In this vintage clip from E! News, composer Jonathan Wolff shows the cameras how he performed music for Seinfeld in real time. 

Frame.io is bringing its collaboration platform to iOS with a new iPhone app.

"The old way of working with email and 10 different file-sharing and video-review services just wan't cutting it," said Frame.io CEO Emery Wells in a prepared statement. "We first solved that problem on the web, and now with Frame.io for iOS we've made the entire video review and collaboration experience accessible from anywhere."

Frame.io for iOS incorporates time-based commenting and annotating, including the ability to mark up video frames, cloud-based transcoding, and version control.

Features include touch-based scrubbing through thumbnails, support for Apple's 3D Touch peek/pop interface for opening clips, and Comment Replay, which loops four seconds of video surrounding a comment so that frame can be reviewed in context.

Watch Frame.io's launch video, below, to see how the interface works. 

iPad users may want to stick with the standard web interface for now, but Frame.io says iPad support via the iOS app is in the works. 

Frame.io for iOS is available in English, French and German from the Apple App Store.

This short animated film directed by Patrick Osborne for the Google Spotlight Stories series puts immersive video to breathtakingly good use. The film is set entirely inside a hatchback where a busking guitarist brings up his daughter as they travel around the country, and you have to actively participate in the story by looking around the image just to keep up with what's happening in the scene — what's going on outside the car, who's sitting in the back seat, and what's on the road ahead. You can watch it in 360 on YouTube or via the Google Spotlight Stories app, and it works great with a phone and Google Cardboard. 

Throughout his prolific, provocative and famously independent career, Werner Herzog has brought a probing, operatic intensity to each of his films. The 73-year-old director of Aguirre, the Wrath of God, Fitzcarraldo, Grizzly Man and nearly 70 other features and documentaries, "has never created a single film that is compromised, shameful, made for pragmatic reasons, or uninteresting," Roger Ebert once observed. "Even his failures are spectacular."

Now a full-time resident of Los Angeles, he's still making movies that way—Lo and Behold, his late-to-the-party but no less penetrating exploration of the connected world, comes to theaters in August and has a lot to say about what motivates, inspires and confounds him as a filmmaker. That's one reason he created his Rogue Film School, a series of "infrequent" (roughly once a year) four-day seminars for some five dozen people he has delivered in person at locations around the world since 2009.

Visit the series' Web site and you'll find a set of defining principles that exude Herzogian creed with a technology-free passion for craft, poetry and his chosen "way of life": "The Rogue Film School is not for the faint-hearted," he writes. "It is for those who have traveled on foot, who have worked as bouncers in sex clubs or as wardens in a lunatic asylum, for those who are willing to learn about lock-picking or forging shooting permits in countries not favoring their projects."

He teaches all of those things in his seminars, requires each participant to complete a viewing and reading list—including Virgil's Georgics and The Warren Commission, which he continues to recommend during public appearances—and prohibits the use of "laptops, iPads, cell phones, and recording devices of any kind." That's necessary, he believes, for active participation but also to help his students better understand how he achieves his filmic holy grail: "illumination and an ecstasy of truth." 

Ten years before he launched Rogue Film School, Herzog introduced his theory of "ecstatic truth" in filmmaking in the Minnesota Declaration, a personal/professional manifesto that laid out his separatist views on cinema verité. He delivered it publicly with Roger Ebert at his side during a Q&A at the Walker Art Center in Minneapolis. The museum's tribute to Herzog featured a month-long series of his diverse body of work that has eddied between features and documentaries from the start. Reading it now, one can almost see Herzog popping up in Westeros, a voice-over knight of the realm — or virtuous High Sparrow — with camera in hand: "Fact creates norms, and truth illumination.…The gauntlet is hereby thrown down."

To gain an audience with the master in his Rogue Film School seminars, the most recent of which took place in Munich in March, one must first spend $25 to apply, then pay a $1500 fee upon acceptance. You might get lucky and hear bits of his curated philosophy during a screening Q&A or at international conferences, but the longform masterclass is clearly where Herzog shines. (Back in 2006, however, he had not yet embraced his own professorial potential in this interview with StudioDaily's former sister publication Film & Video.)

A more affordable and accessible option is coming to the Internet this summer: San Francisco-based MasterClass will present Herzog's five-hour lesson in feature and documentary techniques. The director will touch on such topics as storytelling, financing, leading a crew, cinematography, working with actors, locations, editing, and interview techniques. Pre-enrollment for the $90 session opened last week and MasterClass CEO and co-founder David Rogier couldn't be more thrilled. Herzog "is fearless," he says. "He inspires, pushes and teaches you how to see the world differently and then capture it for an audience." Plus, adds co-founder and Creative Director Aaron Rasmussen, "The class will save you from personally having to drag a ship over a mountain in the Amazon or go to Antarctica in the freezing cold."

Adobe said it has prioritized its work on native support for ProRes in its Windows applications, avoiding the need for many Creative Cloud users to have QuickTime for Windows installed on their PCs.

Adobe's ProRes implementation is fully licensed and certified by Apple, Adobe Pro Audio and Video Director of Engineering David McGavran wrote in a blog post, adding that it should be included in a Creative Cloud update "shortly." Also coming soon, McGavran said, is native export support for DNxHD and DNxHR in .mov wrappers (.mxf export is already supported) as well as additional support for AAC Audio, PNG, and QuickTime Animation.

If you have legacy media encoded to more obscure QuickTime-reliant formats, it's probably time to figure out a way to transcode those files and get rid of QuickTime once and for all. Apple's discontinuation of QuickTime for Windows support earlier this year made that software a permanent security hazard for any Internet-connected PC.

Taking advantage of the latest-generation LTO tape technology, storage vendors are introducing new systems that exploit the advances in capacity and performance. Released late last year, LTO-7 more than doubled the per-tape capacity of the previous generation format (6.0 TB vs. 2.5 TB) and boosted speeds by nearly 90 percent (to 300 MB/sec vs. 160 MB/sec in a full-height drive). Here are some of the new products from established video archiving specialists that aim to help content creators take full advantage of LTO-7.

ProMax Platform Pro-Cache
At NAB, ProMax showed Platform Pro-Cache 50, which updates the archiving appliance line it acquired from Cache-A in 2014. The 4RU device boasts Windows-based workflow server capabilities, including rendering, transcoding, and media asset management along with tape archiving and backup capabilities. It creates a searchable catalog of every file written to tape, with options for generating proxy versions before assets are archived. A Platform Pro-Cache can support up to a 24-bay LTO library with multiple automation drives, ProMax said. It can also read existing Cache-A tapes. Both LTO-6 and LTO-7 models will be available with 10 TB of internal disk storage for caching and optional two-port 10 GigE fiber or copper connectivity. The Platform Pro-Cache 50 is scheduled to begin shipping June 15. promax.com

StorageDNA DNAevolution MLogic LTO-7 Package
StorageDNA is offering a package deal aimed at getting Avid users up and running with LTO-7 via a Thunderbolt-connected deck. mLogic's mTape Thunderbolt LTO-7 drive sells for $5,199 as a standalone device, but a $9,995 package from StorageDNA includes Avid bin and project archiving capabilities as well as Adobe project archiving. The company is positioning it as an efficient system for offloading high-resolution and high-frame-rate footage in the field, with support for more than 180 camera master formats. www.storagedna.com

XenData SXL-6500
This week, XenData announced the SXL-6500 digital video archive system, a combination of a 2RU archive server and a 3RU LTO library. The tape library includes two internal LTO-7 drives and 30 tape cartridge slots for 180 TB of nearline capacity, along with 4 TB of RAID storage for caching. With the addition of up to nine 2RU expansion modules, each one adding 180 TB of capacity, the system could scale up to become a 1.8 PB beast. 1 GigE and 10 GigE are both supported via NAS architecture, allowing files to be moved into the archive using drag-and-drop, copy-and-paste or FTP methodologies. Where media asset management (MAM) is required, XenData said the system is compatible with a number of third-party MAM systems. Pricing for a basic 180 TB SXL-6500 system starts at $42,850, XenData said. XenData also has the previously announced DX-240 NAS that continuously backs up all content to LTO-7. www.xendata.com

This ebullient spot for famous Lebanese coffee vendor Café Super Brasil is best viewed with a mug full of your coffee of choice already at hand — otherwise you may feel the need to brew another pot immediately. Beirut/Vancouver-based Chadi Younes directed through Lebanese production company Clandestino Films for agency Drive Dentsu Beirut.

Long-running electronic pop duo Pet Shop Boys hired director Gavin Filipiak, best-known for his work with cholo goth band Prayers (PSB discovered Prayers via their cover of PSB's "West End Girls"), to visualize their latest single as a story about the life of a young Chicano man caught in a vicious cycle on the streets of San Diego. Univision has more details.

German software company Magix Software said it is acquiring Vegas Pro, Movie Studio, Sound Forge Pro and Acid Pro from Sony Creative Software. Magix said it will take over customer support for existing owners, with new versions expected to begin arriving this fall.

Magix offers a variety of multimedia software, including the Video Pro X7 NLE, Fastcut app for Android, Samplitude Pro X2 digital audio workstation, and Youcast live streaming software.

"These products from Sony Creative Software are the perfect addition to our portfolio," said Magix CEO Klaus Schmidt in a prepared statement. "This autumn, we plan to release new versions of the video-editing programs Vegas Pro and Movie Studio, which are heavily oriented toward the customer requirements of today."

The acquisition will leave Sony's Catalyst Browse and Catalyst Production Suite for pro broadcast and production behind. Sony is expected to continue developing both of those products, which are specifically designed for production-to-post workflow for Sony cameras. (It's unclear whether the Sony Creative Software brand will survive.)

For those who've been paying close attention, the move is not a complete surprise. Back in April, Schmidt took to LinkedIn to announce plans to open a "new development studio" in Madison, WI — the longtime home of Sony Creative Software and original product developer Sonic Foundry.

In the U.S., mainstream coverage of the Cannes Film Festival focuses on the celebrity-strewn red carpet outside screenings of high-profile titles like Woody Allen's Cafe Society, Steven Spielberg's The BFG, Jodie Foster's Money Monster and Shane Black's The Nice Guys. But the heart and soul of Cannes is its Competition, where a small number of carefully selected titles — less than two dozen — from veteran directors and newcomers alike screen in an effort to earn the prizes that can dramatically raise their profile with arthouse audiences worldwide, not to mention the distributors who will take on the risk of releasing the films.

Director Ken Loach's I, Daniel Blake, won the Palme d'Or, the festival's top prize.

1) Who were the winners?

Cannes awards can be inscrutable to newcomers. For instance, the Grand Prix is second place behind the top prize, the Palme d'Or, or "Golden Palm." The Prix du Jury or "Jury Prize" is, essentially, third place. Other awards include the Prix d'interprétation féminine (Best Actress), the Prix d'interprétation masculine (Best Actor), the Prix de la mise en scène (Best Director), and the Prix du scénario (Best Screenplay). Only films screened "in competition" at the grand Théâtre Lumière as part of the festival's Official Selection are eligible for these awards.

Critics are said to have turned on director Sean Penn's The Last Face before the opening titles were off the screen. 

2) Who were the losers?

Unquestionably the biggest loser of the 2016 Festival de Cannes was The Last Face, a love story set against the backdrop of civil unrest in West Africa, directed by Sean Penn and starring Charlize Theron and Javier Bardem. Reviewers are said to have begun laughing at the film during its opening moments, leaving it dead in the water. The Hollywood Reporter called it "A … stunningly self-important but numbingly empty cocktail of romance and insulting refugee porn." The New York Times critic Manohla Dargis observed that the festival would have done it a favor by keeping it out of competition, muting the inevitable belly-flop. As it is, The Last Face is saddled with one heck of an albatross as its producers try to find a buyer.

Director Xavier Dolan took harsh criticism of It's Only the End of the World seriously.

3) What's it like to watch a movie that you just spent the last two years of your life on bomb at its Cannes premiere?

You might think that a world-renowned cineaste who won the 2014 Cannes Jury Prize, returned last year as a member of the jury, and was back in competition in 2016 with another award-winning feature wouldn't care much what critics say. Not so for Xavier Dolan, who (perhaps unwisely) told a festival reporter that the prevalence of reviews like this one that called his film It's Only the End of the World "screechy [and] mawkish" and compared Dolan to a "sulking … teenager" made him contemplate abandoning his directorial career. You could say there's no such thing as bad publicity, and it's true that the story probably earned more attention for Dolan's film, especially from the mainstream press. But filmmaking is a tough job and a director needs to project confidence — if nothing else, for the sake of getting the next project funded. If you read your reviews, try to take something from them that you can use. But don't dwell on the bad ones, and certainly don't let them dominate the conversation about your own work.

Many critics expected Maren Ade's well-reviewed Toni Erdmann to take the top prize, but it ended up winning nothing.

4) Wait — didn't you just say that Dolan's film won second prize at the festival? Couldn't they have chosen a film that more people liked?

The second-place finish for It's Only the End of the World was quite controversial, given how widely disliked the film was. Presumably members of the jury liked that movie a lot more than its critics did. But Cannes has something of a reputation for oddball award picks. Each Cannes jury is made up of a mix of actors, directors and producers, and they were led this year by director George Miller (Mad Max: Fury Road). What kind of films did they favor? Well, top-prize-winner I, Daniel Blake is at least a safe pick, a social issues movie from director Ken Loach (Kes, The Wind That Shakes the Barley), the long-standing master of social issues movies. But Loach already has a Palme d'Or, and many critics complained that the award should have gone to another film, perhaps Maren Ade's highly acclaimed comedy-drama Toni Erdmann or Jim Jarmusch's low-key Adam Driver film Paterson. Also very well-reviewed but locked out of awards were The Unknown Girl from Belgium's two-time Palme-winning Dardenne Brothers and The Handmaiden from Korean auteur Park Chan-Wook, who won the Grand Prix for Oldboy and the Jury Prize for Thirst.

Director Andrea Arnold's American Honey was shot partially on 35mm film.

5) Were there any other big winners at the festival?

Maybe motion-picture film. Celluloid may be on its last legs, but when it comes to showcases for cinema as art, and the kind of films Cannes is known for, it's showing some staying power. According to Kodak, of 21 films in competition this year, only four were shot (in whole or in part) on film. But two of those — I, Daniel Blake and It's Only the End of the World — won the top two awards. That's impressive. Who knows? Maybe the filmed image swayed the judges, consciously or unconsciously, to favor those titles against their digital competition. Also shooting on film were leading French auteur Olivier Assayas for Personal Shopper, Midnight Special writer-director Jeff Nichols for Loving, and Cannes veteran Andrea Arnold (her Red Road and Fish Tank are already Jury Prize winners) for American Honey, which won the Jury Prize and featured "a few" scenes shot on film, Kodak tells us. So there's one bulletproof argument for going the extra mile to shoot your next feature on film — just make sure it ends up in competition at Cannes!