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Quick Chat: Dictionary Films director/DP Michael Ognisanti

Dictionary Films, the production arm of Cutters Studios, has expanded its roster with the addition of director/DP Michael Ognisanti. He joins from Chicago-based production company MK Films where he worked from 2004 to 2015.

While there he trained as a motion control operator and began assistant directing and shooting under director Mark Klein. Over the years, he built a reputation as a tabletop director and DP for commercials and documentaries. His credits include spots for Bobble, Bud Light, Coors, Giant Eagle and Golden Corral.

Let’s find out more.

You recently joined the roster of Dictionary Films. Can you talk about that and why you made the move? Continue reading

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Jake Kluge’s Tips: How to be a successful audio engineer

Audio editor/mixer Jake Kluge has worked at Dallas’ Charlieuniformtango for over 14 years. This audio vet knows a thing or two about how to succeed in this business. His recent work includes spots for Fiat and Home Depot out of The Richards Group, as well as a project for Universal Orlando via TM Advertising.

This busy pro was kind enough to share his wisdom with postPerspective.

If you’re the type of engineer that works with a client sitting behind you, as many of us are, your middle name should be Collaboration. You’re working for your clients. Their word is final. But, there is a reason they come to you — you’re good at this “sound thing.” So it’s ok to ask, Continue reading

Panel: The future of post production — 4K and HDR

By Larry Jordan

Last week, I had the pleasure of moderating a panel sponsored by KeyCode Media and Sony on “The Future of Post: 4K and HDR.” We spent 90 minutes discussing whether it was time for editors and post facilities to start editing 4K and/or HDR images, and what changes these new formats would require.

The panel featured Michael Cioni, president, Light Iron; Mike Whipple, executive director of post, Sony Pictures Entertainment; and Bryan McMahan, senior digital colorist, Modern VideoFilm.

Some Background
4K is the term used to describe image frame sizes that are close to 4,000×2,500 pixels. 4K actually has a variety of different aspect ratios – Michael Cioni listed six off the top of his head – along with a variation of 4K called Ultra HD (UHD). Continue reading

Sam Daley on color grading HBO’s ‘Show Me a Hero’

By Ellen Wixted

David Simon’s newest and much-anticipated six-part series Show Me a Hero premiered on HBO in the US in mid-August. Like The Wire, which Simon created, Show Me a Hero explores race and community — this time through the lens of housing desegregation in late-‘80s Yonkers, New York. Co-written by Simon and journalist William F. Zorzi, the show was directed by Paul Haggis with Andrij Parekh as cinematographer, and produced by Simon, Haggis, Zorzi, Gail Mutrux and Simon’s long-time collaborator, Nina Noble. Technicolor PostWorks‘ Sam Daley served as the colorist. I caught up with him recently to talk about the show.

A self-described “film guy,” Continue reading


Review: CEDAR Studio 7 audio plug-in tools

By Robin Shore

When it comes to cleaning up damaged and noisy recordings, the tools from CEDAR Audio have long been respected in the audio community. CEDAR, which is sold by Independent Audio in the US, bills itself as “dedicated solely to audio restoration and speech enhancement for film, post, TV and radio broadcast; CD and DVD mastering, libraries and archives; and for audio forensic investigation.”

A few months ago they released CEDAR Studio 7, an update to the company’s earlier software bundles, which brings CEDAR’s renowned hardware into the software realm. This allows in-the-box mixers access to CEDAR‘s top-of-the-line processing without ever leaving the DAW.

While previous versions of CEDAR Studio were available exclusively as Pro Tools plug-ins, Continue reading

Killer wasps and an ’80s look for horror flick ‘Stung’

Rat Pack Films and XYZ Films movie Stung is an homage to the golden age of VHS, featuring a campy look of the 1980’s horror film genre. It’s proof positive that monster movies still exist in the world of low-budget horror/comedy.

They used an Arri Alexa 2K with Hawk anamorphic lenses to shoot the film. The anamorphic lenses produced a distinctive intensity that the filmmakers felt helped with the strong color definition needed to achieve a 1980’s look and feel.

Stung focuses on a fancy garden party gone terribly wrong when a colony of killer wasps mutates into seven-foot tall predators.

German-based freelance colorist Peter Hacker custom built — from top to bottom — his own PC-based compositing/grading workstation, Continue reading

The sound of Netflix’s ‘Wet Hot American Summer’ prequel

Supervising sound editor J.M. Davey weighs in about First Day of Camp.

By Jennifer Walden

David Wain’s homage to summer camp in the 1980s, Wet Hot American Summer (2001), managed to get away with casting actors in their late 20s and early 30s as teenage camp counselors — talk about suspending your disbelief. Well he took that premise a bit further recently.

Wain’s latest offering, the Netflix series Wet Hot American Summer: First Day of Camp, uses the same actors from the first film — Paul Rudd, Janeane Garofalo, Michael Showalter, Amy Poehler, Bradley Cooper, Zak Orth and Michael Ian Black, all now in their 40s — to recount what happened in those first days that summer at Camp Firewood. Continue reading

Checking in with ArsenalCreative since transition from ArsenalFX

A couple of months ago ArsenalFX owner Mark Leiss, along with executive creative director Kaan Atilla and executive producer Cortney Haile, launched their content creation studio ArsenalCreative in Santa Monica. So ArsenalFX is now ArsenalCreative, focusing on design, branding, animation and visual effects for commercials and other entertainment entities.

We decided to check in with Leiss to find out how things were going and what led him and his partners to start ArsenalCreative.

Is this an outgrowth from your already established ArsenalFX?
ArsenalFX has changed its direction to be more creatively centric, and we’ve changed our name to reflect this. ArsenalFX was primarily a high-end finishing company focused on commercial based projects with limited design/animation and visual effects. Continue reading

Review: Rampant Design Tools’ latest updates

By Brady Betzel

If it seems like I’m reviewing Rampant Design Tools’ latest releases every few months, it’s because I am. Sean and Stefanie Mullen, the creators of Rampant Design Tools, are creating brand new sets of overlays, transitions, paint strokes, flares and tons of other tools every month.

Typically when I do reviews there isn’t much personal interaction with the business owners, but Sean and Stefanie made themselves available for questions every step of the way. Even when I’m not doing a Rampant review, I am emailing them and they are always ready to help and even give advice. For them it’s about their customers, and they are continually releasing top shelf tools that I believe every editor and motion graphics artist should have in their toolbox. Continue reading

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Lenovo’s ThinkPad P50, P70: possible DIT powerhouses

By Boon Shin Ng

When I was asked by postPerspective if I’d like to get a hands-on preview of some of Lenovo’s upcoming embargoed products over lunch, my answer was, “Of course!” Technology and food — a match made in heaven!

Both lunch and tech did not fail that day. It was an intimate setting of five at an upstairs private balcony of a nice restaurant here in New York City. During lunch, we were presented with Lenovo’s latest laptops — the ThinkPad P Series, which includes the P50 (15 inches) and the P70 (17 inches). The company pitched them as workstations in a laptop size, which feature new Intel Xeon processors.

While Lenovo went over the details of the products, Continue reading