Pro8mm in Burbank now offers a discounted package for student filmmakers who want to try the Fuji Eterna line of 16mm film stocks. The "Easy Film 16" package costs $396 and includes the 400 feet of film, processing, prep, 45 minutes of full scene-to-scene color corrected transfer in its Digital Mastering Suite, and mini DV stock.
Encore Hollywood launched a new Digital Intermediate Theater featuring a Kinoton FP30 ECII Studio Series electronic 35mm film projector, a Barco DP100 2K DLP digital projector, and a da Vinci 2K Plus color correction system. A recently-added Spirit 2K data scanner supports high resolution scanning. The facility has also developed a high definition data dailies service based on MTI's Control Dailies product. Encore also brought in two-time Monitor Award-winning colorist Steve Porter whose DI credits include Racing Stripes for Warner Bros. and The Pink Panther for MGM.
Modern VideoFilm hired digital intermediate editor Nicholas Hasson, who is proficient in the use of the Quantel iQ system. Prior to joining Modern, Hasson was a DI and VFX editor for Industrial Light + Magic, the Orphanage, and Company 3.
PostWorks, which began its second year as a Sundance Institute Associate, helped prep – by doing the 2K or HD DI or otherwise supporting the post – the following films for the 2006 Sundance Film Festival: director Jonathan Demme's Neil Young: Heart of Gold, Ryan Fleck's Half Nelson, Paul Fitzgerald's Forgiven, Kelly Reichardt's Old Joy, Patricia Foulkrod's The Ground Truth: After the Killing Ends, Raymond De Felitta's Tis Autumn – The Search for Jackie Paris and Alan Berliner's Wide Awake.
Cinecitta Digital, part of Rome's Cinecitta Film Studios, has adopted the Nucoda Film Master as its digital color grading solution.
The Pixel Farm and Cooke Optics announced a collaboration in which PFTrack software will work in conjunction with in-camera data acquired via Cooke's S4/I Technology. Cooke's S4/I works via a data link to seamlessly record all camera and lens settings, including focal length, on a per-frame basis, all synced to time code. The information is recorded as metadata during filming, ensuring more accurate calibration of shots in post.