Streaming coverage is now available from the Digital Cinema Society’s in-depth look at DPS Cinema’s Enhanced Environments. We also got a detailed update on the Panasonic VariCam 35 as well as the new Codex V-RAW Recorder.
The Enhanced Environments system developed by DPS’s Cinema Division is extremely impressive, but hard to explain in words. This practical demonstration using the Panasonic VariCam 35 together with Codex’s new V-RAW Recorder clearly shows the capabilities of each system.
The Enhanced Environments coverage is quite a bit longer than our usual presentations, but it is well worth the time. After a brief introduction by DPS General Manager, RJ Lynn, Paul Kobelja, VP of DPS Cinema takes us through a whole history of visual effects leading to the point where their new systems fits in so well. We are then treated to a practical demonstration, followed by a discussion with renowned Production Designer Andrew Jones and Visual Effects Cinematographer Bobby Finley III, who is also VP of DPS Cinema Technologies, as they recount their recent experience with Enhanced Environments.
Next up is Panasonic’s Aaron Latham-James, for a rundown on the latest features and updates to the VariCam35, known for its low light capture, wide dynamic range and color gamut, 4K resolution, in-camera color grading, modular design and dual-codec recording.
Finally, Brian Gaffney, SVP of Codex, rounds out the workflow with an in-depth presentation of new Codex technologies including the V-Raw recorder, and its union with the VariCam35. He also covers the Codex Vault Production Suite which allows for processing uncompressed 4K VRAW files up to 120 fps directly on a MacPro or Codex Vault, into 4K and 2K ProRes files, or 10 and 16 bit DPX files, and to render out color-corrected, sound-synced Avid DNX media and H.264 files with burn-ins.
Many thanks to our volunteer Crew of Cameron Cannon, Dwight Lay, and Scott MacDonald operating cameras; and to Christopher Knell who handled recording and all postproduction on these presentations. We also could not have brought you this coverage without the generous loan of production equipment from Manios Digital, Cartoni, Rosco, Fujifilm Optical Devices, CW Sonder Optic/Leica, and of course JL Fisher for the loan of a dolly. Our on-camera talent was Natalie Fischbach.
The coverage is accessible from the New Streaming link on the DCS page or visit: