Tag Archives: finishing

MPC LA moves to Culver City location, expands MPC Film

After eight years in Santa Monica, MPC LA has moved to a 25,000-square-foot digital studio in Culver City at 8921 Lindblade Street.

MPC Advertising now has more space dedicated to VFX, color and finishing. The new space also plays host to a purpose-built VR/AR infrastructure and its content production arm, MPC Creative.

MPC Film LA has a greatly expanded footprint in the new facility, offering filmmakers the opportunity to collaborate with MPC’s artists to support the pre-production phase of development. Creative services include concept and production design, previs and visual development, and preliminary bidding and budgeting.

Julian Levi, the newly promoted GM at MPC Film LA, says, “We are excited to be able to continue collaborating with filmmakers in the very early stages of production. Having all of our front-end resources consolidated in the new studio means our clients can take advantage of MPC LA’s creative services all in one space.”

The space features an MPAA approved previs artist workspace and a screening room with 3D stereo, HD and 2K/4K projection, offering 2K synced reviews, TV-IPS video feed and video conferencing.

VFX industry veteran Joanna Capitano (right) has also joined the team at MPC Film LA, overseeing and representing the studio’s VFX supervisor talent, including Richard Stammers, Erik Nash and Guillaume Rocheron. Capitano was most recently VP of features at Digital Domain.

In discussing the move, MPC’s global CEO, Mark Benson, explains, “Culver City presented a unique opportunity to build out our custom-designed, integrated studio in a 25,000-square-foot space. It is a great fit because Culver City is fast becoming Los Angeles’ hotbed of emerging technology, and it’s located off the 10 freeway and Metro Expo line, making it convenient for our clients.”

MPC Film previs/postvis teams are currently working on Ghost in the Shell, Fantastic Beasts, Alien Covenant and The Dark Tower.


Quick Chat: Light Iron New York supervising colorist Steven Bodner

By Randi Altman

Turn your TV to any network or streaming channel any evening and you will immediately be reminded just how much television production is currently going on in New York City. This boon is directly related to New York’s inviting production tax incentives. And thanks to the state’s post production tax incentives, many of these shows are now staying in New York for finishing.

In response to this increase in work, Panavision’s Light Iron in New York has been growing its episodic division, most recently with the addition of supervising colorist Steven Bodner, who joins after eight years at Deluxe in New York.

Bodner’s extensive television resume includes Girls, Blue Bloods, Treme, True Detective and the new HBO series Vinyl. Bodner also works on features, including the recent Beasts of No Nation, starring Idris Elba.

Considering his history and his new position, we figured there was no better time to reach out and learn more about Bodner and how he works.

Why was now the right time to make a move, and why was Light Iron the right choice?  
I was with Deluxe for the past eight years and felt I needed a change. I was approached by Light Iron and was impressed right off the bat with their technological know-how and advancements. The Panavision connection also influenced my decision. I love the fact that I can be involved from the early stages of choosing the camera and lenses to the final delivery.

What do you hope to accomplish in your new position at Light Iron? Your title says supervising colorist, but you will you be hands-on for shows as well?
I am 100 percent hands-on with all the projects I work on. I feel like I can connect more with the filmmakers and creatives by touching every frame of the show or film. My title is more for building a strong team and department. I want to help our new colorists polish their skills so that we can all grow together and collaborate. I have a lot of knowledge I can spread through our new department, and the title allows me to do that.

What is your color grading tool of choice?
I feel like we as artists use many tools to mold a picture. A great colorist can shape pretty pictures with whatever platform we are given — it’s more about the creative vision. That being said, I am currently using the latest version of Resolve from Blackmagic. (Light Iron’s New York facility just installed a Quantum StorNext 5 SAN (700 TB) and a Sony X300 for HDR monitoring.)

What is your ideal way of working on a TV show, and does that differ from how you work on a feature?
What I like to do, whether it be TV or a film, is get involved as early as possible. I like to get into the head of the DP and/or director and see what his or her visions are for the show. Then, during testing, I like to find time to sit and play around a bit and get some “look-book” stills done for reference going forward. When a delivery actually comes in, I like to do a quick pass unsupervised and get everything in a ballpark with my look-book stills and then go from there with the clients.

Do you prefer getting visual examples of looks or talking about the look and feel?
It’s always nice to get visual examples of what the DP or creative wants. However, there are situations when time doesn’t allow for that and a quick conversation is all you get. That’s why, for me, it’s important to be involved from the start and to communicate as often as possible or needed.

As a New York post veteran, it must be fun watching all this episodic work come to New York, and stay in NY for post. 
It’s been great watching the amount of NY work grow. I remember years ago only doing the dailies and hoping for a day when we could keep the finishing here as well. It’s a dream come true.

What changes/trends have you noticed over the past few years relating to color grading?
The biggest changes or trends I’ve noticed are related to speed and capabilities. With most projects being digital now, there is an expectation for speed. We have to be fast and precise while retaining the look and the feel of the show. I also feel like we are doing a fair amount of beauty work in color due to the stronger color tools and better trackers.

Finally, where do you find inspiration for looks? Photography? Museums? The streets of New York?
I get my inspiration from everyday life, photography and other shows or films. I also like to sit in my color suite and just try things that I normally wouldn’t do, when a client is present, to see what comes out of it.


Taking your project from the edit suite to the final product.

By The Unknown Artist

I’ve been asked a few times recently to explain the what, how and why of XML, AAF and EDLs. They’re an essential part of any turnover, and each post house will request a different set of one or more of these (often along with your project or bin). I, the Unknown Artist, am here to try and demystify this aspect of turnovers, and hopefully make turnover specs seem less weirdly demanding.

What are they?
When a project is conformed, we’re not relinking your timeline, but rebuilding it in different software. Depending on that software, we need the details of your timeline in one of these formats to interpret it correctly. An EDL is the most simple of the three, which is why we often Continue reading

ProMAX targets 4K edit, VFX workflows with One workstations

ProMAX Systems, makers of high-performance video storage servers, editing workstations and archival appliances, has launched the ProMax One and One+ workstations, which are designed specifically for video editors, colorists, and VFX artists working with 4K workflows.

The new One and One+ models are easy-to-configure, turnkey systems. In the same modular construct as ProMAX’s Platform shared storage servers, the One and One+ lines both offer two base configurations and options for adding modules for graphics, storage, archive and more. The workstations’ “All-in-One” infrastructure enables true end-to-end workflows with data ingest, editing, and archiving functions all possible within a single workstation.

One and One+ features optimize strengths in high-performance editorial functionality and graphics processing. For editorial acceleration, high clock speed CPUs with up to 3.7GHz support a smooth and responsive editing experience.

For VFX work, dual 12-core CPUs apply 24 cores of processing power for fast renders. All One systems provide huge on-board RAID storage, offering fast, secure access to data with storage modules up to 30TB on the ProMAX One, and 40TB on the ProMAX One+. In addition, all new One workstations have the ability to add multiple GPU cards, via seven PCIe slots.

One and One+ workstations are currently available through the ProMAX global network of authorized reseller partners.

Brewster Parsons hires VFX vet Jason Cohon

Venice, California-based VFX house Brewster Parsons continues its path to growth through staff additions, facility and technology updates, and global partnerships. Most recently they added VFX vet Jason Cohon as senior producer.

Cohon has experience creating and finishing all types of visual content. Working working at Asylum, Brand New School, Digital Domain, Mirada and Sway Studio, he has produced live-action and VFX-intensive feature, television, commercial and experiential projects working with directors such as Dante Ariola, Nicolai Fuglsig, Joseph Kosinski and Rupert Sanders.

At Brewster Parsons, he now joins CG/VFX supervisor TJ Burke, who has 24 feature film credits and has worked with Hydraulx and ILM; VFX supervisor and lead Flame artist Louis Mackall, another former Hydraulx talent; and VFX supervisor and lead Flame artist Andrew Eksner, who has spent time at Digital Domain and Method.

“Brewster Parsons is equal parts VFX/design/finishing facility and lifestyle brand,” says Cohon. “It’s rare in our industry to find a company that believes as strongly in the quality of their product as they do in their employees’ quality of life. I think that shows through in the artistry and in the overall great attitude of everyone who works here.”

Over the past year, Brewster Parsons has opened a new finishing suite on its Abbot Kinney premises in Venice, and also forged strategic relationships with other leading facilities. Among those is Ollin VFX in Mexico City, which mainly works on features and has handled many projects for David Fincher, and leading Barcelona VFX shop Furia Digital. Over the past 18 months, both companies have contributed to Brewster Parsons projects for Royal Caribbean.


Lucky Post hires finishing artist Tim Nagle

Dallas-based Lucky Post has added Tim Nagle as finishing artist. Nagle’s first collaboration with Lucky Post began as the engineering designer of the studio back in 2012, designing the studio’s all-important technology backbone.

In 2002 Nagle founded Creative Integrations, a full-service engineering and integration firm specializing in post, recording, animation and broadcast facilities. For over a decade, Nagle helped companies design, improve and streamline workflows of all types, including facility design for companies throughout the country. Among them, Red Car in Dallas and NY, Union Editorial, 1st Avenue Machine, Smoke & Mirrors and Passion Pictures in NY, DigitalFX in Baton Rouge and Cook Children’s Hospital in Fort Worth.

He began his career as an engineer for Solid State Logic (1997-2000) working with the company’s many clients, including Fox, Warner Bros., Skywalker Ranch, EA Games, Wonderland and ABC, among others. Since 2002, he has also lent his talent to the sound department of studio feature films and television before making this transition to online editing.

“I’ve always loved the independence of consultancy but when I wasn’t at Lucky Post I found I really missed the environment and the people. When I reflected on my future, I kept returning to Lucky Post.”

Since joining Lucky, Nagle has collaborated with agencies McGarrah Jessee, Moroch and The Richards Group. View his spot reel here.

In addition to assuming the artist’s chair, Nagle leads the company’s assistant training program, providing those working alongside Lucky Post’s editors, designers and sound designers with the necessary technology knowledge and experience.


Nashville’s Forward adds more finishing tools

Nashville — Post production facility Forward has purchased two Quantel Pablo Rio color and finishing systems, adding to its services.

Started by director Shaun Silva, Forward opened its doors in 2012, equipped with Quantel iQ and Pablo finishing suites. Forward has since worked on music videos for leading country music artists, including Luke Bryan, Kenny Chesney and Kacey Musgrove, as well as the Emmy nominated ESPN 30 for 30 documentary film The Irrelevant Giant.

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Pablo Rio is Quantel’s color and finishing system that provides a streamlined workflow for 2D and stereo 3D projects. It runs on high-performance PC hardware and exploits Nvidia Maximus multi-GPU technology.

Chief engineer of Forward (@Forwardllc)  Jim Harvath CSTE, says, “The flexibility of configuring the Pablo Rio hardware allows us to ‘right size’ our hardware to what our current workflow demands are. Plus, knowing that we can expand instantly with off the shelf parts allows us to stay competitive and grow as necessary, when we’re ready.”

NAB: The Foundry announces Nuke Studio for VFX, editorial and finishing

Las Vegas – Here at the NAB show, The Foundry introduced Nuke Studio, allowing users to do VFX, editorial and finishing in a single application. It will be available later this year.

This new tool extends the existing Nukeproduct line and draws on The Foundry’s existing compositing, conforming and shot management technology, as well as adding a host of new features and functionality. Nuke Studio is a node-based VFX, editorial and finishing studio that’s targeted at artists working independently as well as in collaborative teams.

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At almost 20 years old, Wildchild is in growth mode

By Randi Altman

New York-based editing and post house Wildchild recently celebrated its 19th anniversary, which is fairly remarkable for an independently owned studio in today’s economic climate and with the changes that have occurred in our industry over recent years.

So we checked in with editor/owner Yvette Piñeyro to get a feel for where Wildchild is headed and how she has remained so successful in a very competitive space, and in a very competitive city.

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Meet The Director of Engineering: John Stevens

NAME: John Stevens

COMPANY: Hollywood-based MTI Film, LLC (http://www.mtifilm.com, @MTIFilm)

The official line is: MTI Film is a full-service post facility providing dailies, editorial, visual effects, color correction and assembly for film, television and commercial projects. MTI also boasts a new DI theater that is fully calibrated and capable of 4K play back.

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