HOME/ SERVICES/ PRODUCTS/ COMPANY/ NEWS NEWS Software Cortex v5.4 New Features June 21, 2021 Improvements: Faster DNG decode speed Improved XAVC long GOP interoperability Read dynamic camera metadata from Arri MXF files and write it into QuickTime files Ability to passthrough Arri QuickTime camera metadata when creating ProRes files SMPTE DCP improvements Checks to enforce SMPTE RDD 52 DCP profile Render PNG subtitles for SMPTE and Interop DCPs Ability to set interlace flag in XAVC files Embed closed caption data in XAVC files Display Level 8 metadata for Dolby Vision shots Upgraded Dolby Atmos SDK Allow multiple Dolby Atmos files to playback on the timeline Dolby Digital audio support Read DNxHR uncompressed files Smoother playback in media player Memory usage improvements QC report improvements Update to R3D SDK 8.0 Allow clipboard copy over VNC Change QuickTime TimeScale for 23.98 to 24000/1001 Match frame command now uses all video tracks Ability to convert 59.94p to 29.97p Allow previous/next button in comment dialog to save changes without closing window New Blackmagic RAW SDK fixes Switching from Color to Edit Tool now holds clip position New comment status of "Fixed" for composition comments Marks now treated consistently in all tools Fox J2K ASM deliverable now writes AES3 wrapped audio Preserve date at end of file name Don't consider a date at the end of a file name the frame number New buttons in comment dialog to move between comments Ability to create WAV files larger than 4 GB Better global HDR metadata indicator DVD configs now render one file and aren't included in one-to-many Ability to select workflow when tracing back against a project Ability to set ISO language in MP4 files for Sony configs Ability to create auto reel via keyboard shortcut (F8) Set CodingEquation to Rec 2020 by default for HBO/WarnerMedia IMF Set ProRes bit depth according to pixel layout for IMFs Correct color space for RGB-to-YUV conversion when encoding ProRes or J2K in a color space other than rec709 Ability to export MaxFALL and MaxCLL csv files from Export HDR metadata dialog H.264 now defaults to MOV and Variable Added playback_speed token to output file name tokens in config editor Updated AAF import code to handle more types of AAFs Added naming tokens to better comply with BBC IMF spec Effects tab in Color Tool EDL locator enhancements File per reel renders now encode each event and then package when closed Check to make sure all files are present in IMF folder before importing More Improvements: 25i frame rate support Batch-change timecode framerate without altering start timecode via Edit Timecode dialog Same as source choice for a render Copy timecode register in edit tool via context menu Create DNx OP-1a files Ability to export a clips report with just offline clips Export an xml file that contains each reel event’s source file name and deliverable file name Paginate timeline by pressing home/end or by dragging cursor Ability to burn in subtitles Parse BDN subtitle files and render PNG subtitles Set subtitle track name when rendering an IMF SMPTE DCP new features Render differences into source folder for DPX, EXR, TIFF etc. Set comments in the edit tool Ability to set timecode back to default using edit timecode dialog New window burns; Total Frame Count and Clip Duration Complete list of languages now available in IMF audio configs Nits scale for waveform monitor Can change pixel aspect ratio when creating a ProRes file Control for the size of the dead pixel repair Option to generate a file per edit when rendering an IMF P3 colorspace option for ProRes deliverable Improved reading of TIFF files from SAN hardware Faster TIFF writing speed Added: TIFF to list of file types Cortex can update automatically in the Edit Timecode dialog Archive jobs now properly report the size of the clips in the job and not just use the common root folders size Display selected clip and event index at the bottom of the loaded job New hotkey “/” on numpad can be used to extract and Shift+* can recall the last duration set in the Edit Tool New installations will now default the SQLite database folder to C:\Users\Public\MTI Film Replaced rec709_to_P3DCITheater with a 3D LUT to include the rec709 black knee. Speedup of J2K playback & rendering with multiple GPUs Supplemental IMFs sorted underneath master and not just by name Updated R3D SDK to 6.3.0 When resampling audio, remove original audio from clip Improved Zoom Tool MTI Film/ Comment Share Cortex v5.3 May 24, 2020 Check out the new features in Cortex v5.3 READ MORE MTI Film/ Comment /Source Share Cortex v5.2 Certified for Dolby Vision™ CMv4 August 07, 2019 Cortex v5.2 Enterprise Edition is now officially certified for use with Dolby Vision Content Mapping v4. This includes Cortex’s ability to package Dolby Vision IMFs and to import, modify, and export Dolby Vision XML files and MXF files, for both Dolby Vision™ CMv2 and Dolby Vision™ CMv4. MTI Film/ Comment Share CORTEX v5.1 Official Release January 07, 2019 New and Improved CORTEX is available on our forum: http://forum.mtifilm.com/t/cortex-v5-1-release-notes/1662 NEW FEATURES COLOR Simultaneous Dolby Vision™ Level 1 analysis and shot detection COLOR Correction copy keys with with custom selection dialog GENERAL Dual video outputs (SDR/HDR) GENERAL Dolby Vision™ HDMI tunneling GENERAL Ability to create a basic project (simplifies Project Manager) RENDER Temporal frame conversion: 24->30, 24->60, 25->50, 30->60, 60->30 RENDER Ability to create/import DPP IMF package RENDER Ability to create AS-11 files RENDER Ability to create encrypted DCPs and KDMs RENDER Ability to create DCPs with subtitles RENDER Ability to create IMF Application 4 packages MTI Film/ Comment Share "How the Light Gets In" April 04, 2018 MTI film recently provided a package of post-production services for How the Light Gets In, a cerebral crime drama about a New York City detective, under investigation for his involvement in a suspicious shooting. The independent film marks the feature directorial debut for Steven Fierberg, ASC, well known for his work as a cinematographer on such shows as The Affair and Entourage. The script was written by Jude Severin, who also stars. MTI Film’s Barbara Marshall is among the film’s producers. Produced on a micro budget, the film was shot in an improvised manner in various locations around New York. Fierberg notes that much of the film was captured with a Nikon DSLR as it allowed him to work quickly and operate unobtrusively in Central Park, the subway and other public locations. The production also employed several other camera systems, either owned by Fierberg, lent by manufacturers or borrowed from friends. They included ARRI Alexa, Canon C300 Mark II, RED Epic, Sony A7, and Canon 5D Mark III. “the crew was typically me, our D.P. Nick Coleman (succeeded by Erin Henning for the second half of the film), a sound man, the actors, and, maybe a friend who’d act as P.A. for the day. That was it,” Fierberg recalls. “Nick and I would discuss the shot, then he’d set up the camera, while I set up the light. It was a tiny, tiny shoot.” Having worked on mainstream television productions with hefty budgets, Fierberg says that he enjoyed the challenge of a project with lots of heart, but limited resources. “I’ve done a couple of shots on The Affair that cost as much as this whole movie,” he notes. “In shooting a party scene for television, you might have two cameras, 100 crew people and 150 actors. In this movie, I had one light that I had to carry up a flight of stairs and plug in myself. But there’s joy in that too. This movie was a miracle.” MTI Film provided dailies services during production and later handled editorial conforming, color grading and deliverables. Colorist Tanner Buschman applied the final grade. “Tanner had the job of making material from all the different cameras and lenses look consistent,” Fierberg says. “He did a phenomenal job, not just technically, but creatively.” Fierberg notes that How the Light Gets In was conceived in the tradition of classic New York cop films with their seedy locations and colorful cast of characters. During the grading sessions, he and Buschman worked to draw out the city’s quintessential vibe. “We captured the edgy, street-feel of New York,” he recalls. “The movie has a big fight scene in a parking garage and another fight in a bar in Harlem. It needed a gritty, realistic feel.” Working in a theater environment, Buschman graded the film on a Digital Vision Nucoda system in P3 color space. That allowed him to achieve a filmic look, accentuated by the subtle introduction of film grain. Recurring flashback scenes, set in a bar, were pushed slightly further to make them stand apart from the central narrative. “We didn't want hyper-realism for our flashback footage,” Buschman explains. “So, we went in the opposite direction and made it de-saturated and smoky to distinguish it from the present and give the bar an uncomfortable feel.” Fierberg has high hopes for the film as he works to secure distribution, but he says it couldn’t have happened without the support of many other parties who believed in the project. He cites the contributions of editor Phil McLaughlin, assistant editor, Jacki Trinh, and MTI Film Executive Producer Barbara Marshall. “Barbara, Phil and Jacki helped us take material that was shot over two years with different camera systems and form it into a coherent whole,” he says. “There would be no movie without them.” Keith Gayhart/ Comment Share Restoring a Jim Henson Classic April 04, 2018 MTI Film recently completed a 4K restoration of Time Piece, a 1965 short film written, directed and starring the late Jim Henson. The story of a man’s desperate attempt to escape the passage of time, the short received an Academy Award nomination and is a testament to Henson’s underappreciated work as an experimental filmmaker. Restoring the film presented formidable technical hurdles. The original film negative had been lost. Searches conducted by The Jim Henson Company turned up several 35mm inter-positive and inter-negative prints, the best of which was an IP made in Germany during the 1960s. MTI Film technicians scanned that print in 16-bit 4K HDR using a Lasergraphics Director high-speed scanner, and used it as the basis for restoring the film’s live action scenes. The film’s colorful graphics elements were restored from scans made from inter-negatives. All the original elements were compromised by the passage of time. “The problem with the print was that it had faded a lot,” recalls MTI Film Director of Restoration Wojtek Janio. “When you look at the raw scan, it’s completely red. But, thanks to the magic of modern grading technologies, we can draw a lot of information out of the picture that you can’t see and bring back the original color.” MTI Film processed the film through two stages of color grading. An initial pre-grading stage was used to reestablish basic color balance, while a final color pass was used to hone the look and touch up details. Between the two grading passes, the film went through rigorous restoration processing. Technicians used MTI Film’s digital restoration software DRS™NOVA to remove dust and scratches, stabilize and fix warped frames, and eliminate flicker. “The source elements were badly damaged in terms of dust particles and scratches,” notes Janio. “The flicker tool and other new features of DRS™NOVA proved very effective, allowing us to deal with problems quickly and effectively. The results are excellent. The film looks amazing.” Keith Gayhart/ 2 Comments Share MTI Film’s Larry Chernoff Honored with HPA Lifetime Achievement Award November 07, 2017 MTI Film takes great pride in announcing that its CEO, Larry Chernoff, is the recipient of the Hollywood Professional Association’s 2017 Lifetime Achievement Award. The HPA’s highest honor, the award is presented to “an individual who is recognized for his or her service and commitment to the professional media content industry.” The award was presented by HPA president Seth Hallen during the annual HPA Awards ceremony, November 6th, at the Skirball Cultural Center in Los Angeles. In addressing the sold-out crowd, Chernoff spoke of the inspiration provided by his parents and about the highlights of his career from shining shoes on Broadway in New York at age ten, through his involvement in the launch of many successful post-production companies, including FilmCore, Encore and RIOT. Chernoff shared his special fondness for MTI Film. “MTI is the culmination of everything I’ve ever strived for a company to be,” he said. “Creative, innovative, and a stable, family oriented environment where customers and employees feel at home. MTI is a company that has endeavored to punch above its weight. A company that has its roots in mathematics, its imagination in technological innovation, and its heart in artistic expression.” He closed by thanking his colleagues, customers and family, stating, “I look forward to going to work tomorrow and continuing what has been a true adventure where I can turn to our customers and say, ‘Shine ‘em up!’” Ian McNeny/ Comment Share MTI Film Adds Lasergraphics Scanner October 30, 2017 New tool promises to boost efficiency and quality of material worked on in Restoration. THE DIRECTOR HIGH-SPEED FILM SCANNER FROM LASERGRAPHICS MTI Film’s restoration division has gotten a significant boost through the acquisition of a Lasergraphics Director high-speed film scanner. The system can perform high resolution, pin-registered scanning from virtually any film source and includes cutting edge features for safely handling film, managing warpage and detecting dust, scratches and other common artifacts. It’s an ideal tool for restoration and remastering projects, especially those destined for HDR, Blu-ray or other high-resolution delivery. MTI Film exhaustively tested several leading film scanners and found Director to be the clear winner. “It delivered a level of detail not present in other scanners, especially with color film,” recalls Head of Restoration Wojtek Janio. “It also offered greater flexibility in terms of its ability to handle both film negative and print film.” The Director has a proprietary pressure plate to flatten warped film. Its unique double- and triple-flash scanning option for extraordinary results in capturing shadow detail in print film. MTI Film is currently using the Lasergraphics Director in restoring the 1931 Paramount Pictures drama Confessions of a Co-ed. Directed by David Burton and Dudley Murphy, the film is notable for a rare onscreen performance by the Rhythm Boys (Bing Crosby, Harry Barris and Al Rinker). Ian McNeny/ Comment Share MTI Film In Asia September 04, 2017 For the sixth consecutive year, MTI Film traveled to China to take part in the Beijing International Radio, TV and Film Exhibition (BIRTV 2017). Company representatives were at China Film Equipment’s booth demonstrating DRS™NOVA v3 and Cortex v4. DRS™NOVA is the dominant digital restoration software in China with dozens of installations in that fast-growing market. “We expect to continue generating strong interest from companies involved in restoration and remastering in China and throughout Asia,” says MTI Film CEO Larry Chernoff.” DRS™NOVA version 3 is a significant advance, with new and improved features for flicker, color breathing, stabilization, de-warping, and version export.” MTI FILM PRESENCE AT THE BIRTV 2017 ENTRANCE. IMAGE CREDIT TO RIEDEL COMMUNICATIONS CORTEX also had strong appeal for producers and post-production suppliers in Asia. Cortex v4 includes a comprehensive toolkit with IMF, AS-02 and DCP packaging, an extended edit tool and officially-certified Dolby Vision metadata editing capabilities. BIRTV is the largest industry trade show in Asia and one of the world’s premiere showcases for new film, television and broadcast technology. Last year, the show included more than 500 exhibitors, while attendance topped 50,000. BIRTV 2017 highlighted the latest developments in media convergence, IP production, 4K and HDR, and digital post production. After BIRTV, Chernoff traveled to Tokyo where he was warmly received by several DRS™NOVA customers. He demonstrated v3’s new features and taught a class in the software at QTec, one of Japan’s leading post-production service companies. He also met current and future CORTEX clients including NHK, Japan’s national public broadcasting company. MTI recently helped NHK use CORTEX to convert AAF files for offline editorial use and, based on that success, the company plans to integrate additional CORTEX workstations into its workflow. At Photron, an MTI reseller and industry leading technology supplier, Chernoff found more enthusiasm for CORTEX v4. Japanese users have great interest in IMFs and appreciate the speed and features CORTEX provides in managing them. Upon returning to Los Angeles, Chernoff was thrilled to learn that Photron had facilitated the sale of several new CORTEX seats. “They’re one of our best resellers,” he said. “We’re extremely proud of the work they’ve done on MTI’s behalf.” Ian McNeny/ Comment Share Alex Chernoff Applies Brilliant Finishing Touch to New Videos July 03, 2017 Young MTI Film colorist teams with Director Phillip R. Lopez for work from Pussy Riot, Cold War Kids and Watt. STRAIGHT OUTTA VAGINA BY PUSSY RIOT. COLOR BY ALEX CHERNOFF MTI Film colorist Alex Chernoff has developed a fruitful collaboration with Phillip R. Lopez, a young director who’s been garnering a lot of attention for his visually stunning short films and music videos. Recently, Alex worked with Lopez to finalize the look for three new videos, including a release from Russian punk band Pussy Riot with the provocative title Straight Outta Vagina. A hip-hop feminist anthem, the video is set in a church and a tiled bathroom (the actual shooting location was the Ace Hotel in Los Angeles) and includes a cast of children, dancers and female body builders. “It’s about the power of female sexuality,” says Producer Matthew McCluggage. “It reminds men where they come from.” Color is used creatively in the video to set the trippy, celebratory mood, establish locations and reinforce the band’s brand. “We drew out the gold in the classical design of the theater to give it the feel of a Russian Orthodox church,” explains McCluggage. “We played against the green in the tiles of the bathroom scenes and went for a warmer look in the mirrored shots. Overall, we emphasized the blues and the yellows, the band’s signature colors.” “It’s a strong look,” adds Alex. “Phillip and I worked hard on the church scenes and are very happy with how well they turned out. We used a grain tool throughout to give it a filmic look—that’s something I often do with Phillip’s work.” LOVE IS MYSTICAL BY THE COLD WAR KIDS.COLOR BY ALEX CHERNOFF Alex also applied the final grades to Love is Mystical from the Cold War Kids and Burning Man from the rapper Watt (featuring Post Malone). In the former, most scenes are presented in reverse motion and colored in soft, dreamlike tones. “The goal was to capture that feeling of a first kiss, or first falling in love,” Lopez explains, “the way time can stop, move backwards and you get totally lost in that mystical moment.” BURNING MAN BY WATT (FT. POST MALONE). COLOR BY ALEX CHERNOFF Burning Man, meanwhile, casts Watt and Post Malone as deliverymen who lace an office water cooler with LSD igniting (literally, as it turns out) a wild party. Alex says that he and Lopez had fun adding a psychedelic cast to scenes of office workers dancing in piles of shredded paper and covered in Post-It notes. The video climaxes with a man running down a hall after he has been set on fire. “We made the fire super-hot to make it feel more real,” Alex says. McCluggage observes that Alex is a valuable creative partner as he understands intuitively the visual aesthetic Lopez is seeking to achieve. “Alex has really refined his craft,” he says. “And, as a young artist, he relates well to the music and contributes great ideas during post.” Ian McNeny/ Comment Share MTI Film Delivers a Great “Escape” April 10, 2017 Restoration team uses DRS Nova in a new 4K restoration of “Planet of the Apes” sequel. READ MORE Ian McNeny/ Comment Share MTI to Launch Update to CORTEX Line April 01, 2017 At NAB 2017, MTI Film will launch the latest updates to its family of CORTEX applications designed to take media from Set to Screen. READ MORE Ian McNeny/ Comment Share Home Grown March 24, 2017 Online editors Kyle Gleisner and Andrew Miller are the latest examples of MTI Film’s penchant for nurturing young artists. READ MORE Ian McNeny/ Comment Share 5 Things You Didn't Know About DRS Nova March 16, 2017 Here are 5 things you may not have known about DRS Nova! READ MORE Ian McNeny/ Comment Share ANNOUNCEMENT: MTI teams with Fox for 4K Restoration of “Escape from the Planet of the Apes” March 06, 2017 An announcement about new work in our Restoration department. READ MORE Ian McNeny/ Comment Share MTI's Cortex Keeps Sony 24P Dailies Lab Rolling March 02, 2017 Busy post facility provides dailies services for Sony Pictures television productions. READ MORE Ian McNeny/ Comment Share Conjuring Spellbinding Looks for Syfy’s “The Magicians” February 27, 2017 DP Elie Smolkin and MTI Film Senior Colorist Steve Porter have forged a creative bond while finishing the second season of the hit fantasy series. READ MORE Ian McNeny/ 2 Comments Share MTI Film Expands to Support HDR February 20, 2017 MTI Film unveils it's new color grading, editorial, monitoring and QC resources. READ MORE Ian McNeny/ Comment Share NAB 2016 MTI Film introduces Cortex 3.0, going beyond dailies to include IMF Deliveries, Dolby Vision, MTI-Samsung Upres, and Dead Pixel Correction. March 25, 2016 MTI Film/ Comment Share NAB 2015: MTI Film Introduces Dead Pixel Detection and Correction with CORTEX April 06, 2015 At NAB 2015, MTI Film will introduce a new feature of its CORTEX line of dailies solutions designed to address the persistent problem of dead pixels in digital cinematography. READ MORE MTI Film/ Comment Share NEXT MTI FILM | Post Production | Film Restoration | Software Development | 1016 North Sycamore Avenue, Hollywood, CA 90038 | +1 323 465 6478 | mtifilm.com