Issue link: https://digital.copcomm.com/i/1522417
www.postmagazine.com 6 POST MAY/JUNE 2024 BITS & PIECES COMPANY 3 OPENS DOLBY VISION/DOLBY ATMOS THEATER IN NYC NEW YORK CITY — Company 3 (www.company3.com) has opened a new Dolby Vision/Dolby Atmos-equipped theater within the company's Manhattan location at 218 West 18th Street. This theater is one of the first of its kind on the East Coast and will enable Company 3's clients to experience their work in an acoustic environment that's as robust as that of any cinema in the world. The new theater is equipped to present the immersive sound of Dolby Atmos, which filmmakers are using to pull audiences deeper into their stories. In addition to the immersive audio capabilities, the theater also supports Dolby Vision, including 3D, which brings projects to life via darker darks, brighter brights and a wide color range. "Company 3 is all about providing the highest-quality experience for our clients," says CEO/colorist Stefan Sonnenfeld, who put the new theater to use on Paramount's IF with director John Krasinski and two-time Oscar-winning cinema- tographer Janusz Kaminski. "New York has become a production and post center for every type of show, including the biggest blockbusters. Company 3 has been, and intends to remain, a catalyst for growth in the city. With this new theater, film- makers can view their work without compromising convenience or quality." Design and engineering of the purpose-built space was spearheaded by New York-based CTO Robert Keske, LA-based co-CTO Mike Chiado and Toronto-based director of sound engineering Phil Seal. Pilchner/Schoustal International handled the acoustics, while A+C served as architects. Dolby and Company 3's in-house team of technical experts also provided guidance. The theater can be used for color grading, reviewing or monitoring sound mixes (remotely too), or to screen work at the same quality found at Dolby cinemas. The room seats 10 and can seamlessly connect to Company 3's Toronto mixing stages and their re-recording mixing talent. CANON INTRODUCES C400 & NEW RF LENS MELVILLE, NY — Canon USA Inc. (www.usa.canon.com) has introduced the EOS C400 cinema camera, with a native RF-mount and full-frame, back-illumi- nated, stacked CMOS sensor. The 6K camera is designed for the film and live production markets, and will be priced at $7,999 when it ships in the fall. The C400 can shoot 6K at up to 60p, and 4K at up to 120p for slow-mo- tion effects. It's equipped with a 3.5-inch touchscreen LCD, as well as slots for CFexpress and SD cards. At 3.5 pounds, the camera body is 10 percent lighter and smaller than Canon's C500 Mark II. The back-illuminated CMOS sensor, with triple-base ISO, allows the camera to capture high-quality imagery in a wide range of lighting conditions. Base ISOs of 800, 3200 and 12,800 maximize the full dynamic range of the C400. Canon also introduced an RF-mount version of the company's popular Cine- Servo 17mm-120mm cinema lens. This new, native RF-mount lens features additional pins to increase communica- tion with RF-mount cameras, such as the EOS C400, enabling auto focus, distor- tion correction and metadata output for virtual productions. It will be priced at $23,850 when it ships in October. Also from Canon is the newly-developed Mount Adapter PL-RF, which opens up a broad range of PL-mount lenses to the EOS C400 camera. The adapter maintains compatibility for Cooke i/Technology metadata communication between camera and lens, and includes locking plates to help achieve maxi- mum mount strength. The Mount Adapter PL-RF will be priced at $1,599 when it ships in September.