Early November, Barco supported the Asian World Film Festival with its breakthrough HDR Lightsteering Technology. A dedicated auditorium at AMC Marina Marketplace 6 was equipped with this cinema projection setup, and 7 titles were shown in the latest HDR format as part of the festival program. Furthermore, Barco’s Head of HDR Content Workflow, Joachim Zell hosted a workshop at the festival titled “Color Consistency: from the movie set to the theater”.
The Barco content team worked together with the directors and producers of all titles leading up to the festival, to create the HDR version of their movies. This was an exciting part of the workflow where the extended pallet of the new format and technology gave the creatives the opportunity to highlight new elements in their storyline or make key parts stand out even more. The Barco team supported with the required tools and expertise to match the possibilities of HDR Lightsteering.
I am very excited at the opportunity to present my film in your format, and in awe of the possibilities to how I can build my process with an eye towards maximizing the most rewarding audience viewing experience with Barco. I had some observations of what I can do in my process while viewing JACIR at AWFF, and can’t wait to discuss with you.
Waheed AlQawasmi
Director and Producer of JACIR
At the festival venue, the Barco technical team set up the HDR Lightsteering in the booth of the 154-seat auditorium. Made for cinema, the system integrated perfectly with the existing room-setup and peripherals.
Then it was off for a whole week of screenings: every night the room was packed; and directors and producers were front row to see their movie shine brighter than ever before. The feedback was overwhelming!
The gauge for good Hi definition projections/imaging nowadays (especially on consumer televisions) is usually about having brighter, sharper, more saturated colors. The Barco HDR conversion of our film On The Job: The Missing 8, retained its filmic, cinematic and noirish quality but allowed more details to come out in the blacks. There is just the perfect balance of contrast and brillio without changing the original intention of the picture quality of our film. It felt like we were watching the film for the first time making us see things beyond what we previously seen in other screenings in regular theaters. And we say that in the best possible way.
Dondon Monteverde, Executive Producer of On the Job: The Missing and Erik Matti, Director and Executive Producer of On the Job: The Missing 8
