in countering what they describe as public confusion, fears and unrealistic expectations about self-driving technology. The industry push follows a year of news about self-driving crashes, including an autonomous Uber that fatally struck a pedestrian in March. Neither Uber nor Tesla, which has also had crashes, is part of the group.

A CENTURY-OLD CES FIRST-TIMER
You wouldn't expect to find the maker of Pampers and Bounty paper towels at the world's largest technology conference.

But here's consumer goods company Procter & Gamble at CES 2019, showing off heated razors and a toothbrush that uses artificial intelligence. (Sorry if you were expecting self-changing diapers.)

Procter & Gamble, which was founded more than 180 years ago, said it's the first time it has been an exhibitor at CES. The company said it needs to infuse technology into everyday products to keep up with what customers want.

Among the goods on display: a waterproof Gillette razor that heats up to 122 degrees; an Oral-B toothbrush that tells you if you're missing areas when brushing; and a wand-like device called Opte that scans the skin and releases serum that covers up age spots and other discoloration.

Although some of the products have been sold in test runs, pricing hasn't been set yet. But expect to pay a lot more than the ordinary stuff currently on drugstore shelves.

AN ELEGANT WAY TO TEXT
People feeling overwhelmed by their array of connected devices can invest up to $700 on another device meant to feel more artisanal.

Mui Lab, based in Kyoto, Japan, has designed an internet-connected wall panel made of sycamore wood that you can touch to send messages, check the weather or control other home devices such as lights and thermostats. Lighted letters and icons appear on the wood panel when it's being used — and disappear when it's inactive.

CEO Kazunori Oki says it's about bringing a more natural feel to a connected home.

While you're at it, you can make your home smell better. Feeling like more lavender and less jasmine? Or want your holiday party to smell like a blend of Christmas tree, fireplace and cookies? The Moodo "smart-home fragrance diffusers" made by Israeli fragrance company Agan Aroma enable users to adjust blends from their smartphones. Each $139 device holds up to four capsules with different scents.

AP Technology Writer Rachel Lerman in Seattle contributed to this report.

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