Michael and Ashley Kohler on work, romance and the show that’s to blame
Business partnerships are like a marriage, but what if you combine the two? And what if a crazy and beloved show like Adult Swim’s Aqua Teen Hunger Force was at the center of it all? Well, for one couple that’s exactly what happened.
Atlanta-based Ashley Kohler (Awesome Inc. and Bluetube) and Michael Kohler (Bluetube) might never have fallen in love if it wasn’t for this quirky cartoon, which had its season finale this summer after 15 years on the air. Recently this happy couple sat down to reflect on romance, meatballs and the perfect marriage of sound and picture. Continue reading
Much more than a final mix tool.
By Ron DiCesare
iZotope has expanded their successful line of RX products with their latest plug-in called RX Final Mix. But don’t let the name fool you. RX Final Mix does a lot more than just improve a final mix as a last step, like a mastering plug-in. iZotope offers the Ozone 6 mastering system for just that purpose. RX Final Mix is different. RX Final Mix can be used on a single audio track as part of a mix, on stems or sub-groups of tracks and, of course, across the master fader on the audio mix as a whole.
RX Final Mix is unlike anything I have ever used before, Continue reading
NAME: Robert Minshall
CAN YOU DESCRIBE WHAT ENCORE DOES?
Encore is a post facility that specializes in the picture finishing of episodic television. This includes dailies, online editing, final color and VFX. Encore is a division of Deluxe Entertainment Services.
WHAT’S YOUR JOB TITLE?
WHAT DOES THAT ENTAIL?
I create VFX by combining a variety of 2D and 3D elements in a (mostly) 2D environment.
WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE? Continue reading
By Iain Blair
The legendary director/writer/producer/actor/author and film historian Peter Bogdanovich hit Hollywood like a tornado when his 1971 masterpiece, The Last Picture Show, scored eight Oscar nominations, winning two of those golden boys. He followed that up with more hits, including What’s Up, Doc? and Paper Moon. The latter won the Oscar for then 10-year-old Tatum O’Neal.
Since those heady days, Bogdanovich has had his ups and downs, and he’s largely spent most of the last 15 years working in TV, both behind and in front of the camera — he was a regular on The Sopranos and also directed an episode. Now he’s back with a new film, Continue reading
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
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
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.
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
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
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
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.