By Kristine Pregot
It’s always nice working with someone you have collaborated with before. There is a comfort level and unspoken language that is hard to achieve any other way.
A few years back, I had the pleasure of working with talented sound mixer Ian Stynes on a TV sketch comedy. This year we collaborated once again for the So Yong Kim film Lovesong (our main image), which made its premiere at this year’s Sundance and had its grade at Nice Shoes via colorist Sal Malfitano.
Ian has been busy. In fact, another film he mixed recently had its premiere at Sundance as well — Other People, Continue reading
By Iain Blair
The Oscar races are usually full of surprises, and there were no shortage in this year’s list of nominees. One of the biggest was the success of Room, which picked up four nominations in such high-profile categories as Best Picture, Best Actress, Best Adapted Screenplay and Best Director for Lenny Abrahamson, the little-known Irish director who helmed the little-seen cult indies Frank, Garage, What Richard Did and Adam & Paul before making Room, another small indie film about very difficult subject matter.
While other Best Picture nominees The Martian and The Revenant also dealt with survival and abandoned characters left behind for dead, Continue reading
By Randi Altman
After watching Mr. Robot when it premiered on USA Network last year, I changed all of my computer passwords and added a degree of difficulty that I’m proud of. I’m also not 100 percent convinced that my laptop’s camera isn’t on even when there’s no green light. That’s right, I completely and gleefully bought into the paranoia, and I wasn’t alone. Mr. Robot won Best Television Series Drama at this year’s Golden Globes, and one of the show’s supporting actors, Christian Slater, took home a statue.
The show, about a genius New York-based computer hacker (Rami Maleck) who believes corporations control, well, everything, has been getting its color grade by Laura Jans Fazio, Continue reading
By Kristine Pregot
Caroline Monnet’s Mobilize takes viewers on a journey from Canada’s far north to its urban south, telling the story of those who live on the land and “are driven by the pulse of the natural world.” Mobilize is part of Souvenir, a four-film series addressing the Aboriginal identity and representation by reworking material in the National Film Board of Canada’s archives.
The above description of Mobilize doesn’t do the film justice. It was amazing, and I was so impressed with this while attending Sundance’s Short Program 1 — the way the footage was brought together through the music and editing — that I had to interview Monnet about her process. Continue reading
NAME: Chris Mackenzie
CAN YOU DESCRIBE YOUR COMPANY?
Harbor Picture Company is a New York-based post house known for our flexibility with workflows and our relationships with clients. We offer a complete range of post services — from offline editorial to Dolby Atmos audio mixing.
WHAT’S YOUR JOB TITLE?
WHAT DOES THAT ENTAIL?
Digital conform, visual effects, titles and some problem solving. My work usually comes under the umbrella of final picture finishing. I’m responsible for getting the picture components to the final state for presentation, Continue reading
CEO Jeff Edson and VP of biz dev Lucas Wilson answer our questions
By Randi Altman
As you can tell from our recent Sundance coverage, postPerspective has a little crush on VR. While we know that today’s VR is young and creatives are still figuring out how it will be used — narrative storytelling, gaming, immersive concerts (looking at you Paul McCartney), job training, therapy, etc. — we cannot ignore how established film fests and trade shows are welcoming it, or the tools that are coming out for its production and post.
By Joel PIlger
Be honest, when business gets slow at your creative studio, does someone suggest, “Let’s cut a new demo reel?”
Ah, the “demo reel.” That classic, rapid-fire, glitzy montage of your studio’s best work. The first demo reels I ever saw came from legendary studios like Pittard Sullivan, GRFX Novocom and Telezign. They gave me goose bumps. That was 1994.
Amazing how the demo reel (or “sizzle reel”) has remained the stalwart calling card for motion design studios and production companies for over two decades. Or has it? After all, the goose bumps are long gone.
I believe the venerable demo reel is finally dying. I submit that if we creative studios took the traditional “demo reel” out back and shot it, Continue reading
By Randi Altman
Many of you might know John “Pliny” Eremic, a fixture in New York post. When I first met Pliny he was CTO and director of post production at Offhollywood. His post division was later spun off and sold to Light Iron, which was in turn acquired by Panavision.
After Offhollywood, Pliny moved to HBO as a workflow specialist, but he is also the co-founder— with long-time collaborator Alan Grow — of Endcrawl.com, a cloud-based tool for creating end titles for film and television.
Endcrawl has grown significantly over the last year and counts both modest indies and some pretty high-end titles as customers. I figured it was a good time to dig a bit deeper. Continue reading
By Kristine Pregot
The future is here, and I caught a glimpse of it while wearing VR glasses at the New Frontier. This is Sundance’s hottest place on the mountain. The Frontier is a who’s who of VR tech, design and storytelling.
These VR products aren’t exactly ready for household consumption yet, but the New Frontier has become a spot for developers to show off their latest and greatest in this ever-growing arena.
On the 2nd and 3rd floors of the Frontier’s dark hallway, you’ll find Oculus Rifts and HTC Vive stations lining the studio walls along with masked viewers sitting on comfy couches reaching for nothing, sitting side by side, Continue reading
By Luke Allen
If last year’s annual Park City film and cultural meet-up was where VR filmmaking first dipped its toes in the proverbial water, count 2016’s edition as its full on coming out party. With over 30 VR pieces as official selections at Sundance’s New Frontier sub-festival, and even more content debuting at Slamdance and elsewhere, festival goers this year can barely take two steps down Main Street without being reminded of the format’s ubiquitous presence.
When I first stepped onto the main demonstration floor of New Frontier (which could be described this year as a de-facto VR mini-festival), the first thing that struck me was, why was it so loud in there? I admit I’m biased since I’m a sound designer with a couple of VR films being exhibited around town, Continue reading