Acclaimed Director Danny Boyle's belief in the groundbreaking SI-2K is getting rewarded again with multiple Oscar nominations for 127 Hours. The SI-2K was the first digital camera to win an Academy Award when Boyle's masterpiece Slumdog Millionaire in 2008 won eight Oscars, including Best Picture, Best Director and Best Cinematography for Anthony Dod Mantle's work.
And now, with the powerhouse 127 Hours, Boyle, Dod Mantle and Enrique Chediak again have collaborated on a film that utilized the SI-2K's abilities to the fullest, this time with our help in pre-production and on the set in Utah. We were able to find solutions and innovations that took the SI-2K beyond what had been achieved in Slumdog, as 127 Hours garnered an impressive six nominations, including Best Picture!
Talk about revolutionary. Filmmaker Darren Aronofsky’s latest R-rated film Black Swan just might have created its own new genre –– the noir thriller/horror ballet film –– thanks to its melodramatic, pulpy plot and dark, moody lighting and imagery that underscores the inner psychological disintegration of Natalie Portman’s obsessive ballerina.Read more...
Cache-A Corporation, a supplier of network-attached archive appliances for the digital film, broadcast and professional video industries, announced today that it has acquired the intellectual property and assets of JDV Solutions, LLC, which specializes in high-performance data storage systems. This agreement will enable Cache-A to develop new tiers of managed storage and provide even broader archive solutions for the professional media & entertainment industry. The first of these innovations is scheduled to make its debut at this year’s National Association of Broadcasters (NAB) Convention in Las Vegas, NV, in April.
Eddie Kramer Uses JBL LSR6300 Series Studio Monitors In Producing West Coast Seattle Boy – The Jimi Hendrix Anthology
Producer/engineer Eddie Kramer has participated in some of rock music’s most important recordings, including the soundtrack to the original 1969 Woodstock festival and albums by Jimi Hendrix, Led Zeppelin, David Bowie, Traffic, Santana, Kiss, The Rolling Stones, Carly Simon and many more. Most recently, Kramer remastered the recordings for the new CD and DVD Hendrix box set, West Coast Seattle Boy – The Jimi Hendrix Anthology.Read more...
Blessed with a wealth of locations just waiting to be discovered, West Virginia hit the cinematographic limelight with ABC’s “Jamie Oliver’s Food Revolution,” which filmed for four months in Huntington. Interspersed amongst raw stretches of diverse natural vistas, West Virginia offers filmmakers a series of superb location settings that include palaces, bunkers, observatories and prisons.Read more...
Film production in California has been a major contributor to the state's economy since the beginning of motion pictures and television. While other states have recently used tax incentives to tempt producers, the Los Angeles area still remains the production hub.Read more...
The Litepanels Sola ENG LED Fresnel model is now shipping. Offering beam control of 10° to 70°, the revolutionary new daylight-balanced Solas provide the controllability and single-shadow properties inherent in a Fresnel light, but utilize just a fraction of the power of conventional fixtures. Employing a proprietary 7.62cm (3”) lens, it draws just 30 watts yet produces light output equivalent to a 250W tungsten.
Like all Litepanels, Sola ENG Fresnels feature instant dimming from 100% to 0 with no noticeable color shift. The SolaENG provides manual focus and dimming control via camera lens style ergonomic controls. Output is fully flicker free, and remains consistent even as the battery voltage goes down.
Employing Litepanels’ ultra-efficient LEDs, Solas draw 90% less power than conventional tungsten lights, with very little heat generation. Designed for both on-camera and off-camera mounting, the SolaENG is only 102mm x 102mm x 127mm (4” x 4” x 5”) and weighs just .28kg (10 ounces). The SolaENG runs on 10-20VDC sources such as camera batteries.
At the NAMM Show in Anaheim, audio specialist Sennheiser is presenting the new MK 4, a large-diaphragm true condenser microphone. This cardioid microphone, which is manufactured in Germany, is Sennheiser’s first large-diaphragm side-address microphone and focuses on giving the best possible sound quality rather than technical extravagance. It provides a powerful yet warm sound that is both direct and tight with fine treble resolution.
The MK 4 with its nickel-coloured finish was developed for professional users in project studios, but is equally well suited for other recording environments and is tough enough for use on stage. It is also a microphone that is affordable for home recordists and musicians. “In the development of the MK 4, we invested every euro in getting the best possible sound,” explained Product Manager Sebastian Schmitz, “and we focused on the key elements of a good studio microphone to ensure that we can offer the MK 4 to our customers at an attractive price.” The finest sound structures are well resolved, and sound coming from the sides is picked up without colouration and so does not change the overall sound quality. The microphone has a very harmonious presence; it has vivid mids and is also very detailed in the bass range. At the same time, typical cardioid cancellation is relatively frequency-independent.
Sturdy large-diaphragm model
The MK 4 has a large 1-inch diaphragm precisely spattered with 24-carat gold. The sturdy metal housing and the elastically mounted capsule make the microphone tough enough for even the most energetic recording situations. The excellent suppression of handling noise offered by the internal capsule mount can be even further improved by the use of an elastic suspension, which is available as an accessory. The open front of the suspension mount enables the MK 4 to be positioned close to the sound source. The microphone has a maximum sound pressure level of 140 dB, and its self-noise of 10 dB(A) is extremely low. “The MK 4 is highly versatile for vocals, acoustic guitars and grand pianos as well as for strings and wind instruments,” Sebastian Schmitz explained. “What is more, in numerous field trials it has proven to be an excellent microphone with guitar amplifiers, drums and percussion. To sum up: it is an unpretentious microphone with outstanding sound.”
The MK 4 will be available after NAMM and comes complete with a microphone clip and a protective pouch. Optional accessories include an elastic suspension, a foam windshield and a popshield.
Sound Devices is taking its USBPre 2, an all-new version of its popular USBPre computer audio interface, to the next level by adding Windows OS ASIO drivers along with its built-in, class-compliant drivers. The two-channel USBPre 2 offers professionals a powerful, yet easy-to-use, portable interface to interconnect audio sources to both Mac OS and Windows computers over USB. With the addition of ASIO, the USBPre 2 can now connect to popular DAW software platforms in Windows, such as ProTools 9.
“The benefit of class-compliant drivers means simplicity for customers,” says Paul Isaacs, principal applications engineer, Sound Devices. “Out of the box, the USBPre 2 works in Mac OS, Windows and Linux environments. We recognized the need for ASIO drivers for Windows, as it unlocks high sampling rates that are already available in Mac OS and enables users to take advantage of the high performance of the USBPre 2.”
The USBPre 2 is ideal for a broad range of applications including voiceover recording, reference playback and monitoring, and test and measurement. USBPre 2 uses the same extended-bandwidth, low-noise microphone preamplifiers and digital converters as Sound Devices award-winning 7-Series Digital Recorders.
The class-compliant, plug-and-play device accepts mic level, line level, consumer line level and SPDIF digital (coaxial or TOSLINK) inputs. Its microphone preamplifiers have selectable analog limiters, high-pass filters, 48 V phantom power and high-resolution LED meters. Because the USBPre 2 draws its power solely from the computer’s USB port, no additional power source is required.
Sound Devices designed the USBPre 2 for both reference quality input and output. Its balanced XLR outputs offer superior rejection to interference and are switch-selectable between mic or line level. Additionally, a consumer RCA-type output is available for connection to unbalanced inputs. Its headphone amplifier easily drives full-sized headphones with extensive, clean gain.
With its unique stand-alone mode, the USBPre 2 functions as a two-channel microphone preamplifier with analog, digital and headphone outputs. Stand-alone mode is perfect for applications that require an easy-to-use, quality microphone preamplifier. A built-in high-resolution LED level meter helps further facilitate these types of applications.
The USBPre 2, as with all Sound Devices products, is designed to withstand the physical and environmental extremes of field production. Its chassis is made from aluminum for superior durability and weight reduction.
ASIO drivers will be available for all registered users of the USBPre 2 beginning in February 2011.