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White Light Audio combines
 production, post sound services

These three USC Film School grads take on audio their way

By Mel Lambert

White Light Audio is a boutique sound facility that provides premium sound services for all phases of film and digital-media production,” states Ginge Cox who, with co-founder Heika Burnison and sound designer/mixer Jan Bezouska, forms the core of this new operation based in East LA. “We can work on any segment of an entertainment project, or be present for every phase —from a project’s inception to final delivery.” Recent projects have included a number of feature films, shorts, episodic series, commercials, documentaries, voiceovers and trailers.

The three young filmmakers met at USC Film School while completing MFA studies in Film/TV production, Continue reading

Unknown Artist

What it means to be free

Free versions of software help develop a stronger entry-level talent pool

By The Unknown Artist

One of the biggest buzzes at the NAB Show this year was the announcement of free versions of software from Avid and The Foundry: Avid First and Nuke Non-Commercial. This is a pretty big deal… for those companies and for the industry as a whole because I have seen how free versions, not just short-term trial versions of software, have a significant, positive impact.

Avid had a stranglehold on the professional market during the 1990s and the early 2000s. During this period, their range of products included a free version — Avid Free DV. This was discontinued in 2007, Continue reading

Studio Suite

‘Live From New York’…. it’s Mari, the doc’s editor

Kristine Pregot, a long-time post supervisor who is now a senior producer at New York City’s Nice Shoes, sat down with Mari Keiko Gonzalez to chat about the editorial process on Live From New York!, an 81-minute documentary focusing on the 40-year history of the iconic television show Saturday Night Live, particularly the early years.

Pregot had worked with Gonzalez (@marikeikog) on Jay-Z’s Live from MSG: Answer the Call, and while Nice Shoes didn’t have any involvement in the film, Pregot thought this was a great story to share. So enjoy this conversation between to working pros and friends. Continue reading

Sam Stephens

Quick Chat: Humble’s ECD Sam Stephens

At the end of March, integrated content studio Humble acquired production house Paranoid US, and at the same time launched sister company Postal to officially handle visual effects and post production.

We thought now was the right time to check in with Humble’s executive creative director, Sam Stephens, to tell us how things are progressing.

Humble has always provided full production and post services. What led to the decision to launch Postal as its own banner?
Historically, we had posted about 75 percent of everything we shot at Humble in-house. As Humble began to work on bigger campaigns, the post asks got bigger as well. Full CG spots, high-end VFX and long-form editorial projects all meant that post was going beyond just servicing our directors. Continue reading

second main

Ingenuity Engine effects ‘The Last Man on Earth’

Los Angeles-based Ingenuity Engine was the primary visual effects vendor on the first season of the Fox hit The Last Man on Earth — the story of a man who believes he is the only survivor of a deadly virus that has wiped out the world’s population. In an act of desperation, Phil (series creator and star Will Forte) puts up billboards telling anyone who might care that he is “Alive in Tuscon.” Amazingly he finds other survivors.

The series, scored by Mark Mothersbaugh (see our story here), has already been renewed for a second season.

Aside from the show’s virtual cul de sac exterior location (via CBS Digital) and a few small shots done by Mango LA, Continue reading

DP John Seale on capturing ‘Mad Max: Fury Road’

This film vet goes digital for the first time with Alexa cameras and Codex recorders

Mad Max: Fury Road is the fourth movie in writer/director George Miller’s post-apocalyptic action franchise and a prequel to the first three. It is also the first digital film for Australian cinematographer John Seale ASC, ACS, whose career spans more than 30 years and includes such titles as The English Patient (for which he won an Oscar), The Mosquito Coast, Witness, Dead Poets Society and Rain Man.

Facing difficult conditions, intense action scenes and the need to accommodate a massive number of visual effects, Seale and his crew chose to shoot principal photography with Arri Alexa cameras and capture ArriRaw on Codex onboard recorders, Continue reading

Courtney Love and Kurt Cobain

Helping color Kurt Cobain’s world for ‘Montage of Heck’

Company 3’s Shane Harris works with director Brett Morgen on this new documentary

Director Brett Morgen spent eight years putting together the documentary Kurt Cobain: Montage of Heck, which tells the fascinating and tragic story of the Nirvana front man in a very intimate way via never-before-heard recordings and animations based on his mostly unseen drawings. There are also very personal home movies and interviews Morgen did with the artist’s mother, band mates, friends and wife, Courtney Love. The film played at the Tribeca Film Festival, had a limited theatrical release and is currently on HBO.

For Company 3 (@company3) colorist Shane Harris, who also worked with Morgen on the director’s Rolling Stones doc, Continue reading

Behind the Title: Roger’s Dane Macbeth

NAME: Dane Macbeth

COMPANY: LA-based Roger (@RogerTVLA)

Roger is a multimedia company that brings a unique and creative vision to a wide landscape of projects. We offer design, animation, original content, branding ID, live-action and post services.

Creative Director

The best part of being a creative director at Roger is the wide range of work that entails. For every project that comes through our doors, we aim to give a unique and personal feel, from concept through delivery. As a creative director, Continue reading

Behind the Title: Colorist Jim Wicks

NAME: Jim Wicks

Color correction and color grading services for motion pictures, television, web.


I help filmmakers tell stories by digitally altering colors, hue, luminance and more.

My friend, Gray Marshall, calls me the film whisperer. I am a bridge between the director or cinematographer’s vision and what the film wants to be. I work for my clients, but I speak for the film.

WHAT SYSTEM DO YOU WORK ON? Continue reading