Archive of the Documentaries Category

High Definition (HD) KVM DVI Draco matrix switches are capable of mixing both CATx and fiber optic connections

OOBAXS (pronounced Out of Band Access), the console access authority for data centers and broadcasting today announced that it is bringing High Definition (HD) KVM DVI Draco matrix switches capable of mixing both CATx and fiber optic connections between source and target to the US market. The switches are manufactured by IHSE Germany, a leading developer and innovator in high speed, high definition DVI and KVM/Video extension and switching solutions.

OOBAXS, one of Hollywood’s leading technology integrators will provide installations, support and guidance on deployments at numerous post-production facilities. “The Draco series is the fastest core switching product on the market,” said Alan Frank, technology strategist and founder of OOBAXS. “IHSE’s willingness to be a responsive partner with their end-users has led to the evolution of a product that is changing the way movies are made.”

The Draco offers DVI video extenders over CATx or Fiber for “mission critical” server and computer access, as well as, fiber optic HD-KVM matrix switches. The Draco, featuring ZERO blocking, high speed switching, HD DVI to 1920×1200, and four HID, has already made its impact on Hollywood studios.

Working with OOBAXS to design and deploy a solution using Draco, Shapeshifter Post was the first post-production facility in Hollywood to embrace the high speed technology. “We had been researching KVM Matrix switching/extension options for many months, and needed a robust solution that could support all our input devices without issue, including our Avid Symphony, DS, and Media Composer, as well as De Vinci Resolve, and Final Cut Pro workstations,” said Russo Anastasio, president of Shapeshifter Post. “We knew that by installing the IHSE Draco, we would increase our productivity, but didn’t realize the extent of that increase would be such a game changer!”

“Post-production tasks can be time consuming and draining on resources and typically depend on individual hardware and locations,” added Alan Frank. “An editor may have traditionally worked in one bay for picture editing, but then would need to move to a new location to add in special effects or color-time. With the Draco, an entire production house worth of resources becomes accessible at any single end-point.”

OOBAXS (pronounced Out of Band Access) provides anywhere, anytime console access to broadcast facilities and data centers. The company has a long track record integrating access solutions to help data center managers gain access to any appliance or piece of equipment in their network. OOBAXS.COM has been instrumental in bringing the latest technologies to data centers helping them improve anytime access, image/video quality, productivity, access speed, and a more flexible infrastructure. OOBAXS has brought modern data center tools and techniques into the broadcast world. The result is a client list that includes the world largest movie, recording, radio and television studios as well as Fortune 100 company data-centers. As video, speed and visual interfaces continue to improve; OOBAXS will remain a leading resource for CIOs, CTOs, and broadcast engineers.

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Documentary Debuted on History Channel

LOS ANGELES—Pirate Island, a feature-length documentary that recently made its world premiere on the History Channel, follows legendary underwater archeologist Barry Clifford as he searches for pirate shipwrecks in the waters near Île Sainte-Marie, a tiny island off the coast of Madagascar. As with Somali pirates today, the Indian Ocean was terrorized in the 18th century by marauding seamen, who amassed huge fortunes by pillaging commercial vessels. Clifford, the only person to previously have found a pirate shipwreck, was seeking evidence of these early pirates and their booty.

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DP & Stereographer Bruce Austin films wild African elephants in 3D using a pair of all-new Canon XF305′s and the 3D-SS PRO RIG bulit by the 3D Film Factory. Mr. Austin is an experienced stereographer who’s worked on numerous stereoscopic 3D productions for 3ality, Element Techinica and many others.

To see more 3D rigs and gear visit www.3DFilmFactory.com

Wayne, N.J. – The breathtaking Monterey Bay Coastline is the setting for a natural history film documenting the rescue of “Otter 501” – a sea otter pup found clinging to life on the beach after being separated from her mother.

Cameras follow Otter 501 as she’s taken to the Sea Otter Research and Conservation (SORAC) facility at the Monterey Bay Aquarium, where a specially trained team will introduce a surrogate sea otter mother to raise the pup until she’s ready to be released back into the wild. She was called Otter 501 because she was the 501st sea otter admitted to SORAC. Through Otter 501’s ordeal and survival, viewers gain a better understanding of the threats sea otters face in the wild, including, great white sharks, and a host of diseases and toxins coming from human actions.

One mission of this feature film is to raise awareness of the plight of the Southern sea otter, a threatened species protected by the Endangered Species Act. Because of these protections, the “Otter 501” boats could not get very close to the marine mammals, making the long zoom lenses a crucial production asset.

Natural history Director of Photography (DP) Mark Shelley and his production crew used FUJINON 2/3” format Premier Series zoom lenses to capture rare footage of sea otters in their natural habitat off the California coast. They were also used to document Otter 501’s experience at SORAC and her triumphant return to the sea.

“Our FUJINON lenses did a phenomenal job in extreme conditions,” said Shelley, who is president of his own production company, Sea Studios. “When you’re capturing wildlife footage, you don’t have the luxury of setting up the perfect shot. To capture this footage, we were continually framing, zooming, and focusing the shots, trying to predict how and where the sea otters would swim. Our FUJINON zooms captured extremely sharp, crisp images, with no aberrations or flaws – despite the salt water, sea spray, and other challenges.”

The story of Otter 501 is seen through the eyes of a young woman named Katie who embarks on an adventure after college that takes her to Monterey where she discovers the sea otter pup stranded on the beach. In a departure from conventional wildlife documentaries, Katie conveys the story by speaking into the webcam on her laptop as she blogs about her experience.

Picture quality was of critical concern to the production team, which included DP Mark Shelley, Producer Josh Rosen, Director Bob Talbot, Cameraman Ernie Kovacs, and Editor Shirley Gutierrez, because the film will be projected on large theatrical screens. However, the storyline required that the super sharp digital HD footage be interspersed with Katie’s prosumer and webcam footage—an effect that DP Shelley said worked extremely well.

According to “Otter 501” Project Manager Arlene Burns, “A variety of video vignettes and short films were also produced as part of an extensive social media campaign that will help promote the movie. Among the videos that we hope will go viral are: a short piece showing how Katie learned to roll a kayak in the surf, and a behind the scenes look at the making of ‘Otter 501.’”

FUJINON lenses were used on Panasonic Varicam and Sony CineAlta cameras. The Varicam and F900 employed a FUJINON HA13x4.5 super-wide lens for underwater and top-side production. An extended-range, yet portable HA25x16.5 ENG-Style zoom was used for top-side production. A Sony F950 with a HA42x9.7 FUJINON ENG-Style zoom lens was used in a Cineflex gyro-stabilized housing that was extended from the side of a boat using a jib-arm.

Shelley added, “The customer support we received from Fujinon’s Western Manager Chuck Lee was invaluable. He is a true supporter of natural history production.”

Production, which began in January 2011, involved 16-hour days, six days a week over many months in all types of weather and lighting conditions.

“Otter 501” was funded by the National Science Foundation, the David and Lucile Packard Foundation and investor Clint Jones. It is slated for release in first quarter 2012 to cinemas and aquariums nationwide.

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of five operating divisions and one subsidiary company. The Imaging Division sells consumer and commercial photographic products and services including film, one-time-use cameras, online photo services and fulfillment, digital printing equipment and service. The Electronic Imaging Division markets consumer digital cameras. The Motion Picture Division provides motion picture film, and the Graphic Systems Division supplies products and services to the printing industry. The Optical Devices Division provides binoculars, and optical lenses for closed circuit television, videography, cinematography, broadcast and industrial markets. FUJIFILM Canada Inc. markets a range of Fujifilm products and services. For more information, please visit www.fujifilm.com/northamerica, or go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.
FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials, and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 16 companies around the world granted U.S. patents in 2010, and in the year ended March 31, 2011, had global revenues of $25.8 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.

* At an exchange rate of 86 yen to the dollar.

About Sea Studios Foundation
Sea Studios Foundation is a non-profit team of award-winning filmmakers, respected scientists and communication experts who work together to raise public involvement in solving the major threats to our planet’s health. We are dedicated to raising awareness of all the ways human life is entwined with the natural environment, and exposing the complex web of connections of Earth’s life support systems. We believe that lasting solutions demand an informed, engaged public as well as government and business leadership. In all our work we rely on cutting-edge social science research, extensive scientific and public opinion research, and we rigorously evaluate everything we do.
The Foundation received international acclaim for two recent projects produced for PBS in collaboration with the National Geographic Society: The Shape of Life, a primer for understanding the evolution of the animal kingdom and animal biodiversity, and Strange Days on Planet Earth, One and Two, hosted by Academy-award nominee Edward Norton. Both projects were praised for the quality of their science-based content, style, storytelling and pioneering techniques in underwater and deep-sea filmmaking.

Strange Days on Planet Earth is the recipient of fourteen international awards, including Wildscreen, the environmental equivalent of the Academy Awards®. Building upon the Strange Days Two episode Dirty Secrets, Sea Studios spearheaded the Think Beyond Plastics Social Activation Campaign, which won Best 360 Campaign at the 2009 Jackson Hole Film Festival. The Sea Studios film Once Upon a Tide won Best Children’s Film at Jackson Hole.

All product and company names herein may be trademarks of their registered owners.

FUJIFILM Optical Devices Division, 10 High Point Drive, Wayne, New Jersey 07470. Phone: 973-633-5600. Fax: 973-633-5216. Web site: http://www.fujifilmusa.com/products/optical_devices/index.html.

New York – The Cinema Eye Honors for Nonfiction Filmmaking today announced that the 2012 Legacy Award will be presented to the landmark 1967 documentary, Titicut Follies, a stark and graphic portrayal of the conditions that existed at the State Prison for the Criminally Insane at Bridgewater, Massachusetts. Filmmaker Frederick Wiseman will accept the award on behalf of the film at this year’s Cinema Eye ceremony.

“It’s hard for me to believe that Titicut Follies was shot forty-six years ago,” said Wiseman. “I’m thrilled to receive the Cinema Eye Legacy Award but it is tough for me to deal with the implications.”

The award will be presented on January 11, 2012 at the 5th Annual Cinema Eye Honors ceremony to be held at the Museum of the Moving Image in Astoria, New York. A Stranger Than Fiction screening of Titicut Follies will be held the following week, on January 17, at the IFC Center, on the eve of the opening of Wiseman’s latest film, Crazy Horse, which debuts at New York’s Film Forum on January 18, before rolling out to theaters nationwide.

“Few filmmakers – in fiction or nonfiction – have created such an enduring body of work that is also, uniquely, their own as Frederick Wiseman,” said Cinema Eye’s Advisory Chair Andrea Meditch. “The legacy of Titicut Follies stands as a beacon to all of today’s filmmakers for its unflinching honesty and the lingering power of John Marshall’s camera and Wiseman’s editing.”

“Titicut Follies is a remarkable film, both for its unwavering look at a failed institution and as the template for the decades of Wiseman films that would follow,” said Laura Poitras, the Chair of the Cinema Eye Filmmaker Advisory Board, which voted to give the Legacy Award to Titicut Follies. “As filmmakers, we look to Wiseman as an inspiration and we are honored to salute the debut film of this vital American auteur.”

This is the third year that Cinema Eye will present a Legacy Award, intended to honor classic films that inspire a new generation of filmmakers and embody the Cinema Eye mission: excellence in creative and artistic achievements in nonfiction films. The Legacy Award celebrates the entire creative team behind the chosen film. This year marked the first time that Cinema Eye’s newly established Filmmaker Advisory Board voted on the recipient of the award. Previous Legacy Awards went to Ross McElwee’s Sherman’s March and the Maysles Brothers’ Grey Gardens.

About Frederick Wiseman
Frederick Wiseman has made 37 documentaries and 2 fiction films. Among his documentaries are Titicut Follies, Welfare, Public Housing, Near Death, La Comédie Française ou l’Amour Joué, and La Danse—Le Ballet de l’Opéra de Paris. His documentaries are dramatic, narrative films that seek to portray the joy, sadness, comedy and tragedy of ordinary experience. He has won numerous awards including four Emmys, a MacArthur Prize Fellowship and a Guggenheim Fellowship. His films have played in theatres and been broadcast on television in many countries. He is also a theatre director and has directed “The Last Letter,” based on a chapter of Vasily Grossman’s novel Life and Fate, and Samuel Beckett’s “Happy Days” at the Comédie Française. He is an Honorary Member of the American Academy of Arts and Letters, and a Fellow of the American Academy of Arts and Sciences.

About the Cinema Eye Honors and the 2012 Awards
The Cinema Eye Honors were founded in 2007 to recognize excellence in artistry and craft in nonfiction filmmaking. It remains the only international nonfiction award to recognize the whole creative team, presenting annual craft awards in directing, producing, cinematography, editing, composing and graphic design/animation. The 5th edition of the Cinema Eye Honors for Nonfiction Filmmaking will be held January 11, 2012 at New York City’s Museum of the Moving Image in Astoria, Queens. Nominees for the 2012 awards were announced on October 26, 2011. A full list of nominees can be found at www.cinemaeyehonors.com.

Cinema Eye is headed by a core team that includes Co-Chairs Esther Robinson (director, A Walk Into the Sea: Danny Williams and the Warhol Factory; Cinema Eye nominee for Outstanding Debut, 2008) and AJ Schnack (director, Kurt Cobain About A Son and founder of Cinema Eye), Producer Nathan Truesdell (producer, Convention), Nominations Committee Chair Sean Farnel (Former Head of Programming, Hot Docs Film Festival), Advisory Board Chair Andrea Meditch (executive producer, Buck and Man on Wire) and Filmmaker Advisory Board Chair Laura Poitras (director, The Oath; Cinema Eye winner for Outstanding Direction, 2011).

The members of the Cinema Eye Filmmaker Advisory Board include Mila Aung-Thwin (producer, Up the Yangtze and Last Train Home, Cinema Eye winner for Production 2011); RJ Cutler (director, The September Issue, Cinema Eye winner for Audience Choice, 2010); Sam Green (director, Utopia in Four Movements and The Weather Underground); Ellen Kuras (director, The Betrayal (Nerakhoon), Cinema Eye Nominee for Debut, 2009); Audrey Marrs (producer, Inside Job; Cinema Eye nominee for Production, 2011), James Marsh (director, Man on Wire; Cinema Eye winner for Feature, 2009); Morgan Spurlock (director, POM Wonderful Presents The Greatest Movie Ever Sold) and Jennifer Venditti (director, Billy the Kid, Cinema Eye winner for Debut, 2008).

For more information about Cinema Eye, visit the website at http://www.cinemaeyehonors.com and follow Cinema Eye on Twitter at http://www.twitter.com/cinemaeyehonors.

For more information about Frederick Wiseman and his films, visit Zipporah Films at www.zipporah.com.

Facility Conducts Round-the-Clock Effort to Prepare Doc for Debut

HOLLYWOOD— Independent films often have compressed post production schedules but even by those standards The Tsunami and the Cherry Blossom—which is short-listed for Academy Award consideration—was finished at lightning speed.

Acclaimed documentarian Lucy Walker had just completed principal photography in Japan when she received an invitation to debut her film at the Toronto Film Festival. It was a great honor, but it meant that a completed film needed to be delivered in less than a month. It seemed impossible, but Walker and her production company, Supply & Demand Integrated, ultimately made the deadline with the help of Hollywood post house Picture Head, which provided DI color grading, finishing and sound mixing services, in a literal round-the-clock effort. more

FLEXXITY Output page rendering QuickTime ProRes files

Whether facilities are working with on-set dailies, post dailies, playout and mastering, or archive workflows, FLEXXITY ingests and reads ProRes files directly, without the need for transcoding. Due to this native support, there are no workflow slowdowns that are often caused by transcoding delays.

FLEXXITY software runs on Linux, making it an ultra-stable, high performance, and high-throughput post production software tool for a variety of workflow pipelines. Linux also offers scale-up flexibility that allows users to implement a system that is fine-tuned to their specific needs from single-user seats, to multi-user workgroups. Linux OS is highly valued in post production environments for how quickly and predictably it responds. more

December 10 & 11th

Since 2008 3D Film Factory (3DFF) has successful taught more individuals how to prep, shoot and edit stereoscopic 3D than any other organization. Why‘ve we been so successful? Because we don’t just teach 3D – we shoot it too. Now for the first time – participants can get Certified in Stereoscopic Filmmaking.

We supply the cameras, 3D rigs (beam-splitter & side-by-side), 3D monitors, and all the gear. Many of our clients come from as far away as Europe, South America & Asia to attend the class.

For a complete workshop listing and information visit – http://www.3dfilmfactory.com

Firmware Revision 1.03 Increases Compatibility of SDI Record Stop/Start Flags for All Leading Camera Manufacturers

REEDSBURG, WI, NOVEMBER 29, 2011 — Sound Devices, experts in portable audio and video products for field production, has released an update for its new line of portable production video recorders—PIX 220 and PIX 240. more

New high definition (HD, 2K, 4K) royalty-free stock footage timelapse shot in Gdansk, Poland have been added in different categories (City and People) on HDtimelapse.net website.

Some of the locations from Gdansk, Poland are Gdansk Panorama, Gdynia, Baltic Coast, Shipbuilding Centre, Old Port Crane, Zuraw, Krantor, Motlawa River, Old Ship in Port, Poland, Granaries (Spichrze), Gdansk Train Station, Dworzec PKP, Podwale Grodzkie Road, Tram, Bus, Traffic, SS Soldek, Coal and Ore Freighter Ship, The First Ship Built in Poland After World War II, The Polish Maritime Museum (Centralne Muzeum Morskie), Sailing Ships, Ferry, People in The Long Market (Dlugi Targ), Long Lane (Ulica Dluga), Green Gate (Brama Zielona), The Polish Baltic Philharmonic on the Olowianka Island, Golden Gate, Zlota Brama (Langgasser Tor), Brama Wyzynna, Katownia, Town Hall (Ratusz), Neptune Fontain Statue.

HDtimelapse.net library contains 6700+ time lapse video clips from 125 locations in 40 countries.

Timelapse royalty-free stock footage here: http://www.hdtimelapse.net