American Cinematographer - July 2008 - (Page 68)

Post Focus The National Association of Broadcasters (NAB) conference, held annually in Las Vegas, Nevada, has become a main stage for manufacturers to showcase technological advancements that impact a variety of audio-visual workflows through every phase of production, from prep through post. AC was on the NAB show floor this year, and some items about the tools that were unveiled have already appeared in New Products and Services. However, we also examined some tools that directly affect the cinematographer’s vision as motion pictures travel down the post pike. Our coverage will continue over the next few months in these pages and online (www.theasc.com). What follows is a look at some of the most noteworthy developments for post professionals. CineSync Streamlines Dark Knight Effects by Jon D. Witmer Based on Apple QuickTime technology, the CineSync remote review and approval system from RSR synchronizes the timeline and playback of movies while offering drawing and text-annotation tools, allowing users in different corners of the world to communicate clearly and efficiently. The program, which received a Pro upgrade in time for NAB, has proven particularly beneficial in keeping geographically distant visual-effects houses on the same page. Corresponding with AC via email, Rory McGregor, RSR’s CineSync product manager, writes from Australia, “CineSync is simply about allowing people to have a fully interactive ‘visual’ conversation, providing an absolute visual context for everything being discussed. You don’t need to try to describe something on the screen; you 68 July 2008 RSR’s CineSync review-and-approval application was used during The Dark Knight ’s postproduction to streamline communication between director Christopher Nolan in Los Angeles and visual-effects facilities in London and Paris. can point to it, circle it or play the footage, and everyone else in the review session — wherever they are in the world — will instantly know what you mean.” Since its introduction, CineSync has been put through the paces on dozens of features, including Blood Diamond and Iron Man. After working with the program on Superman Returns, visual-effects producer Joyce Cox recommended it to her collaborator on The Dark Knight, visual-effects supervisor Nick Davis. “My last couple of shows had all been in London, so there was no real need for it,” says Davis. For The Dark Knight, though, postproduction spanned half the globe; visualeffects work was divvied up among Paris facility Buf and London facilities Framestore CFC, Double Negative and Cinesite, and director Christopher Nolan remained in Los Angeles for editing. Davis continues, “[Based on] http://www.theasc.com

Table of Contents Feed for the Digital Edition of American Cinematographer - July 2008

American Cinematographer - July 2008 Contents Editor's Note Global Village: Torn from the Flag Short Takes: On a Tuesday Production Slate: Before the Rains WALL-E Batman Looms Larger A Not-So-Super Hero Spy vs. Spy Laugh Factory Post Focus: CineSynce Streamlines Dark Knight Effects New Products & Services International Marketplace Classified Ads Ad Index In Memoriam: Burton "Bud" Stone, Honorary ASC Clubhouse News ASC Close-Up: Bill Taylor

American Cinematographer - July 2008

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