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Home » Nice Shoes Expands with New Color Suite and Baselight TWO Systems

Nice Shoes Expands with New Color Suite and Baselight TWO Systems

As an independently owned creative studio, Nice Shoes is able to expand and evolve quickly to meet the ever changing needs of its clients. In 2012, the studio added several editorial suites, and built a custom suite and post-production workflow for a massive seven-screen film. To kick off 2013, it has added a pair of Baselight TWO systems, one of which will form their brand new color suite.

The new suite has been added in order to take on more projects during peak hours. “We saw an opportunity to offer our clients more flexibility and convenience,” said Head of Color Lenny Mastrandrea. “We’re able to take on more long form and non-broadcast work in addition to our traditional commercial workload.”

One of the Baselight TWO systems was installed in Colorist/Partner Chris Ryan’s studio. “The Baselight TWO is fantastic. With its expanded capabilities and increased capacity, it really just makes my job easier,” added Ryan.

Nice Shoes has been working with FilmLight since adopting the Baselight platform in 2008. “Nice Shoes is persistent in pairing the best artists with the best technology,” said CTO Robert Keske. “With the Baselight TWO, FilmLight has included mobile solutions to expand our service offerings, which is key in an always evolving studio like ours.”

“Nice Shoes has always had a reputation for talented colorists and having Baselight installed company-wide gives their colorists much more creative control in the suite,” said Arthur Johnsen, International Sales Manager, FilmLight. “With Baselights networked throughout their facility, Nice Shoes is able to deliver even more options for their clients.”

Johnsen continues, “We are proud to partner with a company like Nice Shoes that continues to innovate and really sets the standard for excellence in its chosen market.”

About Nice Shoes
NYC-based Nice Shoes is a full service, artist-driven design, animation, visual effects and color grading studio specializing in high-end commercials, web content, film, TV and music videos. Since its inception in 1996, the studio has prided itself on consistently reinvesting in its talent, technical backbone, and client experience to set the standard of excellence both creatively and technically. Key company principals include: CEO/Partner Dominic Pandolfino, Colorists/Partners Chris Ryan and Lez Rudge, CIO Robert Keske, and MD Kristen Martini.

About FilmLight
FilmLight develops colour grading and colour management systems as well as film scanning and data management solutions, that are transforming film and video post-production and setting new standards for quality, reliability and performance. The company’s products are in use every day by leading studios, labs and post-production facilities around the globe as essential components in their digital intermediate, commercials and video production pipelines.

Fuelled by some of the industry’s brightest minds, FilmLight is committed to delivering innovative tools that allow creative professionals to work at the forefront of the digital media revolution. Founded in 2002, FilmLight is headquartered in London, where its research, design and manufacturing operations are centred. Sales and support are conducted through regional service centres located in London, Los Angeles, New York, Hamburg, Bangkok, Mumbai, Sydney, Auckland and Singapore, and through qualified partners worldwide. For more information, visit www.filmlight.ltd.

–SHOOT Press Release

About Dan Ochiva

New York City-based journalist and NYCPPNEWS founder Dan Ochiva writes and consults on film, video, and digital media technology.

Community & Partner Links

How Sony’s New Virtual Sound Technology Can Change How We Hear Films

Kami Asgar and Jessica Parks are post-production heavyweights who work with major studios, namely Sony. As a sound designer (Asgar) and as a post executive (Parks), their collective resume touches on everything from Apocalypto to Grandma’s Boy to Venom.

Parks has recently shifted her focus from supervisor to hands-on sound design, and we talk about how it’s never too late to pivot on your career path and find the thing you love doing wherever you are in life.

Click on this link to read the rest of the article on No Film School’s site.

U.K. Extends COVID Insurance Scheme; Distributes $21 Million in Cinema Grants

The U.K.’s insurance scheme for film and television has been extended until April.

Known as the Film and TV Production Restart Scheme, the groundbreaking £500 million ($676 million) fund assures productions that they’ll receive financial support in case of COVID-related losses. The program has so far accepted 100 qualifying productions.

To read the full article in Variety, click on this link. 

Film Commish announces date for production restart

In her December 18, 2020 news update, MOME Commissioner Anne del Castillo announced that the Film Office is now accepting permit applications for production activity that begins on July 27th.

She also announced awards now (Awkwafina) and more. To read all of the Film Commish’s bloggy sort of news column, click here.

Stimulus Offers $15 Billion in Relief for Struggling Arts Venues

The coronavirus relief package that Congressional leaders agreed to this week includes grant money that many small proprietors described as a last hope for survival.

For the music venue owners, theater producers and cultural institutions that have suffered through the pandemic with no business, the coronavirus relief package that Congress passed on Monday night offers the prospect of aid at last.

To read the full article on The New York Times’ site, click here.

If you want to start production, here’s the latest news from the Mayor’s Office

Phase 4 production guidance is available on the Film Permit website. All production activity, whether it requires a Film Permit or not, must comply with New York Forward Industry Guidance.

For more information see, please refer to the State Department of Health’s Interim Guidance for Media Production During the COVID-19 Public Health Emergency. Please review the guidelines and FAQ before submitting permit applications. The Film Office is operating remotely, so please allow additional time for Film Permit processing.

The above paragraphs contain links to the various FAQ – just mouse over the relevant words.

Nikon to Stop Making Cameras in Japan

Nikon has fallen on hard times as of late as its camera sales have cratered, and now there’s a new indicator of how dire its financial situation is: the company is reportedly pulling the plug on making cameras in Japan after over 70 years of doing so.

To read the full article on Petapixel’s site, click here.

NVIDIA Uses AI to Slash Bandwidth on Video Calls

NVIDIA Research has invented a way to use AI to dramatically reduce video call bandwidth while simultaneously improving quality

What the researchers have achieved has remarkable results: by replacing the traditional h.264 video codec with a neural network, they have managed to reduce the required bandwidth for a video call by an order of magnitude. In one example, the required data rate fell from 97.28 KB/frame to a measly 0.1165 KB/frame – a reduction to 0.1% of required bandwidth.

To read the rest of this article on Petapixel, click this link.

 

 

 

Union Health Plan Dodges Film Workers’ Suit Over Virus Relief

Law360 (October 9, 2020, 5:22 PM EDT) — The Motion Picture Industry Health Plan’s board can’t be sued under ERISA for allegedly flouting its duties when it relaxed plan rules in response to COVID-19, a California federal judge has ruled, nixing a proposed class action filed by two cinematographers who still couldn’t qualify for benefits.

In an order entered Thursday, U.S. District Judge R. Gary Klausner granted the board of directors’ motion to dismiss Greg Endries and Dee Nichols’ Employee Retirement Income Security Act suit accusing board members of breaching their duty to treat all plan participants fairly.

Endries and Nichols, members of Local 600 of the International Cinematographers Guild, said in July that the board left them and others “out in the cold” in its attempts to address the problems COVID-19 caused for plan participants.

But Judge Klausner agreed with the board’s contention that the case, which alleged a fiduciary breach, should be tossed because plan administrators don’t act as fiduciaries when they amend health care plans.

Read the full article on the Law360 site by clicking here.

Russo Brothers Received Close to $50 Million From Saudi Bank

Anthony Russo and Joseph Russo photographed at the PMC Studio in Los Angeles for the Variety Playback Podcast.

The Russo brothers, directors of the all-time top grossing film “Avengers: Endgame,” quietly secured a roughly $50 million cash infusion for their production company AGBO from Saudi Arabia earlier this year, multiple sources tell Variety.

In a deal brokered and closed at the beginning of the pandemic, the Russos received the investment from an undisclosed Saudi bank in exchange for a minority stake in the brothers’ Los Angeles-based shop.

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