Tag Archives: post production

Rick Pearson on cutting Kong: Skull Island

By Randi Altman

Who doesn’t love a good King Kong movie? And who says a good King Kong movie has to have the hairy giant climbing the Empire State Building, lady in hand?

The Jordan Vogt-Roberts-directed Kong: Skull Island, which had an incredible opening weekend at the box office — and is still going strong — tells the story of a 1973 military expedition to map out an island where in 1944 two downed pilots happened upon a huge monster. What could possibly go wrong?

Editor Rick Pearson, who was originally set to come on board for 10 weeks during the Director’s Cut process to help with digital effects turnovers, ended up seeing the project through to the end. Pearson came on during the last third of production, as the crew was heading off to Vietnam.

The process was already in place where rough cuts were shared on the PIX system for the director’s review. That seemed to be work well, he says.

To find out more about the process, I recently touched base with Pearson, who at the time of our interview was in Budapest editing a film about the origin of Robin Hood. He kindly took time out of his busy schedule to talk about his work and workflow on Kong: Skull Island, which in addition to Vietnam shot in Hawaii and Australia.

Would director Vogt-Roberts get you notes? Did he give you any direction in terms of the cut?
Yes, he would give very specific notes via PIX. He would drop the equivalent of locators or markers on sequences that I would send him and say, “Could you maybe try a close-up here?” Or “Could you try this or that?” They were very concise, so that was helpful. Eventually, though, you get to a point where you really need to be in a room together to explore options.

There are a lot of visual effects in the film. Can you talk about how that affected your edit and workflow?
Some of the sequences were quite evolved in terms of previsualization that had been done a year or more prior. Then there was a combination of previs, storyboards and some sequences, one in particular had kind of a loose set of storyboards and some previs, but then the set piece was evolving as we were working.

The production was headed to Vietnam and there was a lot of communication between myself, Jordan and the producers about trying to nail down the structure of this set piece so they would know what to shoot in terms of plates, because it was a battle that largely took place between Kong and one of the creatures of the island — it was a lot of plate work.

Would you say that that was the most difficult sequence to work on, or is there another more challenging sequence that you could point to?
I think they were all challenging. For me, that last sequence, which we called the “Final Battle” was challenging in there was not a lot that was nailed down. There were some beats we knew we wanted to try to play, but it sort of kept evolving. I enjoy working on these kinds of films with those types of sequences because they’re so malleable. It’s a fun sandbox to play in because, to an extent, you’re limited only by your imagination.

Still, you’re committing a lot of money, time and resources, so you need to look down field as far as you can to say, “This is the right direction and we’re all on the same page.” It’s a big, slow-moving, giant cargo ship that takes a long time to course-correct. You want to make sure that you’re heading in the right direction, or at least as close as you can be, when you start going down those roads.

Any other shots that stand out?
There was one thing that was kind of a novelty on this picture — and I know that it’s not the first time it’s been done, but it was the first time for me. We had some pretty extensive re-shoots, but our cast was kind of spread all over the globe. In one of the re-shoots, we needed a conversation to happen in a bar between three of the characters, Tom Hiddelston, John Goodman and Cory Hawkins. None of them were available at the same time or in the same city.

The scene was going to the three of them sitting down at a table having a conversation where John Goodman’s character offers Tom Hiddelston’s character a job as their guide to take them to Skull Island. I think it was Goodman’s character that was shot first. We show Goodman’s side of the table in New York with that side of the bar behind him and an empty chair beside him. Then we shot Hawkin’s character by himself in front of a greenscreen sitting in a chair reacting to Goodman and delivering his dialogue. Lastly, we shot Hiddelston in LA with that side of the bar and overs with doubles. It all came together, and I thought, “I don’t think anybody would have a clue that none of these people were in the same room at the same time.” It was kind of a Rubik’s Cube… an editorial bit of sleight of hand that worked in the end.


You worked with other editors on the film, correct?
Yes, editor Bob Murawski helped me tremendously; he ended up taking over my original role, which was during the Director’s Cut. Bob came on to help split up these really demanding visual effects sequence turnovers every two weeks. We had to keep on it to make the release date.

Murawski was a huge help, but so was the addition of Josh Schaeffer, who had worked with Jordan in the past. He was one of the additional editors on Jordan’s Kings of Summer (2013). Jordan had shot a lot of material — it wasn’t necessarily montage-based, but we weren’t entirely sure how it was going to work in the picture. We knew that he had a long-standing relationship with Josh and was comfortable with him. Bob said, “While we’re in the middle of a Director’s Cut and you and I are trying to feed this giant visual effects beast, there’s also this whole other aspect that Jordan and Josh could really focus on.” Josh was a really big help in getting us through the process. Both Bob and Josh were very big assets to me.

How do you work with your assistant editor?
I’ve had the same first assistant, Sean Thompson, for about 12 years. Unfortunately, he’s not with me here in Budapest. I took this film after the original editor dropped out for health reasons. Sean has a young family, and 15 weeks in Budapest and then another 12 weeks in London just wasn’t possible for him.

How did you work with Sean on Skull Island?
He’s a terrific manager of the cutting room in terms of discerning the needs of other departments, be it digital effects, music or sound. I lean on him to let me know what I absolutely need to know, and he takes care of the rest. That’s one of the roles he serves, and he’s bulletproof.

I also rely on him creatively. He’s tremendous with his sound work and very good at looking at cuts with me and giving his feedback. I throw him scenes to cut as much as I can, but sometimes on films like this there are so many other demands as a manager.

You use Avid Media Composer. Any special keyboard mappings, or other types of work you provide?
As a feature film editor my main objective is to make sure that the story and the characters are firing on all cylinders. I’m not particularly interested in how far I can push the box technically.

I’ve mapped the keyboard to what I’m comfortable with, but I don’t think it’s anything that’s particularly sophisticated. I try to do as much as I can on the keyboard so that I keep the
pointing and clicking to a minimum.

You edit a lot of action films. Is that just because people say, “He does action,” or is that your favorite kind of film to cut?
It’s interesting you should say that… the first Hollywood feature I cut was Bowfinger, which is comedy. I hadn’t cut any comedy before that and suddenly I was the comedy editor. I found it ironic because everything I had done prior was action-based television, music videos and commercials. I’ve always loved cutting action and juxtaposing images in a way that tells a story that’s not necessarily being told verbally. It’s not just like, “Wow, look at how much stuff is blowing up and that’s amazing how many cars are involved.” It’s actually character-based and story-driven.

I also really enjoy comedy. There is quite a lot of comedy in Kong, so it’s nice to flex that muscle too. I’ve tried very hard to not get pigeonholed.

So you are knee-deep in this Robin Hood film?
I sure am! I wasn’t planning on getting back on to another film quite so quickly, but I was very intrigued by both the director and script. As I mentioned earlier, they had an editor slated for the picture but unfortunately she fell ill just weeks prior to the start of production. So suddenly, here I am.

The added bonus is you get to play in Europe for a bit.
Yes, actually, I’m sitting here in my apartment. I have a laptop and an additional monitor and I’ve been cutting scenes. I have a lovely view of the parliament building, which is on the Danube. It’s a beautiful domed building that’s lit up every night until midnight. It’s really kind of cool.

Hollywood’s Digital Jungle moves to Santa Clarita

Digital Jungle, a long-time Hollywood-based post house, has moved its operations to a new facility in Santa Clarita, California, which has become a growing hub for production and post in the suburbs of Los Angeles. The new headquarters is now home to both Digital Jungle Post and its recent off-shoot Digital Jungle Pictures, a feature film development and production studio.

“I don’t mind saying, it was a bit of an experiment moving to Santa Clarita,” explains Digital Jungle president and chief creative Dennis Ho. “With so many filmmakers and productions working out here — including Disney/ABC Studios, Santa Clarita Studios and Universal Locations — this area has developed into a vast untapped market for post production professionals. I decided that now was a good time to tap into that opportunity.”

Digital Jungle’s new facility offers the full complement of digital workflow solutions for HD to 4K. The facility has multiple suites featuring Smoke, DaVinci Resolve, audio recording via Avid’s S6 console and Pro Tools, production offices, a conference area, a full kitchen and a client lounge.

Digital Jungle is well into the process of adding further capabilities with a new high-end luxury DI 4K theater and screening room, greenscreen stage, VFX bullpen, multiple edit bays and additional production offices as part of their phase two build-out.

Digital Jungle Post services include DI/color grading; VFX/motion graphics; audio recording/mixing and sound design; ADR and VO; HD to 4K deliverables for tape and data; DCI and DCDM; promo/bumper design and film/television title design.

Commenting on Digital Jungle Pictures, Ho says, “It was a natural step for me. I started my career by directing and producing promos and interstitials for network TV, studios and distributors. I think that our recent involvement in producing several independent films has enhanced our credibility on the post side. Filmmakers tend to feel more comfortable entrusting their post work to other filmmakers. One example is we recently completed audio post and DI for a new Hallmark film called Love at First Glance.”

In addition to Love at First Glance, Digital Jungle Productions’ recent projects include indie films Day of Days, A Better Place (available now on digital and DVD) and Broken Memories, which was screened at the Sedona Film Festival.

 

The A-list — Kong: Skull Island director Jordan Vogt-Roberts

By Iain Blair

Plucky explorers! Exotic locations! A giant ape! It can only mean one thing: King Kong is back… again. This time, the new Warner Bros. and Legendary Pictures’ Kong: Skull Island re-imagines the origin of the mythic Kong in an original adventure from director Jordan Vogt-Roberts (The Kings of Summer).

Jordan Vogt-Roberts

With an all-star cast that includes Tom Hiddleston, Samuel L. Jackson, Oscar-winner Brie Larson, John Goodman and John C. Reilly, it follows a diverse team of explorers as they venture deep into an uncharted island in the Pacific — as beautiful as it is treacherous — unaware that they’re crossing into the domain of the mythic Kong.

The legendary Kong was brought to life on a whole new scale by Industrial Light & Magic, with two-time Oscar-winner Stephen Rosenbaum (Avatar, Forrest Gump) serving as visual effects supervisor.

To fully immerse audiences in the mysterious Skull Island, Vogt-Roberts, his cast and filmmaking team shot across three continents over six months, capturing its primordial landscapes on Oahu, Hawaii — where shooting commenced on October 2015 — on Australia’s Gold Coast and, finally, in Vietnam, where production took place across multiple locations, some of which have never before been seen on film. Kong: Skull Island was released worldwide in 2D, 3D and IMAX beginning March 10.

I spoke with Vogt-Roberts about making the film and his love of post.

What’s the eternal appeal of doing a King Kong movie?
He’s King Kong! But the appeal is also this burden, as you’re playing with film history and this cinematic icon of pop culture. Obviously, the 1933 film is this impeccable genre story, and I’m a huge fan of creature features and people like Ray Harryhausen. I liked the idea of taking my love for all that and then giving it my own point of view, my sense of style and my voice.

With just one feature film credit, you certainly jumped in the deep end with this — pun intended — monster production, full of complex moving parts and cutting-edge VFX. How scary was it?
Every movie is scary because I throw myself totally into it. I vanish from the world. If you asked my friends, they would tell you I completely disappear. Whether it’s big or small, any film’s daunting in that sense. When I began doing shorts and my own stuff, I did shooting, the lighting, the editing and so on, and I thrived off all that new knowledge, so even all the complex VFX stuff wasn’t that scary to me. The truly daunting part is that a film like this is two and a half years of your life! It’s a big sacrifice, but I love a big challenge like this was.

What were the biggest challenges, and how did you prepare?
How do you make it special —and relevant in 2017? I’m a bit of a masochist when it comes to a challenge, and when I made the jump to The Kings of Summer it really helped train me. But there are certain things that are the same as they always are, such as there’s never enough time or money or daylight. Then there are new things on a movie of this size, such as the sheer endurance you need and things you simply can’t prepare yourself for, like the politics involved, all the logistics and so on. The biggest thing for me was, how do I protect my voice and point of view and make sure my soul is present in the movie when there are so many competing demands? I’m proud of it, because I feel I was able to do that.

How early on did you start integrating post and all the VFX?
Very early on — even before we had the script ready. We had concept artists and began doing previs and discussing all the VFX.

Did you do a lot of previs?
I’m not a huge fan of it. Third Floor did it and it’s a great tool for communicating what’s happening and how you’re going to execute it, but there’s also that danger of feeling like you’re already making the movie before you start shooting it. Think of all the great films like Blade Runner and the early Star Wars films, all shot before they even had previs, whereas now it’s very easy to become too reliant on it; you can see a movie sequence where it just feels like you’re watching previs come to life. It’s lost that sense of life and spontaneity. We only did three previs sequences — some only partially — and I really stressed with the crew that it was only a guide.

Where did you do the post?
It was all done at Pivotal in Burbank, and we began cutting as we shot. The sound mix was done at Skywalker and we did our score in London.

Do you like the post process?
I love post. I love all aspects of production, but post is where you write the film again and where it ceases being what was on the page and what you wanted it to be. Instead you have to embrace what it wants to be and what it needs to be. I love repurposing things and changing things around and having those 3am breakthroughs! If we moved this and use that shot instead, then we can cut all that.

You had three editors — Richard Pearson, Bob Murawski and Josh Schaeffer. How did that work?
Rick and Bob ran point, and Rick was the lead. Josh was the editor who had done The Kings of Summer with me, and my shorts. He really understands my montages and comedy. It was so great that Rick and Bob were willing to bring him on, and they’re all very different editors with different skills — and all masters of their craft. They weren’t on set, except for Hawaii. Once we were really globe-trotting, they were in LA cutting.

VFX play a big role. Can you talk about working on them with VFX supervisor Jeff White and ILM, who did the majority of the effects work?
He ran the team there, and they’re all amazing. It was a dream come true for me. They’re so good at taking kernels of ideas and turning them into reality. I was able to do revisions as I got new ideas. Creating Kong was the big one, and it was very tricky because the way he moves isn’t totally realistic. It’s very stylized, and Jeff really tapped into my animé and videogame sensibility for all that. We also used Hybride and Rodeo for some shots.

What was the hardest VFX sequence to do?
The helicopter sequence was really very difficult, juggling the geography of that, with this 100-foot creature and people spread all over the island, and also the final battle sequence. The VFX team and I constantly asked ourselves, “Have we seen this before? Is it derivative? Is it redundant?” The goal was to always keep it fresh and exciting.

Where did you do the DI?
At Fotokem with colorist Dave Cole who worked on The Lord of the Rings and so many others. I love color, and we did a lot of very unusual stuff for a movie like this, with a lot of saturation.

Did the film turn out the way you hoped?
A movie never quite turns out the way you hope or think it will, but I love the end result and I feel it represents my voice. I’m very proud of what we did.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Swedish post/VFX company Chimney opens in LA

Swedish post company Chimney has opened a Los Angeles facility, its first in the US, but one of their 12 offices in eight countries. Founded in Stockholm in 1995, Chimney produces over 6,000 pieces for more than 60 countries each year, averaging 1,000 projects and 10,000 VFX shots. The company, which is privately held by 50 of its artists, is able to offer 24-hour service thanks to its many locations around the world.

When asked why Chimney decided to open an office in LA, founder Henric Larsson said, “It was not the palm trees and beaches that made us open up in LA. We’re film nerds and we want to work with the best talent in the world, and where do we find the top directors, DPs, ADs, CDs and producers if not in the US?”

The Chimney LA crew.

The Chimney LA team was busy from the start, working with Team One to produce two Lexus campaigns, including one that debuted during the Super Bowl. For the Lexus Man & Machine Super Bowl Spot, they took advantage of the talent at sister facilities in Poland and Sweden.

Chimney also reports that it has signed with Shortlist Mgmt, joining other companies like RSA, Caviar, Tool and No6 Editorial. Charlie McBrearty, founding partner of Shortlist Mgmt, says that Chimney has “been on our radar for quite some time, and we are very excited to be part of their US expansion. Shortlist is no stranger to managing director Jesper Palsson, and we are thrilled to be reunited with him after our past collaboration through Stopp USA.”

Tools used for VFX include Autodesk’s Flame and Maya, The Foundry’s Nukea and Adobe After Effects. Audio is via Avid Pro Tools. Color is done in Digital Vision’s Nucoda. For editing they call on Avid Media Composer, Apple Final Cut and Adobe Premiere

Hush adds Eloise Murphy as senior producer

Design agency Hush has expanded its creative production team with the addition of senior producer Eloise Murphy. In her new position at Hush, Murphy will oversee all project phases and develop relationships with new and existing vendors.

During her career, Murphy has worked in the UK and North America for companies such as the BBC, TED and Moment Factory. Her resume is diverse, working on projects that range from content production for Madonna’s Rebel Heart Tour to experiential production for TED Talks in Rio de Janeiro. Her experience spans digital design, content production and experiential activations for brands including Samsung, Intel and BBC Radio 1.

“Having worked with a variety of brands, artists and companies, I have a solid understanding of how to manage projects optimally within different settings, parameters and environments,” says Murphy. “It has enabled me to be highly adaptable, flexible and develop a strong knack for pre-empting, identifying and resolving issues promptly and successfully. I believe my international experience has made me well-versed in managing complex projects and I’m looking forward to bringing new ideas to the table at Hush.”

Review: Nvidia’s new Pascal-based Quadro cards

By Mike McCarthy

Nvidia has announced a number of new professional graphic cards, filling out their entire Quadro line-up with models based on their newest Pascal architecture. At the absolute top end, there is the new Quadro GP100, which is a PCIe card implementation of their supercomputer chip. It has similar 32-bit (graphics) processing power to the existing Quadro P6000, but adds 16-bit (AI) and 64-bit (simulation). It is intended to combine compute and visualization capabilities into a single solution. It has 16GB of new HBM2 (High Bandwidth Memory) and two cards can be paired together with NVLink at 80GB/sec to share a total of 32GB between them.

This powerhouse is followed by the existing P6000 and P5000 announced last July. The next addition to the line-up is the single-slot VR-ready Quadro P4000. With 1,792 CUDA cores running at 1200MHz, it should outperform a previous-generation M5000 for less than half the price. It is similar to its predecessor the M4000 in having 8GB RAM, four DisplayPort connectors, and running on a single six-pin power connector. The new P2000 follows next with 1024 cores at 1076MHz and 5GB of RAM, giving it similar performance to the K5000, which is nothing to scoff at. The P1000, P600 and P400 are all low-profile cards with Mini-DisplayPort connectors.

All of these cards run on PCIe Gen3 x16, and use DisplayPort 1.4, which adds support for HDR and DSC. They all support 4Kp60 output, with the higher end cards allowing 5K and 4Kp120 displays. In regards to high-resolution displays, Nvidia continues to push forward with that, allowing up to 32 synchronized displays to be connected to a single system, provided you have enough slots for eight Quadro P4000 cards and two Quadro Sync II boards.

Nvidia also announced a number of Pascal-based mobile Quadro GPUs last month, with the mobile P4000 having roughly comparable specifications to the desktop version. But you can read the paper specs for the new cards elsewhere on the Internet. More importantly, I have had the opportunity to test out some of these new cards over the last few weeks, to get a feel for how they operate in the real world.

DisplayPorts

Testing
I was able to run tests and benchmarks with the P6000, P4000 and P2000 against my current M6000 for comparison. All of these test were done on a top-end Dell 7910 workstation, with a variety of display outputs, primarily using Adobe Premiere Pro, since I am a video editor after all.

I ran a full battery of benchmark tests on each of the cards using Premiere Pro 2017. I measured both playback performance and encoding speed, monitoring CPU and GPU use, as well as power usage throughout the tests. I had HD, 4K, and 6K source assets to pull from, and tested monitoring with an HD projector, a 4K LCD and a 6K array of TVs. I had assets that were RAW R3D files, compressed MOVs and DPX sequences. I wanted to see how each of the cards would perform at various levels of production quality and measure the differences between them to help editors and visual artists determine which option would best meet the needs of their individual workflow.

I started with the intuitive expectation that the P2000 would be sufficient for most HD work, but that a P4000 would be required to effectively handle 4K. I also assumed that a top-end card would be required to playback 6K files and split the image between my three Barco Escape formatted displays. And I was totally wrong.

Besides when using the higher-end options within Premiere’s Lumetri-based color corrector, all of the cards were fully capable of every editing task I threw at them. To be fair, the P6000 usually renders out files about 30 percent faster than the P2000, but that is a minimal difference compared to the costs. Even the P2000 was able to playback my uncompressed 6K assets onto my array of Barco Escape displays without issue. It was only when I started making heavy color changes in Lumetri that I began to observe any performance differences at all.

Lumetri

Color correction is an inherently parallel, graphics-related computing task, so this is where GPU processing really shines. Premiere’s Lumetri color tools are based on SpeedGrade’s original CUDA processing engine, and it can really harness the power of the higher-end cards. The P2000 can make basic corrections to 6K footage, but it is possible to max out the P6000 with HD footage if I adjust enough different parameters. Fortunately, most people aren’t looking for more stylized footage than the 300 had, so in this case, my original assumptions seem to be accurate. The P2000 can handle reasonable corrections to HD footage, the P4000 is probably a good choice for VR and 4K footage, while the P6000 is the right tool for the job if you plan to do a lot of heavy color tweaking or are working on massive frame sizes.

The other way I expected to be able to measure a difference between the cards would be in playback while rendering in Adobe Media Encoder. By default, Media Encoder pauses exports during timeline playback, but this behavior can be disabled by reopening Premiere after queuing your encode. Even with careful planning to avoid reading from the same disks as the encoder was accessing from, I was unable to get significantly better playback performance from the P6000 compared to the P2000. This says more about the software than it says about the cards.

P6000

The largest difference I was able to consistently measure across the board was power usage, with each card averaging about 30 watts more as I stepped up from the P2000 to the P4000 to the P6000. But they all are far more efficient than the previous M6000, which frequently sucked up an extra 100 watts in the same tests. While “watts” may not be a benchmark most editors worry too much about, among other things it does equate to money for electricity. Lower wattage also means less cooling is needed, which results in quieter systems that can be kept closer to the editor without being distracting from the creative process or interfering with audio editing. It also allows these new cards to be installed in smaller systems with smaller power supplies, using up fewer power connectors. My HP Z420 workstation only has one 6-pin PCIe power plug, so the P4000 is the ideal GPU solution for that system.

Summing Up
It appears that we have once again reached a point where hardware processing capabilities have surpassed the software capacity to use them, at least within Premiere Pro. This leads to the cards performing relatively similar to one another in most of my tests, but true 3D applications might reveal much greater differences in their performance. Further optimization of CUDA implementation in Premiere Pro might also lead to better use of these higher-end GPUs in the future.


Mike McCarthy is an online editor and workflow consultant with 10 years of experience on feature films and commercials. He has been on the forefront of pioneering new solutions for tapeless workflows, DSLR filmmaking and now multiscreen and surround video experiences. If you want to see more specific details about performance numbers and benchmark tests for these Nvidia cards, check out techwithmikefirst.com.

The A-List: The Founder director John Lee Hancock

By Iain Blair

Director, writer and producer John Lee Hancock has carved out a successful career with his ability to tell unlikely but true stories and bring them to life on screen. In 2013, he directed Tom Hanks and Emma Thompson in Saving Mr. Banks, about the prickly relationship between Walt Disney and author P.L. Travers and the former’s quest to adapt Travers’ Mary Poppins into a film.

John Lee Hancock on set

In 2009 he made The Blind Side, based on another true story, which he both wrote and directed. The film was nominated for two Academy Awards, including Best Picture, and garnered Sandra Bullock the Best Actress Oscar.

Now Hancock has tackled another true story, albeit one with a far darker protagonist. The Founder is about the birth of McDonald’s and its rise to an international multi-billion-dollar fast food brand. The film tells the true story of how Ray Kroc (Michael Keaton), a struggling salesman from Illinois, met Mac and Dick McDonald, who were running a burger operation in 1950s Southern California. Kroc was impressed by the brothers’ speedy system of making the food and saw franchise potential, and the film details how Kroc maneuvered himself into a position to be able to pull the company from the brothers and create a billion-dollar empire.

The film also stars Laura Dern as Ray Kroc’s first wife Ethel, John Carroll Lynch as Mac McDonald, Nick Offerman as Dick McDonald, Linda Cardellini as Kroc’s second wife, Joan Smith, and B.J. Novak as Harry Sonneborn, the financial whiz whose franchising innovations led to Kroc being able to wrest control of McDonald’s from the founding brothers.

Based on an original screenplay by Robert Siegel (The Wrestler), the film’s behind-the-camera team includes longtime Hancock collaborators led by Oscar-nominated DP John Schwartzman (Jurassic World, Saving Mr. Banks), production designer Michael Corenblith (Saving Mr. Banks, The Blind Side) and editor Robert Frazen (Enough Said, Synecdoche, New York).

I talked to Hancock about making the film and his workflow.

What do you look for in a project?
I like unusual stories, and this seemed unlikely to me when I first came across it, but Rob Siegel’s a very good writer. I was very intrigued by the character of Ray Kroc and the fact that I was pulling for him for the first half of the script. Then I began to feel confused by his behavior and then actively resenting some of his actions. That’s a tricky thing to pull off in a film, but I felt it was worthwhile doing.

His motivations and character are a lot darker than the protagonists in your last films. Was that the appeal?
Absolutely. It’s interesting because it’s the story of McDonald’s first, but it starts out with Kroc and it’s told largely from his end. It’s really the flip side of Banks, in that Travers starts out as someone you’re not sure you like, and is even kind of offensive, but then as you get to know her, you realize the source of her actions and why she is who she is. It’s bittersweet at the end, but it has closure. This ends without that sort of closure and is far more ambiguous. Some people will say Kroc did what he had to do, while others will say he’s a monster.

Either way, Kroc’s another juicy role for Keaton. What did he bring to the ethically challenged Kroc?
He was the first actor I thought of for the role because Michael’s a natural born salesman himself. When he’s excited about an idea, it’s electric and infectious. He has this boyish enthusiasm, and I felt that they both shared that. He’s also a Midwesterner and values hard work, and he’s so good at going to the dark places when needed. We talked a lot about the journey the character takes, in terms of everything from dialogue and behavior to the wardrobe. Michael got it all.

The shoot must have been challenging as you didn’t have a big budget, but it required a ton of locations.
Yes, we shot mainly in Atlanta, with a day in Albuquerque, and we had to build two different McDonald’s locations — the original octagonal one in San Bernardino, California, and a Golden Arches one, and they had to not just serve as different sets but as kitchens, as we were actually cooking in them. That was a lot to deal with for production designer Michael Corenblith, but he figured it all out.

Do you like the post process?
I love it, and I’ve been blessed to work with really good editors and post crews on all my films.

Tell us about working with editor Robert Frazen.
We edited at Pivotal Post in Burbank. On every film I’m always asked, “Do you want your editor on set with you?” I always say no, because I value their opinion and objectivity, and I think sometimes you’re influenced if you’re on a location watching how the sausage is made. If it’s a really tough shot to get, there’s that sense of maybe I should keep it, even if it doesn’t work or push the story forward.

So I prefer to just talk to them a lot during the shoot, send dailies and they’ll send me cut scenes back. I don’t get too detailed in my notes either. That way, after the shoot, I can come in and watch a complete version of the film with fresh eyes, and then we start the real work. We start working on the pacing and rhythms, the order of the scenes and so on. I’d always admired Rob’s work with Nicole Holofcener, the way he digs deeper into the footage and finds little key bits of behavior, or some mistake he uses in a different way. He brought all that and more to this.

This is obviously not a VFX-driven piece but it is a period piece. How big a role did VFX play in the film?
A big role. Our VFX were done by a company called Moving Target. There’s always a lot of clean-up and removal of modern stuff. We did some of it with flashback photography, creating old photos and that feel, and there was a lot of background replacement for all the myriad restaurants, as we only had the budget to build one Golden Arches and then had to change parking, foliage, foreground and background for every different city.

We had this leaning telephone pole out front that blocked a lot of our shots, but it was going to cost $30,000 to move it and rewire it underground. Other films probably wouldn’t have blinked, but I decided to erase it in post out of the other shots and embrace it for the first location. I liked the idea that it wasn’t the best piece of property anyway, and Kroc would have to live with it the same way we were.

Can you talk about the importance of music and sound in the film?
It’s so crucial to a film, and I really love all the minutia of it. I know some directors who are not so involved in all that, but I love all the detail work. I feel that when you’re there for all the little tweaks, when you play it all back in the final mix, your brain isn’t looking for all the tiny details — you can just focus on the overall effect. We mixed at King Soundworks in Van Nuys and did the final mix at Ross 424 Inc.

Where did you do the DI?
At Company 3, with Stefan Sonnenfeld, who does all Schwartzi’s films. I’m pretty involved and John and I discussed the look at length before the shoot. Then, as he was off shooting another movie, we talked more as I did a pass, and then he’d look at it. We wanted it to have a very sunny look to start off, and then get a little darker as it went.

What’s next?
I have three different projects ready to go, so whichever one comes together first.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Quick Chat: Xytech COO Greg Dolan

Greg Dolan has seen tremendous change in the industry during his career. After a tenure at New York City’s Post Perfect, where he was CIO, Dolan switched to the vendor side of the business, bringing his hands-on post house expertise to a facility management company. After a number of successful years and product rollout, he moved to Xytech, where he is now COO. Xytech offers facility management software for scheduling all resources, managing all operations and tracking all assets, while providing reporting and accounting tools.

MediaPulse offers over 35 modules to manage the complicated tasks that facilities deal with daily. This past year, Xytech added interoperability, transmission and mobility, and a broadcast services division.

We recently reached out to Dolan to talk about the need and evolution of facility management tools.

What are some of the most frequently asked questions you get from customers?
Every client wants to know how their unique business workflows are managed in a commercially available product. It’s an incredibly fair point, and skepticism is warranted. Lots of companies have made lots of promises, not always with the best results. Every client has a unique mixture of workflows, integration needs and accounting treatments, however at a granular level, many requirements are seen throughout the industry. Our continued investment in MediaPulse ensures we stay current with these requirements, and the design of MediaPulse allows us to configure to exactly the client’s needs. This takes discipline and more importantly total commitment. Surprises always occur and the real test of a company and its people is in the response to these surprises.

What are some questions customers should be asking when it comes to facility management software that they often don’t?
My father was fond of saying, “They put erasers on pencils for a reason.” As vendors, we are all very happy to give “happy talk” as though our clients can’t see straight through the marketing haze. I wish more clients asked us to talk about our biggest challenges — times where we made mistakes — and then engaged us in conversation around how it was remedied. On a more concrete front, questioning a vendor about the technical architecture of their products and getting a list of previous years’ new features is essential. Success demands technical acuity from vendors and these types of questions really separate the wheat from the chaff.

Can you talk about the most important benefits of facility management tools for today’s facilities?
Facilities are challenged more than ever to get more done in narrower and narrower windows. There simply isn’t any room for inefficacies, and individual departments can’t operate as a silo. Facility management systems tie all the disparate operations, automate workflows and seamlessly exchange metadata with all systems in the facility. This eliminates redundancy and allows staff to manage by exception, with most activities automated.

What are some misconceptions about facility management tools?
These are not just scheduling systems. In fact, the idea of a standalone scheduling system having any relevance today is wildly anachronistic. Certainly, you still must schedule people and equipment to be in a place to do a thing, but this is a subset of the larger vision. To move the needle — all operations with their associated accounting and automation needs should be included in the system portfolio. Media manufacturing automation, federated asset and metadata management and transmission management are vital to the overall operational picture regardless of a facility’s size.

It’s obvious that bigger facilities could benefit from facility management tools, but can you tell the smaller studios why it’s important as well?
We think it’s more important for smaller facilities as there is a lower margin of error. For a modest investment, smaller facilities get a vital holistic view of all operations while having their billing and accounting totally automated. Facility management systems make sure all staff members are engaged in moving the business forward instead of burning unrecoverable hours fixing mistakes. Time is a key restriction for all of us. We find time where none exists.

How has this type of software evolved over the years, and how do you see it evolving again in the future?
Let me be very clear — it’s essential for clients to ensure their vendor understands the concept of the question. The game is incredibly different now and the tools of the past are woefully unprepared for today’s marketplace. To quote Lincoln, “The dogmas of the quiet past are inadequate to the stormy present.”

The simple answer is interoperability. It is a critical requirement for today’s systems. A lot of noise is made around interoperability, but it doesn’t take too long to separate point-to-point integrations from truly modern architectures. As for the future, I don’t have a crystal ball, but I do know we are committed to delivering technology capable of evolving and quickly responding to the changes. You simply must have the entire organization on a constant change footing.

HPA Tech Retreat takes on VR/AR at Tech Retreat Extra

The long-standing HPA Tech Retreat is always a popular destination for tech-focused post pros, and while they have touched on virtual reality and augmented reality in the past, this year they are dedicating an entire day to the topic — February 20, the day before the official Retreat begins. TR-X (Tech Retreat Extra) will feature VR experts and storytellers sharing their knowledge and experiences. The traditional HPA Tech Retreat runs from February 21-24 in Indian Wells, California.

TR-X VR/AR is co-chaired by Lucas Wilson (Founder/Executive Producer at SuperSphereVR) and Marcie Jastrow (Senior VP, Immersive Media & Head of Technicolor Experience Center), who will lead a discussion focused on the changing VR/AR landscape in the context of rapidly growing integration into entertainment and applications.

Marcie Jastrow

Experts and creative panelists will tackle questions such as: What do you need to understand to enable VR in your environment? How do you adapt? What are the workflows? Storytellers, technologists and industry leaders will provide an overview of the technology and discuss how to harness emerging technologies in the service of the artistic vision. A series of diverse case studies and creative explorations — from NASA to the NFL — will examine how to engage the audience.

The TR-X program, along with the complete HPA Tech Retreat program, is available here. Additional sessions and speakers will be announced.

TR-X VR/AR Speakers and Panel Overview
Monday, February 20

Opening and Introductions
Seth Hallen, HPA President

Technical Introduction: 360/VR/AR/MR
Lucas Wilson

Panel Discussion: The VR/AR Market
Marcie Jastrow
David Moretti, Director of Corporate Development, Jaunt
Catherine Day, Head of VR/AR, Missing Pieces
Phil Lelyveld, VR/AR Initiative Program Lead, Entertainment Technology Center at USC

Acquisition Technology
Koji Gardiner, VP, Hardware, Jaunt

Live 360 Production Case Study
Andrew McGovern, VP of VR/AR Productions, Digital Domain

Live 360 Production Case Study
Michael Mansouri, Founder, Radiant Images

Interactive VR Production Case Study
Tim Dillon, Head of VR & Immersive Content, MPC Advertising USA

Immersive Audio Production Case Study
Kyle Schember, CEO, Subtractive

Panel Discussion: The Future
Alan Lasky, Director of Studio Product Development, 8i
Ben Grossmann, CEO, Magnopus
Scott Squires, CTO, Creative Director, Pixvana
Moderator: Lucas Wilson
Jen Dennis, EP of Branded Content, RSA

Panel Discussion: New Voices: Young Professionals in VR
Anne Jimkes, Sound Designer and Composer, Ecco VR
Jyotsna Kadimi, USC Graduate
Sho Schrock, Chapman University Student
Brian Handy, USC Student

TR-X also includes an ATSC 3.0 seminar, focusing on the next-generation television broadcast standard, which is nearing completion and offers a wide range of new content delivery options to the TV production community. This session will explore the expanding possibilities that the new standard provides in video, audio, interactivity and more. Presenters and panelists will also discuss the complex next-gen television distribution ecosystem that content must traverse, and the technologies that will bring the content to life in consumers’ homes.

Early registration is highly recommended for TR-X and the HPA Tech Retreat, which is a perennially sold-out event. Attendees can sign up for TR-X VR/AR, TR-X ATSC or the HPA Tech Retreat.

Main Image: Lucas Wilson.

Corey Stewart joins Harbor Picture Company as CTO 

New York-based full-service post house Harbor Picture Company has hired Corey Stewart as chief technology officer. He brings 20 years of industry experience to his role.

Stewart joins Harbor from Technicolor PostWorks New York, where he had served as chief engineer since 2008. During that time he designed and managed integration of a large-scale routing control system, created a KVM switching infrastructure to increase room flexibility and production, and managed engineering teams during acquisitions and management changes.

Prior to that role, Stewart held a number of jobs at the company, including online editor, Avid support technician and lead engineer. Earlier on in his career, Stewart attended the School of Visual Arts in New York where he studied film and video with an editorial concentration, taught film production classes and worked as an Adobe After Effects designer/assistant editor at Harvey’s Place. He has been credited as DI engineer on a variety of feature films and television shows. He is also a member of the HPA, SMPTE, Digital Cinema Technology and more.

“The reality of our new landscape of anywhere, anytime, any artist, has demanded that we continue to seek out new technologies and technologists to facilitate the type of unlimited access to creativity that clients are in search of,” says founder/president Zak Tucker. “Corey was the perfect candidate for this new position because he shares our vision and holistic approach to post — providing omnipresent support to clients, everywhere from on set to the point of delivery. The creative benefit of this type of seamless workflow is the collaboration fostered between picture and sound, and it’s only made possible by the types of technological advancements and workflows industry vets like Corey are implementing and innovating.”

Recent Harbor projects include work on Arrival, Beauty and the Beast and Showtime’s Billions.