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cineSync: The Last Airbender Thu, 14 July 2011
VFX Supervisor Allan McKay and cineSync Sat, 10 July 2010
cineSync 3.0 released - with Shotgun integration Thu, 13 May 2010
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Tales from cineSync users

Production companies, Visual Effects studios, and independent professionals from all around the world are quickly discovering the value of cineSync as part of their everyday work-flows and are adding it to their tool-set.

A few productions that have used cineSync:

  • Avatar
  • Ice Age 3
  • Iron Man 2
  • Watchmen
  • Harry Potter and the Goblet of Fire
  • Harry Potter and the Order of the Phoenix
  • Legend of the Guardians
  • The Wolfman
  • Transformers
  • Rush Hour 3
  • The Chronicles of Narnia: Prince Caspian
  • Live Free or Die Hard
  • Charlotte's Web
  • Superman Returns
  • X-Men: The Last Stand
  • Poseidon
  • War of the Worlds
  • The Dark Knight
  • Harry Potter and the Half-Blood Prince
  • Get Smart
  • Evan Almighty
  • Wanted
  • The Golden Compass
  • Alvin and The Chipmunks
  • The Dark Knight
  • Valkyrie
  • Jumper
  • The Seeker: The Dark is Rising
  • Fantastic 4: Rise of the Silver Surfer
  • Iron Man
  • Spiderman 2
  • Spiderman 3
  • Grindhouse (Planet Terror and Death Proof)
  • Into the Wild
  • Quantum Of Solace
  • And many more...

Here is what some of our users have had to say:

“The visual effects on The Road simply would not be possible without the cineSync collaboration tool. cineSync is more than software, it has become a permanent verb in our vocabulary.”
 — Phillip Moses (VFX Producer, The Road)

“The Drawing Tools in cineSync are great for me. I am a visual thinker, so I love to draw in cineSync as I discuss shot development.”
 — Mark Stetson (VFX Supervisor, Superman Returns)

“For Harry Potter and the Goblet of Fire, we had some 1200 VFX shots amongst 9 VFX houses around the world. Using cineSync was the next best thing to being in the same room with the artists.”
 — Jimmy Mitchell (VFX Supervisor, Harry Potter 4)

“With 10 companies worldwide contributing VFX shots; cineSync made X-Men 3 possible.”
 — John Bruno (VFX Supervisor, X-Men 3)

“Every day on Rush Hour 3, cineSync allowed me to discuss notes with artists at 17 companies in multiple cities, which would not have been possible if I had to travel to each facility. cineSync is the way to go!”
 — Adam Howard (Co-VFX Supervisor, Rush Hour 3)

“cineSync has transformed the creation and management of visual effects by allowing teams around the globe to review and discuss imagery in a concurrent, consistent and efficient manner. I can't imagine making a film without cineSync anymore.”
 — Boyd Shermis (Visual Effects Designer, Poseidon)

“cineSync Pro is an extremely useful tool for remote collaboration on our projects - you can show someone exactly what you're seeing, no matter where they are in the world”
 — Anne Le Bouyonnec, Ubisoft Digital Arts Producer

“This was a typical 21st century production - we never ever sent anything physical to anybody. We did everything with cineSync sessions. I never ever had to get on a plane.”
 — Bruce Woloshyn, VFX Supervisor, Uninvited - quoted from VFX World Jan 30 2009

“We used it with all the vendors - even the ones in L.A. - to communicate very quickly and go over all the different shots specifically.”
 — Richard Kidd, VFX Supervisor, Twilight - quoted from VFX World Nov 24 2008

“cineSync was a life-changing concept for me”
 — Gil Keenan, Director, City of Ember - quoted from VFX World Oct 10 2008

“I used it from Hong Kong, Chicago, LA, London and Paris. Wherever we were, I was able to stay in contact with the director and the vendors. It really makes the world a much smaller place.”
 — Nick Davis, VFX supervisor, Dark Knight - quoted from American Cinematographer, July 2008.

“cineSync's drawing tools along with the Pro facilities like colour grading allow everyone to get their message across in a clear and concise way. This intuitive real-time review software has become a staple part of our week, allowing us to bridge the physical divide between cutting rooms and facilities across the world.”
 — Rupert Smith, VFX Co-ordinator, The Wolfman


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