Selected News About us :

 

HDS — High Dynamic Snow

We have invited in our office in Paris, Rémy Chevrin, cinematographer, with Karim El Katari, colorist at Eclair, to share their experiences working on the film “Tout là-haut”, first feature film by Serge Hazanavicius with Bérénice BéjoVincent Elbaz and Kev Adams.

Rémy, you have pictured the great photography of this film… how did you conceived the image of “Tout là-haut” ?

Rémy Chevrin : To start from the beginning, the film was written by Serge Hazanavicius who, on top of being the film director, is a great skier. For more than 20 years, Serge has developed a strong bonds with mountain guides, including with Stéphane Dan from Chamonix (Mont-Blanc).

This friendship built over the years on ski slopes, has led them to want to tell a story happening in the mountains… This story is above all a co-written one between Stéphane and Serge, built from the conversations between two men with a passion for mountain and film making. When Serge contacted me to tell about “the big white!”, I understood this was the opportunity to picture the mountain and the snow like Besson had been filming the sea and its depths in the movie The Big Blue

We knew we had to be able to show all these qualities of snow, these different sorts of whites, showing these shades were a very important point for Serge. To conceive the image I had to listen carefully to all the words that Serge and Stéphane were using, such as : “clarity, luminance, brilliance, cotton, softness …” and also the “warmth” because there is some kind of heat in the snow. All these ways of describing it allowed us to better understand how we were going to film and how to make the best choices when filming on set.

How long did the preparation with Serge take ?

A lot of time … I first made a mood-board, the artistic document with the intentions, frame, contrasts, lighting and references. This job was approximately spread over a month and a half.

With high security constraints, what did it change for you?

On the whole I think we had 12 mountain guides within a team of 40 people in total. The Chamonix guides are great professionals, they can, for example carry in emergency 60kg on their back, with two bags at the same time, one bag at back and the other at front, and still ski without any problem. They are very impressive !

Most of the filming took place Chamonix, in the valley, in the city, on the peaks and then later in Ladakh in the foothills of the Himalayas.

To be able to do this shoot, did you take any special training?

No, all those who joined the crew had to be good skiers. Members of the team had to to be able to pass through any snow with a backpack of 20 kg and without anxiety, without the anxiety that can release some people in this type of difficult environment.

Spending days between 3000 and 4500 meters high, we all had to pass some physical and cardiac tests.

Was the film crew smaller?

No, the team was not smaller despite the extreme conditions of the shooting, in fact the people who were there were also people who were responsible for the security. We had a cameraman specialized in mountain filming and for the rest of the shots we were the ones on the set.

Which cameras did you choose and why ?

So there were many things to take into account…, so I made a list of the pros and cons of each camera. Knowing that the main advantages are reliability and compactness. Strangely, I did not spend too much time on choosing a sensor or an other, or such color space or an other, since I was carrying in my backpack a compact camera with a zoom.

The choice of the camera was quick, with a benefit for the Red weapon equipped with small angular zooms (15–40, 28–76 and 45–120), so we had three cameras with all three cameras the same setting of color rendering.

On the other hand, it we had a Red Dragon camera in the helicopter, allowing us to control of the camera with Mikaël Lubtchansky’s Foolcontrol making it possible to change all the parameters of the Red from an iPhone. And considering the extreme conditions we did not have a DIT on set.

 

Despite these extreme conditions you could have monitoring on set ?

I had a video assistant who made a great preparation : he managed to put together on his backpack 3 monitors one on top of the other … this superb installation with 3 videos screens out there on his backpack allowed us to view what we were filming, despite the condition. We had a basic 17 inch monitor, and two smaller ones probably 13 or 14 inches. But having these 3 monitors set-up like that, that’s what allowed us to have an image at any time by any temperature, sometimes freezing bellow 30 °.

How long did the filming last?

Rémy: We started filming on December 21st 2015, with then 2 days January 23rd and 24th 2016, and finally we shot from February 15th to June 1st. After that we also had a few days shooting in Nepal and Tibet in November.

At what stage are you in contact with Karim, to discuss “color grading” of the film?

Karim: Between the first part of shooting in 2015 and the second one in 2016 we did some tests and started to talk about colors together. The grading of dailies allowed to edit the film with the DOP’s artistic intentions. This specific color grading was then used during on the final grading by simply transferring from FireDay the meta-datas to FirePost. In the end, the film benefited from the workflow between Florine Bel (R & D engineer at Eclair), and Karim, using FireFly Cinema’s grading tools right from the start from dailies on set to post-production. This added value to the production line especially during the production and post-production stages.

Remy: The workflow was simple. We had a colorist at the lab Miguel Bejo, who graded the dailies according to the indications that I gave him. The editing room was in Paris and the team in Chamonix was getting back the graded dailies every two days.

If we talk a little bit about post-production, and that’s when Karim’s work really comes in? Were you working in the ACEs workflow?

Karim: When we did our tests with Rémy we quickly decided to use an ACEs workflow. Florine Bel had developed several “shaders” according to the sequences, depending on if we were in day / night, that could be a problem for some colors. For example, there has been some problems with some combinations of color, some skis or some cloths were too flashy or with some flares that are a little opaque.

Our engineer managed to correct them with LMT shaders, and they were integrated directly into FirePost thanks to GLSL support. We worked fully in ACEs workflow, also because our color space work was in ADX10.

Why choose ADX10 rather than for example ACEs CC?

Karim: Because I find these tools are more efficient, better positioned. Inmy opinion, it reacts more naturally, especially on the contrast, the distribution of saturation. It works much better on color selection and it also had a huge impact on color separation.

This film had the particularity of being graded directly in EclairColor HDR(High Dynamic Range). An effective grading, as in two and a half weeks everything was produced: the edit and the grading of the scenes. And the result was satisfying: the ski scenes take full advantage of the benefits of HDR. The EclairColor HDR version has a level of details on the snow that can not be reached on a standard projection. We find all the snow texture the director wanted. But things got complicated when we attacked normal calibration in SDR. The director did not find the brightness or the volume he had in mind for the snow. While on faces and comedy scenes, everything was absolutely spot on in EclairColor HDR. This phase was complex because there was a lot of round-trips between the SDR and the HDR. The normal SDR grading had to be done on several scenes.

What was really interesting and even a bit complicated for me as a colorist is that at some point Serge asked me to see the SDR version and the HDR version at the same time. Thanks to FirePost, that it was possible because the software makes it easy to change between two different tracks and thus to switch from one SDR version to the other HDR version, according to the director’s will.

The flexibility and adaptability of FirePost made it possible to work on some colors, whilst keeping the “whites” different from the rest of the image. This allowed us to refine between EclairColor HDR and the SDR.

On both versions EclairColor HDR and the SDR one, we have been using FirePost’s digital filters, there is one called “local contrast”, and in fact, it was used throughout most of the film, especially on all snow scenes. This filter helps to distinguish the different types of snows we had within the a single scene.

Allowing us to play on the texture of the image, to modify the snow accordingly and obtain a very detailed effect, with either a look like “cotton” or a “crystal” one. This setting that is native within FirePost, it is is very similar to a clarity filter that can be found on most photo editing softwares.

At the end of day, FirePost made us save a lot of time on this project.

RETROUVEZ-NOUS AU MICRO SALON AFC

MicroSalon-2018-

Nous serons présent au Micro Salon ce vendredi 9 février (10h-20h) et samedi 10 février (10h – 18h).

Venez nous rendre visite sur notre stand au N+2 FOYER RENOIR.

FireVision

A cette occasion nous aurons le plaisir de vous présenter FireVision 

FireVision est votre solution de partage collaboratif de toutes vos videos peu importe le format des fichiers du tournage.

A propos du Micro Salon :

Organisé par l’AFC, le Micro Salon fêtera ses dix-huit ans et se déroulera dans les locaux de La Fémis. L’occasion pour les membres associés de l’AFC et partenaires de l’AFSI – de présenter leurs innovations et savoir-faire, et de partager ensemble un moment de convivialité.

 

 

 

 

FireFly Cinema to Showcase V6 of FireDay Digital Dailies Management at IBC 2017

FireFly Cinema to Showcase V6 of FireDay Digital Dailies Management at IBC 2017

(this offer is not available for the French and the Belgian market)

At IBC 2017 we will showcase V6 of FireDay, our cost-effective application for digital dailies management that features live previews of color settings, backup, versioning and rendering for DPs and DITs. Working in cooperation with Atomos (stand #11D.25), we will demonstrate FireDay managing HDR workflows on the new Atomos Sumo19M production/studio monitor.

Note: Throughout the duration of the show, and until October 21st 2017, FireDay will be available for just $249 a year instead of the usual $999. (this offer is not available for the French and the Belgian market)

 

FireDay is available in two versions:

The standard edition is a powerful digital dailies management and coloring tool for DPs and DITs offering backups, primary and secondary color correction and basic rendering capabilities. FireDay Studio adds more powerful color space support, audio sync, and multiple output version rendering in many more formats. Both versions can support live grading previews on an external reference monitor by adding the Live Grading Option. With FireDay Studio and the Live Grading option, users finally have an all-in-one solution at an affordable price point.

The new Atomos Sumo19M is a production/studio monitor with a 19” 1200nit 10+ stop panel and amazing HDR capabilities. It gives clients and crew on set the ability to view content in HDR quality and doubles as a grading and editing monitor for laptops in the field.

Firefly Cinema to Showcase New Version of its Digital Dailies and Color Grading Workflow Suite at NAB

Firefly Cinema to Showcase New Version of its Digital Dailies and Color Grading Workflow Suite at NAB
At NAB 2017, at the Maxx Digital booth (SL13005), FireflyCinema, a developer of color grading and dailies processing applications, has announced that it will showcase version 6 of its color grading software suite which includes: FirePlay (for playback), FireDay (for digital dailies) and FirePost (for color finishing). Used on hundreds of feature films (LA LA Land, Planetarium, The History of Love, Belle and Sebastien), FireFly Cinema tries to provide an integrated and production-wide approach to managing color workflows on-set, through dailies and post-production.

The FireFly Cinema applications aim to be more affordable for independent filmmakers as well as big budget features. Thanks to FireFly Cinema’s SaaS (Software as a Service) licensing model, productions pay only for what they need when they need it.

For V6, an enhanced graphical interface has been developed in an attempt to make the product suite even more intuitive for new and existing users alike.

FireFly Cinema’s color management tools for digital cinema includes three integrated applications:

FirePlay, the free on-set playback and previewing tool that can handle almost any camera format and provides simple professional color grading. The Live Grading option enables live viewing of color decisions on a professional monitoring setup. Color grading settings are sent automatically to an external LUT box, which provides real-time previews on a calibrated monitor. For V6, FireFly expanded support for the latest LUT hardware from Teradek COLR, FSI’s monitors and BoxIO devices, Off Hollywood’s OMOD, and Panasonic’s VariCam. Users can now perform real-time on-set color grading and can read any type of RAW file in a calibrated environment.

FireDay, the digital dailies management tool that handles any camera format; provides live grading; offers simple, powerful professional color grading; manages all sync, backup, versioning and rendering; and generates helpful color metadata throughout the workflow. In V6, FireDay has added support for Teradek COLR, FSI’s monitors and BoxIO devices, and Off Hollywood’s OMOD, plus support for ACES v1.0.3, and Aspera integration.

FirePost is for colorists working in finishing suites and color laboratories, who need a post-centric grading tool that offers unlimited creative primary and secondary grading, color effects, wide compatibility, managed rendering, and collaborative workflow support for larger teams. In V6, FirePost added GLSL shader support. When working with full resolution images, Pixspan’s Bit Exact Round Trip compression format is now supported with the addition of a Pixspan license.

Additional New Features in FireFly Cinema Version 6:

  • ALF-2 Arri Look File support
  • Red R3D SDK 6.2 support (8k)
  • Custom adjustable ODT (Output Device Transform) in the project
  • RAW Format Support for Sony X-OCN
  • Avid DNX HR codec support
  • Tangent Ripple control panel support
  • Newly redesigned user interface targeted at new users

To improve production workflows to and from other systems, export options have been revamped and improved for V6. It is now possible to export directly from the gallery, the timeline, or pool media. Additionally, 3D LUTs can be exported in the most commonly used industry formats.

The FirePlay application is free and can be downloaded here.

Download a demo version of Fireday and FirePost from the Firefly website.

 

Firefly Cinema Announces Integration with Axle Gear

 

(PARIS and BOSTON, MA–April 13, 2017) Firefly Cinema, an innovative developer of on-set dailies and color grading software, today announced that it is providing direct integration with axle Gear from axle Video, the leader in affordable media management. Demonstrated for the first time on axle’s NAB booth SL13609, the integration enables on-set color graded images and metadata from FireFly Cinema’s FireDay dailies management tool to flow seamlessly into the axle media management system.

NAB AXLE FIREFLY V2

The workflow implemented by the two companies allows high-quality dailies to be processed, tagged and color graded on FireDay’s system on set, then brought back to the postproduction site where it can be managed and further tagged in axle’s Gear solution. In addition to color information, all on-set metadata from FireDay, such as circled takes, are instantly searchable in axle, enabling editing teams to start working faster.

As HDR and UHD workflows continue to grow, having an affordable and simple on-set-to-finish color-centered workflow saves productions from extra copy steps and rendering processes. “FireFly Cinema is honored to be working with axle to enable on-set dailies flow into postproduction with the look that the director of photography intended,” said Philippe Reinaudo, CEO of FireFly Cinema. “As budgets and schedules continue to shrink, it’s never been more important for production and postproduction to have the most efficient, bulletproof workflow possible.”

Firefly’s FireDay software can output XML in an axle Gear-compatible format, as well as the concurrent generation of color-graded H.264 proxy media that can be used directly by axle. When media is copied to a shared storage system cataloged by axle Gear, a seamless workflow is created in which one or more channels of ingest can be fed directly into an axle Gear system, allowing immediate editing and further processing at the postproduction facility.

“We’re thrilled to offer this type of integrated capture solution as part of our radically simple media management system,” said Sam Bogoch, axle CEO. “Firefly’s powerful yet affordable dailies and color grading capabilities raise both production quality and speed for an industry focused more than ever on agile field capture for television, cinematic and web release.”

Both FireDay and axle Gear can be run on Mac Pros, making this end to end system a powerful resource for video capture, sharing and management. Alternatively, for larger configurations the system can be spread across multiple Mac Pros, with FireDay including options for clustered transcoding and color grading of 4K+ RAW media from RED, ARRI and other cinema cameras.

A combined software solution can be implemented for well under $10,000, with annual maintenance, support and subscription costs of about $3,000 per year after the first year.

# # #

About Firefly Cinema
FireFly Cinema creates digital color management solutions. The FireFly Suite offers a comprehensive color workflow encompassing FirePlay (for playback), FireDay (for digital dailies) and FirePost (for color finishing). With 35 years of combined experience on hundreds of feature films at Europe’s largest digital laboratory, the company strives to remain at the forefront in the digital cinema age and offers a suite of software solutions that complete the workflow for color professionals everywhere. Based in France, the birthplace of cinema, FireFly Cinema tools are widely used across European film productions. Learn more at www.fireflycinema.com

About axle Video
axle Video (www.axlevideo.com) is the recognized leader in developing radically simple media management software. It solutions have helped over 400 organizations improve the way they create, share and store digital video content with media management solutions that are easy to install, use and afford. axle’s radically simple media management uniquely addresses a burgeoning need and has caught on rapidly among video professionals in post-production, education, broadcast, corporate, sports, house of worship, non-profit, advertising-marketing, and government organizations worldwide. At its introduction, axle Video’s software was recognized with the IBC 2012 Best of Show award and at NAB 2013 with the prestigious DV Magazine Black Diamond and Post Picks awards. axle Video is a privately held company; its founders have extensive industry experience in media asset management for creative applications. Learn more at http://www.axlevideo.com.

###

 

FireFly Cinema Helps Create an Enhanced Viewing Experience

for Damien Chazelle’s “La La Land” in EclairColor™

 

FirePost color grading application masters in EclairColor format to empower new level of digital projection quality with enhanced brightness, color and contrast

PARIS, March 14th, 2017 – FireFly Cinema, a developer of affordable color grading and dailies processing applications, today announced its FirePost color grading application was used to produce the EclairColor mastered version of the Academy Award® nominated film La La Land directed by Damien Chazelle. Used on hundreds of feature films (Planetarium, The History of Love, Belle and Sebastien), FireFly Cinema solutions provide an integrated and production-wide approach to managing color workflows on-set, through dailies and postproduction.

 

EclairColor is a revolutionary new digital HDR color solution that combines an innovative mastering process with the optimization of select projection system technologies to provide cinemas with unparalleled image projection quality. Developed by Ymagis Group, the European leader in advanced digital technology services for the cinema industry, EclairColor features higher contrast and greater fidelity, better reflecting the color initially intended by the creative teams. Adaptable to all types of cinema from art-house to the largest multiplexes, whatever the screen size, EclairColor significantly improves the projection quality of all films and thus brings a new dimension to the cinema experience.

FireFly Cinema was involved from the beginning as the EclairColor format was developed and brought to market. FireFly Cinema’s FirePost color grading application enables the high dynamic range content from state-of-the-art digital cameras to be preserved, adjusted and transformed into the EclairColor mastering format.

“EclairColor offers cinemas the opportunity to significantly improve projection quality at an affordable cost and with great flexibility, as EclairColor projectors can be used to play content in both standard format (DCI) and in EclairColor,” explains Jean Mizrahi, co-founder and CEO of Ymagis Group. “Eclair initiated the mastering of content in EclairColor with FirePost, which was the first grading solution to include the EclairColor features. It is, however, Ymagis Group’s intention to make this solution available with all grading solutions on the market.”

EclairColor™ is a registered trademark of Ymagis Group.


 

Firefly Cinema Announces New Version of its Digital Dailies and Color Grading Workflow Suite – FirePlay, FireDay, and FirePost

PARIS, January 12, 2016 – Firefly Cinema, a developer of affordable color grading and dailies processing applications, today announced V6 of its comprehensive color grading software suite which includes: FirePlay (for playback), FireDay (for digital dailies) and FirePost (for color finishing). Used on hundreds of feature films (Planetarium, The History of Love, Belle and Sebastien), FireFly Cinema solutions provide an integrated and production-wide approach to managing color workflows on-set, through dailies and postproduction.

 

Unlike other solutions, the FireFly Cinema applications are built to be faster, less complicated, and more affordable for independent filmmakers as well as big budget features. Thanks to FireFly Cinema’s unique SaaS (Software as a Service) licensing model, productions pay only for what they need when they need it.

For V6, an enhanced graphical interface has been developed to make the product suite even more intuitive for new and existing users alike.

FireFly Cinema’s color management tools for digital cinema includes three integrated applications:

FirePlay is a free, high quality on-set playback and previewing tool that can handle almost any camera format and provides simple professional color grading. It’s the starting point of the powerful FireFly set-to-finishing workflow. The Live Grading option enables live viewing of color decisions on a professional monitoring setup. Color grading settings are sent automatically to an external LUT box, which provides real-time previews on a calibrated monitor. For V6, FireFly expanded support for the latest LUT hardware from Teradek COLR, FSI’s monitors and BoxIO devices, Off Hollywood’s OMOD, and Panasonic’s VariCam. Users can now perform real-time color grading and can read any type of RAW file in a calibrated environment.

FireDay is a high-quality digital dailies management tool that handles any camera format; provides live grading; offers simple, powerful professional color grading; manages all sync, backup, versioning and rendering; and generates helpful color metadata throughout the workflow. With FireDay Studio and the Live Grading option, users finally have an all-in-one solution at an affordable price point. In V6, FireDay added support for Teradek COLR, FSI’s monitors and BoxIO devices, and Off Hollywood’s OMOD, plus support for ACES v1.0.3 , and Aspera integration.)

FirePost is for colorists working in finishing suites and color laboratories, who need a powerful coloring tool that offers unlimited creative primary and secondary grading, great-looking color effects, wide compatibility, managed rendering and collaborative workflow support for larger teams. In V6, FirePost added GLSL shader support. When working with full resolution images, Pixelspan’s Bit Exact Round Trip compression format is now supported with the addition of a Pixspan license.

“What sets FireFly Cinema apart for me is the all-in-one solution it provides. Optimized for professional lab environments with color management deeply embedded in all aspects of the software, it is a fully scalable solution that allows us to service anything from a single feature to several episodic TV shows in parallel.” says Dado Valentic, an award winning color grading artist and founder of Mytherapy, a creative studio for digital color correction and motion picture retouching. “With FireFly Cinema, ACES support is integral as well as all variants of HDR. We have been able to customize our workflows and easily respond to client special requests.”

Additional New Features in FireFly Cinema Version 6:

  • ALF-2 Arri Look File support
  • Red R3D SDK 6.2 support (8k)
  • Custom adjustable ODT (Output Device Transform) in the project
  • RAW Format Support for Sony X-OCN
  • Avid DNX HR codec support
  • Tangent Ripple control panel support
  • Newly redesigned user interface targeted at new users

To improve production workflows to and from other systems, export options have been revamped and improved for V6. It is now possible to export directly from the gallery, the timeline, or pool media. Additionally, 3D LUTs can be exported in the most commonly used industry formats.

The FirePlay application is free and can be downloaded here.

Download a demo version of Fireday and FirePost from the Firefly website.


 

Meet FireFly Cinema at IBC 2016!

IBC2016Paris – September 6, 2016 — The FireFly Cinema team is excited to join their customers and partners at the 2016 IBC Show in Amsterdam. IBC is the european’s largest trade show for media creators, and runs from September 9th to 13st. FireFly Cinema is appearing in multiple areas at the show, presenting powerful new workflows enabled by their suite of creative color grading software solutions.

FireFly Cinema will showcase its new Cinema integration with Aspera (Hall 7 G20) that enables seamless, automated transfers of rushes and proxies to different locations. Combined with Aspera high-speed transfer technology, its FireDay, FirePost and FirePlay modules deliver lean motion picture production workflows from set to post.

FireFly Cinema will also be demonstrating FirePlay Live, an on-set live grading solution on the Flanders Scientific booth (Hall10 B10)
The FireFly Suite now offers a comprehensive color workflow encompassing FirePlay (for playback), FireDay (for digital dailies) and FirePost (for color finishing). Digital cinema professionals can visit the booth of our partner Aspera in the Hall 7, #G20 to see a demonstration of the end-to-end workflow showing native playback of digital camera media, digital dailies management, post color grading, and comprehensive version rendering and metadata management.

 


 

FireFly Cinema Accelerates Innovation in Digital Cinema Color Workflows

Paris, France – May 27, 2016 — The FireFly Cinema team is excited to join their customers and partners at the 2016 Cine Gear Expo at Paramount Studios in Hollywood, California. The Expo attracts 16,000 artists and technicians from all over the world.

FireFly Cinema will be showcasing powerful new workflows enabled by their suite of creative color grading software solutions. The FireFly Suite now offers a comprehensive film set to finishing suite workflow for colorists encompassing FirePlay (for playback), FireDay (for digital dailies) and FirePost (for color finishing).

Digital cinema professionals can visit the MelroseMAC booth (S311 Stage 32) on the Paramount studio back lot to see a demonstration of the FireFly end-to-end workflow showing native playback of digital camera media, digital dailies management, live grading on-set, post color grading, and comprehensive version rendering and metadata management.

Join FireFly at Cine Gear Expo 2016

FireFly Cinema will be demonstrating some powerful new capabilities at the Expo:

  • Support for a host of new RAW camera formats, ensuring compatibility with the latest production setups:
    • MXF/ARRIRAW file format used by the ARRI ALEXA Mini.
    • Arri ALEXA 65 and ALEXA Mini mini, Arri Open Gate
    • Panasonic VariCam MXF,
    • Canon C300 Mark II XF-AVC
    • RED EPIC Dragon
  • Support for the latest in color standards: the ACES open color standard
  • HDR support by enabling the SMPTE ST 2084 transfer function
  • Support for the new Teradek COLR LUT Box for live color grading previews

FireFly Cinema CEO Philippe Reinaudo enthused: “FireFly Cinema is excited to bring these new capabilities to market and make it even easier for digital cinema professionals to achieve creative color results even in the most complex and demanding film production environments.”

Company Info

FireFly Cinema creates digital color management solutions. With 35 years of combined experience on hundreds of feature films at Europe’s largest digital laboratory, they strive to remain at the forefront in the digital cinema age and offer a suite of software solutions that complete the workflow for color professionals everywhere. Based in France, the birthplace of cinema, FireFly Cinema tools are widely used across European film productions.

Learn more at www.fireflycinema.com or sales@fireflycinema.com or (323) 317 7627

FireFly Cinema products are available through dealers affiliated with Broadfield Distributing, Inc.

Learn more at www.broadfield.com or 1-800-634-5178

 

 


FOR IMMEDIATE RELEASE

FireFly Cinema Accelerates Innovation in Digital Cinema Color Workflows

Paris – April 12, 2016 — The FireFly Cinema team is excited to join their customers and partners at the 2016 NAB Show in Las Vegas. NAB is the world’s largest trade show for media creators, and runs from April 18th to 21st. FireFly Cinema is appearing in multiple areas at the show, presenting powerful new workflows enabled by their suite of creative color grading software solutions.

The FireFly Suite now offers a comprehensive color workflow encompassing FirePlay (for playback), FireDay (for digital dailies) and FirePost (for color finishing).  Digital cinema professionals can visit the booth on authorised distributor Maxx Digital in the south hall SL13005 to see a demonstration of the end-to-end workflow showing native playback of digital camera media, digital dailies management, live grading on-set, post color grading, and comprehensive version rendering and metadata management.  

“FireFly Cinema’s color workflow is second to none. And pairing it with our ThunderSHARE products powered by ThunderRAID turbocharges the coloring finishing process in an incredible way. We’re excited to show this workflow in action at NAB 2016″, said Ron Amborn, President and CEO, Maxx Digital.

The latest software releases for each product in the suite for now include support for the new ACES 1.0 Academy color system.

FireFly Cinema will also be demonstrating a number of  important firsts together with some of the world’s leading digital video equipment manufacturers:

  • FirePlay, a free on-set playback and color grading tool, now supports the new MXF/ARRIRAW file format used by the ARRI ALEXA Mini. ARRI will be running FirePlay on their booth to demonstrate compatibility. Visit ARRI in the Central hall at booth C6537 for a hands-on demonstration.
  • The paid version of FirePlay adds support for the new Teradek COLR LUT Box for its live color grading feature, which already works with many industry standard devices such as the Fuji IS-Mini. You can send LUT updates to COLR wirelessly, over Ethernet or via USB to instantly let everyone on-set see the creative results of a look on calibrated monitoring equipment.
  • Aspera, the leading accelerated file transfer and management solution provider, will showcase FireFly Cinema file transfer as part of their integrated workflow demonstrations. Visit the Aspera Theater on booth SL4910 on April 19th or 20th at 4:30PM to see FireFly Cinema in action on the main demo stage.

In addition, FireFly Cinema is pleased to announce the appointment of Broadfield Distributing Inc., as an authorized distributor of FireFly Cinema products in the Eastern region of the United States.

In business for over 30 years, Broadfield offers a comprehensive range of video production equipment and software, backed up by their deep technical knowledge and free technical support. According to Gary Bettan, President of Broadfield : “We are excited to be a US distributor for FireFly Cinema and expand our catalog of production software. These guys evolved from their experience at the largest digital  film laboratory in Europe. We see the impact digital cinema cameras are having on our customers, and are proud to help discover and bring innovative new tools like this to the US.”

FireFly Cinema CEO Philippe Reinaudo agreed: “FireFly Cinema is excited to join forces with Broadfield and make it even easier for digital cinema professionals to get access to the entire range of products along with support from acknowledged experts like Gary. We look forward to helping many new fans to find looks they will love with our tools.”   

 

Company Info

FireFly Cinema creates digital color management solutions. With 35 years of combined experience on hundreds of feature films  at Europe’s largest digital laboratory, they strive to remain at the forefront in the digital cinema age and offer a suite of software solutions that complete the workflow for color professionals everywhere. Based in France, the birthplace of cinema, FireFly Cinema tools are widely used across European film productions.

Learn more at www.fireflycinema.com  or sales@fireflycinema.com

Maxx Digital is based in Costa Mesa, California, and is focused on providing a large array of storage solutions for video editing, audio editing and media data management, combined with superior service  and knowledge their customers can trust.

Learn more at www.maxxdigital.com or (714) 374 4944

Broadfield Distributing Inc., is a Glen Cove, New York based provider of expertize and products for video and audio creation and management. In business for more than 30 years, they serve video creators of all levels, distributing the leading brands in content creation.

Learn more at www.broadfield.com or 1-800-634-5178

 


FIREFLY & UP GRADE COLOR - PRESENTATION FIREFLY CINEMA

 

 

A very good article (in french) about ” Voyage en Chine ” done by the studio ikenokoi on FireDay and FirePost

www.mediakwest.com

 


 Éclair Group selected FirePost to finish and color grade 3 features presented at the Festival de Cannes

http://www.eclairgroup.com/

Eclair Group

Firefly Cinema congratulates Éclair Group and their colorist for their work on Standing Tall, the opening film of the 68th Festival de Cannes

 

Paris – May 13, 2015 – Firefly Cinema, a leading software developer of high end post-production and on-set color grading solutions for DI and digital dailies, is proud to announce that the French film laboratory and post production house Éclair Group has chosen their DI solution, FirePost, for finishing and color grading, as part of their advanced digital post-production workflow. Already, several productions have been finished at Éclair using this solution, including three feature films part of the official selection of the 68th Festival de Cannes.

Firefly Cinema congratulates Éclair and their colorists for their creativity on Les 2 Amis, OKA and on the opening film of the Festival de Cannes, Standing Tall, directed by Emmanuelle Bercot and starring Catherine Deneuve, featuring the work of renowned DOP Guillaume Schiffmann and colorist Richard Deusy, known for their previous collaboration on The Artist.

Éclair Group was created in 1907 and is Europe’s most renowned digital post-production facility for feature films. Thierry Beaumel, Director of Production at Éclair Group, said: “We are very excited that 3 films finished at Éclair are presented at Cannes this year and we praise our colorists for their hard work and artistry. Our DI solution provider, Firefly Cinema, has definitively contributed to their success. ”

Firefly Cinema‘s CEO, Philippe Reinaudo explains: “We designed FirePost to support the artists and their vision. We are proud that our solution is enabling Éclair Group and their customers with collaborative tools tailored to the most complex color grading projects.”

Firefly Cinema has recently announced that Firefly Cinema’s products, FirePost and digital dailies solution FireDay, are sold in the US by Maxx Digital, a California-based solution and service provider for the post-production industry.

 

Cannes Film Festival’s Opening Film on May 13, 2015
Standing Tall (La Tete Haute), directed by Emmanuelle Bercot (Starring Catherine Deneuve and Benoit Magimel)

DOP: Guillaume Schiffmann; Colorist: Richard Deusy

Production : Les Films du Kiosque

 

The International Critics’ Week (Semaine de la Critique)

Les 2 Amis, directed by Louis Garrel (Directorial Debut)

DOP : Claire Mathon; Colorist : Marine Lepoutre

Production : Les Films des Tournailles

 
Official Selection – Special Screening
OKA, directed by Souleymane Cissé (Acclaimed Director from Mali and past Cannes Film Festival Winning Director)

Colorist : Mathilde Delacroix

Production: Cisse Films

 

About Firefly Cinema (www.fireflycinema.com)

Firefly Cinema is a French company founded in 2010 by Philippe Reinaudo and Luc Guenard. Firefly Cinema develops cutting-edge color grading and finishing software solutions to manage the complete pipeline of a motion picture production, from on-set digital dailies to post-production.

 

Media & Sales Inquiries: Firefly Cinema – Philippe Reinaudo, CEOTel.: +33 6 76 41 80 91 – pr@fireflycinema.com

Sales Inquiries USA: Maxx DigitalDevon Cook, Sales and Workflow SpecialistTel.: (714) 580-2263 – devon@maxxdigital.com

 

www.postproductionbuyersguide.com

www.digitalcinemabuyersguide.com

www.digitalcinemareport.com

forums.creativecow.net

 

 


 

NAB 2015 announcement

>MaxxFFC

Firefly Cinema and Maxx Digital join forces to introduce

FireDay to the US market at NAB 2015 

Costa Mesa, California – April 10, 2015 – French software developer Firefly Cinema is announcing a strategic partnership with Maxx Digital, a California-based solutions integrator, to market and sell FireDay, an innovative digital dailies and color grading workflow solution.

During NAB, Maxx Digital will be showcasing at their booth (SL 13007) a comprehensive on-set digital dailies workflow powered by FireDay, using content shot on Red Digital Cameras, from ingest to post. “Maxx Digital is excited to work with Firefly Cinema and to bring to the US market this new solution, that is already well established in Europe,” said Ron Amborn, President of Maxx Digital.

“Partnering with Maxx Digital will allow us to expand our customer base in the Americas,” added Philippe Reinaudo, CEO of Firefly Cinema. “We are delighted to work with Ron and his team and value their deep experience in servicing production professionals.”

FireDay is a user-friendly Mac OSX desktop solution for Digital Image Technicians and Assistant Cameraman. It supports all major camera formats with color-grade and playback of files in their native format and multiple format conversion. FireDay features file back-up, metadata management, audio synchronization, LUTs management including ACES and high end color grading tools.

FireDay has been used by camera crews in Europe on more than 130 feature films, including Sundance Film Festival’s award winning opening film, The Summer of Sangaile and the latest movie from Roman Polanski, Venus in Fur. Firefly has a partnership with Panavision France since 2012.

To learn more about FireDay at NAB and schedule a demo, contact sales@fireflycinema.com.

 

About Firefly Cinema – Booth SU 6214

Firefly Cinema is a French company founded in 2010 by Philippe Reinaudo and Luc Guenard. Firefly Cinema develops cutting-edge color grading and finishing software solutions to manage the complete pipeline of a motion picture production, from on-set digital dailies to post-production. Prior founding Firefly Cinema, Philippe and Luc worked as CTO and Head of R&D respectively at one of the world’s leading digital cinema laboratories, Paris-based Éclair Lab. Visit www.fireflycinema.com for more information.

 

About Maxx Digital – Booth SL 13007

Founded in 2000 by Ron Amborn, Maxx Digital specializes in production and post-production solutions for the media and entertainment market. Focusing on customer’s needs and providing great customer service and support has helped Maxx Digital grow to the reputable organization it is today. Maxx Digital is located in Costa Mesa, CA. Visit www.maxxdigital.com for more information.

 

For PR and Sales inquiries:

Firefly Cinema

Christiane Ducasse, Sales & Business Development

Tel.: 310-435-4063 cducasse@fireflycinema.com

Maxx Digital

Devon Cook, Sales and Workflow Specialist

Tel.: 714) 580-2263

devon@maxxdigital.com

 


 

NAB – April 13, 2014CM

NAB 2015! Firefly Cinema is a proud sponsor of NAB Colorist Mixer 2015 on Sunday April 12 in Las Vegas. Please join us and register here:
https://www.eventbrite.com/e/colorist-mixer-nab-2015-tickets-15626786138
Post Production Buyers Guide – March 27, 2014

Firefly launches FirePlay, the first free universal player for all digital film formats

http://www.postproductionbuyersguide.com/firefly-cinema_03_27_14.php

 

 

Creative Cow – September 9, 2012

Firefly Cinema Introduces Innovative Solutions For On-Set Colour Grading And Digital Dailies Management

https://news.creativecow.net/story/869647

 

 

Post Production Buyers Guide – September 6, 2012

Panavision France adopts Fireshoot as digital dailies solution

http://www.postproductionbuyersguide.com/firefly-cinema_09_06_12.php

https://news.creativecow.net/story/869647

http://www.ibc.org/page.cfm/Action=Exhib/ExhibID=3040

http://www.display-central.com/free-news/press-releases/firefly-launches-fireplay-first-free-universal-player-digital-film-formats/

http://www.liftgammagain.com/forum/index.php?threads/firefly-cinema-introduces-innovative-solutions-for-on-set-colour-grading-and-digital-dailies.629/

http://www.digitalmedia-world.com/Post/firefly-cinema-on-set-colour-grading-digital-dailies

http://news.creativecow.net/firefly-cinema-news

http://news.creativecow.net/story/869648

http://news.creativecow.net/story/869647

 

http://www.itrpress.com/communique/38408/firefly-annonce-sortie-fireplay-premier-player-gratuit-universel-formats-films-numeriques

 

 

Read the blog of our CEO on digital cinema news and events

http://www.scoop.it/t/digital-cinema