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    MTI Film launches Cortex v4 at NAB

    By SHOOTUpdated:No Comments1194 Views
    HOLLYWOOD, Calif. --

    At NAB 2017, MTI Film will launch updates to its family of Cortex applications designed to take media from set to screen. Unveiled in four editions, Cortex v4 is MTI Film’s most comprehensive toolset to date. In addition to features standard in Cortex for years, such as a comprehensive dailies toolset, IMF and AS-02 packaging, and high-quality up-res algorithms, Cortex v4 adds DCP packaging (with integrated ACES color support), an extended edit tool and officially-certified Dolby Vision metadata editing capabilities.

    “We allow users to manipulate Dolby Vision HDR metadata in the same way that they edit segments of video,” said Randy Reck, MTI Film’s director of development. “In the edit tool, they can graphically trim, cut and paste, add metadata to video, analyze new segments that need metadata, and adjust parameters within the Dolby Vision metadata on a shot-by-shot basis.”

    With the integration of the Dolby Vision ecosystem, Cortex v4 provides a method for simultaneously QC-ing HDR and SDR versions of a shot with Dolby Vision metadata. For delivery, the inclusion of the Dolby Vision IMF-ish output format allows for the rendering and delivery of edited Dolby Vision metadata alongside HDR media in one convenient package.

    CORTEX v4 will be showcased throughout NAB 2017 at MTI Film’s booth, SL14808.

    CORTEX v4’s Edit Tool has been updated to include industry-standard trimming and repositioning of edited segments within the timeline through its new user-friendly drag-and-drop function. “We’ve always had a very powerful environment within Cortex to do simple editing, which is necessary for generating things like an IMF or DCP,” says Reck. “Now we’ve added a more standard drag-and-drop interface that allows users familiar with non-linear editors to be immediately productive on Cortex using the Edit tool. There is no learning curve.”

    The entire look of the Edit Tool (available in the Dailies and Enterprise editions of CORTEX) has also been updated to accommodate a new Dual Monitor layout, making it easier to scrub through media in the source monitor while keeping the composition in context in the record monitor.

    Also being released at NAB 2017 is the new subscription based DIT+ edition of CORTEX. “It doesn’t make sense for productions to purchase a full software package if their schedule includes a hiatus when it won’t be used,” explained Reck. “We’re addressing that issue by offering a fully functioning dailies package on a subscription basis for users who need it for a short period of time.”

    DIT+ contains all the aspects of the free DIT version of CORTEX with the added ability to render HD ProRes, DNx and H.264 files for delivery. “Cortex was originally designed to facilitate dailies workflows,” said Reck. “DIT+ contains all the functionality needed to go from set to editorial at a very low subscription price starting at $95 per month, and an NAB special price of $595 for the first year.”

    Tags:CortexNAB

    Craig Henighan Sounds Off On “Deadpool & Wolverine”

    Friday, November 15, 2024

    Hollywood lore has it that character actor Edmund Gwenn--while on his deathbed--quipped, “Dying is easy, comedy is hard.”

    The second part of that darkly witty utterance remains all too true today as Craig Henighan--a Best Achievement in Sound Mixing Oscar nominee in 2019 for Roma--can attest in that he had to grapple with the sonic of being comic for this year’s box office hit, Deadpool & Wolverine (20th Century Studios/Marvel Studios).

    The degree of inherent difficulty was ramped up even further because Deadpool & Wolverine had to seamlessly bring together high action-adventure exploits with moments and dialogue that tickled the funny bone. There’s a mesh of humorous banter--a staple of the franchise--along with major spectacle replete with explosions, fights, an impactful score and off-the-wall musical numbers.

    Henighan explained that among the prime challenges for him from a sound perspective was having to make sure every joke landed within the construct of a superhero film. The tendency for a tentpole movie of this variety, he noted, is to gravitate towards big, loud audio spanning music, dialogue and sound effects. But the unique comedic element of Deadpool & Wolverine necessitated that re-recording mixer and supervising sound editor Henighan strike a delicate balance. “You need to get out of the way for the comedy,” he related. The jokes in a superhero film become “a real dance” as Henighan had to establish a rhythm that did justice to both the comedy and the action as the narrative moves back and forth between them--and sometimes the funny and the high energy, high decibel superhero dynamic unfold simultaneously in a scene or sequence. The “sonic fabric” has to... Read More

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