Tag Archives: TV Series

Behind the Title: Harbor Picture’s head of dailies Jamie Payne

COMPANY: Harbor Picture Company (@HarborPicture)

CAN YOU DESCRIBE YOUR COMPANY?
A NYC-based post house offering a mix of artists and technical specialists collaborating to a common goal.

WHAT’S YOUR JOB TITLE?
Head of Dailies

WHAT DOES THAT ENTAIL?
In the dailies department there are many bases that need to be covered, and each is of equal importance. Guaranteeing the integrity of the acquired digital material, while maintaining the vision of the cinematographer is key. An in-depth knowledge of color and workflow helps to understand the technical and artistic language that occurs between the lab, the cinematographer and the production as a whole.

Our day-to-day tasks include initial acquisition, color timing, archival, asset management and tracking, and old-fashioned human interaction. “Guardian of the image” may be an esoteric title, but one I feel that encompasses what we aim for and deliver.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
A skilled team of operators now have ownership of an awfully large amount of digital material. Digital acquisition has always been about flexibility, speed and convenience (not to mention ongoing technological advancement). And not necessarily artistic vision and longevity, which we aim to help provide.

WHAT’S YOUR FAVORITE PART OF THE JOB?
The responsibility for the camera original material, a camera card or hard drive is treated with the same respect as an unexposed reel of film. I enjoy the demands of being answerable to all the various departments within production and post production.

WHAT’S YOUR LEAST FAVORITE?
Installing yet another daily Adobe Acrobat Reader update.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Either looking at the material for the first time or Saturday mornings.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I studied photography in college and would have almost certainly continued on that path if I hadn’t watched A Matter of Life and Death (1946).

I worked as a photographer’s assistant for still life/food photography working on medium 5×4 and 10×8 formats, which paid for my entry into reportage photography. How many people can say that they have shot 10×8-inch polaroids for exposure tests?!

WHY DID YOU CHOOSE THIS PROFESSION?
See above. A Matter of Life and Death (starring David Niven) watched on a heavily used VHS opened my eyes to things that were possible. It was quite startling.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I started as most people do in our industry, as an intern (or a runner in the UK) making tea, etc. As soon as I stepped into a telecine suite I knew immediately I had to color time. That was almost 18 years ago. I was simply in the right place at the right time when asked to create a dailies department many years ago in London. It was a fortuitous meeting that let to a position that has continued to this day.

Billions

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
The last five projects that I have worked on The Wizard of Lies, Beat-Up Little Seagull, Billions, Limitless and Paterson. It’s a nice balance of episodics and features, with some great performances and spectacular photography.

WHAT IS THE PROJECT (OR PROJECTS) THAT YOU ARE MOST PROUD OF?
Most projects I have worked on have featured a little surprise that made me smile, whether technically or aesthetically. I once had an Oscar-winning DP express gratitude after they flew 2,000 miles round trip to check the dailies due to an issue I raised and caught.

I once used a trick an assistant editor taught me that mightily impressed a senior editor.

Each moment in its own way is very rewarding, but I must say that color timing the IMAX negative for The Dark Knight Rises was pretty special.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
The internal combustion engine, modern plumbing and the Internet.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
A smidgen of Instagram.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Not anymore now I’m immersed in dailies. When I color-timed for finishing, clients and I always listened to music.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I honestly don’t think that work is stressful. It’s stressful if the technology or client expectation is misunderstood or misinterpreted, which isn’t an option in a digital lab. I become stressed when I’m not busy, and that’s the truth.

In my spare time I hike and appreciate immensely this wonderfully beautiful country.

 

Former ‘South Park’ lead editor Tom Vogt joins Spot Welders NY

Spot Welders’ New York studio has added editor Tom Vogt to its staff.  A specialist in comedy work, Vogt worked closely with Trey Parker and Matt Stone as lead editor on their South Park series. His work also includes commercials, feature films, television series and documentaries.

He has a deep background in editing long and short form comedy for broadcast and cinema. In addition to his South Park work he also provided editing for Team America: World Police and South Park: Bigger, Longer and Uncut.

Vogt also spent two years working closely with the director Morgan Spurlock, for whom he edited POM Wonderful Presents: The Greatest Movie Ever Sold, Spurlock’s take on sponsorship and branding. Formerly on staff at Bluerock and MacKenzie Cutler, he has since freelanced for a range of agencies and post houses.

Vogt says the ability to move back and forth between spots and entertainment is a big part of what attracted him to Spot Welders.  “I see this as growing into a symbiotic relationship,” he explains, noting that other Spot Welders editors work outside of the advertising arena. “I see us as birds of a feather, kind of like kindred spirits.”

His commercial work includes spots for FedEx, Axe, Oberto Beef Jerky, eBay, ESPNU and AT&T (starring Will Arnett), to name a few. His deft timing on Bud Light’s famous Dude spot helped launch the campaign that became an early internet sensation.

MTI Film adds post staff for television series work

 

HOLLYWOOD — MTI Film (www.mtifilm.com) has added veteran producers Antoinette Perez and Lawrence Epstein to its post production services division focusing on television work.

Perez joins from Pixomondo where she produced visual effects for such films as Oblivion and Red Tails. Epstein’s appointment is a promotion. He served for the past three years as MTI Film’s night operations manager.

Epstein will oversee post work for several television productions, including Major Crimes, Hell on Wheels, The Walking Dead and Bates Motel. Perez’s responsibilities will include the shows Sirens, Dallas, Key and Peele, A Country Christmas Story and Through the Wormhole.

Epstein-cropped

Lawrence Epstein

Epstein joined MTI Film in 2010 after three years at Encore Hollywood where he held a similar operations role. His expertise encompasses editorial, color correction, graphics and visual effects.

Perez has worked in post production since 1994. She began her career at Encore Hollywood and later joined Cinesite, Europe, where her credits included Tomb Raider and the first two Harry Potter movies. She also held served as a producer at Prime Focus and as a CG production manager Rhythm & Hues.