View this newsletter in a browser.

 



Colorist John Dowdell talks
about the look of Carol
By Randi Altman

Todd Haynes’ Carol, about two women who fall in love in New York City in the 1950s, received six Oscar noms this year, including one for Best Cinematography. Despite its setting, this beautifully captured film was actually shot in Cincinnati because of its architectural resemblance to 1950’s Manhattan.

But the post was done in New York. One of the movie’s producers, Goldcrest Films, has a post house there, so Carol’s edit team called that location home for about seven months. It was there that editor Affonso Goncalves and his assistant Perri Pivovar enjoyed a close relationship with Goldcrest’s in-house, veteran colorist John Dowdell, who was also working on the film.

The editors would often call Dowdell into the edit suite to find out what he could accomplish in his color suite. For example, one challenge the edit team had was the film — which takes place during Christmas — went over a little, so some of it was shot at the end of the winter and into the spring. There were some pesky green leaves and grass that needed browning and Dowdell obliged.
 
Read More >

 



Making our dialog-free indie feature Driftwood
By Paul Taylor and Alex Megaro

Driftwood is a dialogue-free feature that focuses on a woman and her captor in an isolated cabin. We chose to shoot entirely MOS... because we are insane. Or perhaps we were insane to shoot a dialogue-free feature in the first place, but our choice to remove sound recording from the set was both freeing and nerve wracking due to the potential post production nightmare that lay ahead.

Read More >


Review: The Blackmagic Cinema Camera
By John F.K. Parenteau

I am what you would call a purist. While I enjoy new technology, I’m not completely sold on the modern methodology. I’m not going to try to convince you that film is the way to go, or that carbon arc lamps are better than HMIs, but I will say that there are certain things that have been lost with the new technology that’s out there today.

Read More >


Postal grows staff with Uvphactory’s
Damian Saccio and Gene Nazarov

By Randi Altman

Industry vet and Uvphactory co-founder Damijan Saccio has joined New York City’s Postal as executive producer. Postal, Humble’s sister shop for design and VFX, also brought on creative director Gene Nazarov. He too arrives from motion design and visual effects studio UVPhactory, which Saccio co-founded in 2000.

Read More >

Behind the Title: Sonic
Union's Justine Cortale

Raytracing today
and in the future

By Jon Peddie

Leon Silverman steps down, Seth Hallen new HPA pres




For more information contact info@postPerspective.com
Read past newsletters  http://postperspective.com/newsletter

© 2016 postPerspective. All Rights Reserved.

Unsubscribe