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Category Archives: post production

Company 3 buys Sixteen19, offering full-service post in NYC

Company 3 has acquired Sixteen19, a creative editorial, production and post company based in New York City. The deal includes Sixteen19’s visual effects wing, PowerHouse VFX, and a mobile dailies operation with international reach.

The acquisition helps Company 3 further serve NYC’s booming post market for feature film and episodic TV. As part of the acquisition, industry veterans and Sixteen19 co-founders Jonathan Hoffman and Pete Conlin, along with their longtime collaborator, EVP of business development and strategy Alastair Binks, will join Company 3’s leadership team.

“With Sixteen19 under the Company 3 umbrella, we significantly expand what we bring to the production community, addressing a real unmet need in the industry,” says Company 3 president Stefan Sonnenfeld. “This infusion of talent and infrastructure will allow us to provide a complete suite of services for clients, from the start of production through the creative editing process to visual effects, final color, finishing and mastering. We’ve worked in tandem with Sixteen19 many times over the years, so we know that they have always provided strong client relationships, a best-in-class team and a deeply creative environment. We’re excited to bring that company’s vision into the fold at Company 3.”

Sonnenfeld will continue to serve as president of Company 3, and oversee operations of Sixteen19. As a subsidiary of Deluxe, Company 3 is part of a broad portfolio of post services. Bringing together the complementary services and geographic reach of Company3, Sixteen19 and Powerhouse VFX, will expand Company 3’s overall portfolio of post offerings and reach new markets in the US and internationally.

Sixteen19’s New York location includes 60 large editorial suites; two 4K digital cinema grading theaters; and a number of comfortable spaces, open environments and many common areas. Sixteen19’s mobile dailies services will add a perfect companion to Company 3’s existing offerings in that arena. PowerHouse VFX includes dedicated teams of experienced supervisors, producers and artists in 2D and 3D visual effects and compositing.

“The New York film community initially recognized the potential for a Company 3 and Sixteen19 partnership,” says Sixteen19’s Hoffman. “It’s not just the fact that a significant majority of the projects we work on are finished at Company 3, it’s more that our fundamental vision about post has always been aligned with Stefan’s. We value innovation; we’ve built terrific creative teams; and above all else, we both put clients first, always.”

Sixteen19 and Powerhouse VFX will retain their company names.

MovieLabs, film studios release ‘future of media creation’ white paper

MovieLabs (Motion Pictures Laboratories), a nonprofit technology research lab that works jointly with member studios Sony, Warner Bros., Disney, Universal and Paramount, has published a new white paper presenting an industry vision for the future of media creation technology by 2030.

The paper, co-authored by MovieLabs and technologists from Hollywood studios, paints a bold picture of future technology and discusses the need for the industry to work together now on innovative new software, hardware and production workflows to support and enable new ways to create content over the next 10 years. The white paper is available today for free download on the MovieLabs website.

The 2030 Vision paper lays out key principles that will form the foundation of this technological future, with examples and a discussion of the broader implications of each. The key principles envision a future in which:

1. All assets are created or ingested straight to the cloud and do not need to move.
2. Applications come to the media.
3. Propagation and distribution of assets is a “publish” function.
4. Archives are deep libraries with access policies matching speed, availability and security to the economics of the cloud.
5. Preservation of digital assets includes the future means to access and edit them.
6. Every individual on a project is identified and verified and their access permissions are efficiently and consistently managed.
7. All media creation happens in a highly secure environment that adapts rapidly to changing threats.
8. Individual media elements are referenced, tracked, interrelated and accessed using a universal linking system.
9. Media workflows are non-destructive and dynamically created using common interfaces, underlying data formats and metadata.
10. Workflows are designed around realtime iteration and feedback.

Rich Berger

“The next 10 years will bring significant opportunities, but there are still major challenges and inherent inefficiencies in our production and distribution workflows that threaten to limit our future ability to innovate,” says Richard Berger, CEO of MovieLabs. “We have been working closely with studio technology leaders and strategizing how to integrate new technologies that empower filmmakers to create ever more compelling content with more speed and efficiency. By laying out these principles publicly, we hope to catalyze an industry dialog and fuel innovation, encouraging companies and organizations to help us deliver on these ideas.”

The publication of the paper will be supported with a panel discussion at the IBC Conference in Amsterdam. The panel, “Hollywood’s Vision for the Future of Production in 2030,” will include senior technology leaders from the five major Hollywood motion picture studios. It will take place on Sunday, September 15 at 2:15pm in the IBC Conference in the Forum room of the RAI. postPerspective’s Randi Altman will moderate the panel made up of Sony’s Bill Baggelaar, Disney’s Shadi Almassizadeh, Universal’s Michael Wise and Paramount’s Anthony Guarino. More details can be found here.

“Sony Pictures Entertainment has a deep appreciation for the role that current and future technologies play in content creation,” says CTO of Sony Pictures Don Eklund. “As a subsidiary of a technology-focused company, we benefit from the power of Sony R&D and Sony’s product groups. The MovieLabs 2030 document represents the contribution of multiple studios to forecast and embrace the impact that cloud, machine learning and a range of hardware and software will have on our industry. We consider this a living document that will evolve over time and provide appreciated insight.”

According to Wise, SVP/CTO at Universal Pictures, “With film production experiencing unprecedented growth, and new innovative forms of storytelling capturing our audiences’ attention, we’re proud to be collaborating across the industry to envision new technological paradigms for our filmmakers so we can efficiently deliver worldwide audiences compelling entertainment.”

For those not familiar with MovieLabs, their stated goal is “to enable member studios to work together to evaluate new technologies and improve quality and security, helping the industry deliver next-generation experiences for consumers, reduce costs and improve efficiency through industry automation, and derive and share the appropriate data necessary to protect and market the creative assets that are the core capital of our industry.”

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Digital Arts expands team, adds Nutmeg Creative talent

Digital Arts, an independently owned New York-based post house, has added several former Nutmeg Creative talent and production staff members to its roster — senior producer Lauren Boyle, sound designer/mixers Brian Beatrice and Frank Verderosa, colorist Gary Scarpulla, finishing editor/technical engineer Mark Spano and director of production Brian Donnelly.

“Growth of talent, technology, and services has always been part of the long-term strategy for Digital Arts, and we’re fortunate to welcome some extraordinary new talent to our staff,” says Digital Arts owner Axel Ericson. “Whether it’s long-form content for film and television, or working with today’s leading agencies and brands creating dynamic content, we have the talent and technology to make all of our clients’ work engaging, and our enhanced services bring their creative vision to fruition.”

Brian Donnelly, Lauren Boyle and Mark Spano.

As part of this expansion, Digital Arts will unveil additional infrastructure featuring an ADR stage/mix room. The current facility boasts several state-of-the-art audio suites, a 4K finishing theater/mixing dubstage, four color/finishing suites and expansive editorial and production space, which is spread over four floors.

The former Nutmeg team has hit the ground running working their long-time ad agency, network, animation and film studio clients. Gary Scarpulla worked on color for HBO’s Veep and Los Espookys, while Frank Verderosa has been working with agency Ogilvy on several Ikea campaigns. Beatrice mixed spots for Tom Ford’s cosmetics line.

In addition, Digital Arts’ in-house theater/mixing stage has proven to be a valuable resource for some of the most popular TV productions, including recording recent commentary sessions for the legendary HBO series, Game of Thrones and the final season of Veep.

Especially noteworthy is colorist Ericson’s and finishing editor Mark Spano’s collaboration with Oscar-winning directors Karim Amer and Jehane Noujaim to bring to fruition the Netflix documentary The Great Hack.

Digital Arts also recently expanded its offerings to include production services. The company has already delivered projects for agencies Area 23, FCB Health and TCA.

“Digital Arts’ existing infrastructure was ideally suited to leverage itself into end-to-end production,” Donnelly says. “Now we can deliver from shoot to post.”

Tools employed across post are Avid Pro Tools, D Control ES, S3 for audio post and Avid Media Composer, Adobe Premiere and Blackmagic Resolve for editing. Color grading is via Resolve.

Main Image: (L-R) Frank Verderosa, Brian Beatrice and Gary Scarpulla

 


Cabin adds two editors, promotes another

LA-based editorial studio Cabin Editing Company has grown its editing staff with the addition of Greg Scruton and Debbie Berman. They have also promoted Scott Butzer to editor. The trio will work on commercials, music videos, branded content and other short-form projects.

Scruton, who joins Cabin from Arcade Edit, has worked on dozens of high-profile commercials and music videos throughout his career, including Pepsi’s 2019 Grammy’s spot Okurrr, starring Cardi B; Palms Casino Resort’s star-filled Unstatus Quo; and Kendrick Lamar’s iconic Humble music video, for which he earned an AICE Award. Scruton has worked with high-profile ad agencies and directors, including Anomaly; Wieden + Kennedy; 72andSunny; Goodby, Silverstein & Partners; Dave Meyers; and Nadia Lee Cohen. He uses Avid Media Composer and Adobe Premiere.

Feature film editor Berman joins Cabin on the heels of her successful run with Marvel Studios, having recently served as an editor on Spider-Man: Homecoming, Black Panther and Captain Marvel. Her work extends across mediums, with experience editing everything from PSAs and documentaries to animated features. Now expanding her commercial portfolio with Cabin, Berman is currently at work on a Toyota campaign through Saatchi & Saatchi. She will continue to work in features as well. She mostly uses Media Composer but can also work on Premiere.

Cabin’s Butzer was recently promoted to editor after joining the company in 2017 and honing his talent across many platforms, including commercials, music videos and documentaries. His strengths include narrative and automotive work. Recent credits include Every Day Is Your Day for Gatorade celebrating the 2019 Women’s World Cup, The Professor for Mercedes Benz and Vince Staples’ Fun! music video. Butzer has worked with ad agencies and directors, including TBWA\Chiat\Day; Wieden + Kennedy; Goodby, Silverstein & Partners; Team One; Marcus Sonderland; Ryan Booth; and Rachel McDonald. Butzer previously held editorial positions at Final Cut and Whitehouse Post. He studied film at the University of Colorado at Boulder. He also uses Media Composer and Premiere.


London’s Cheat expands with color and finishing suites

London-based color and finishing house Cheat has expanded, adding three new grading and finishing suites, a production studio and a client lounge/bar space. Cheat now has four large broadcast color suites and services two other color suites at Jam VFX and No.8 in Fitzrovia and Soho, respectively. Cheat has a creative partnership with these studios.

Located in the Arthaus building in Hackney, all four of Cheat’s color suites have calibrated projection or broadcast monitoring and are equipped with cutting-edge hardware for HDR and working with 8K. Cheat was the first color company to complete a TV series in 8K on Netflix’s The End of The F***ing World in 2017. Having invested in improved storage and network infrastructure during this period, the facility is well-equipped to take on 8K and HDR projects.

Cheat uses Autodesk Flame for finishing and Blackmagic DaVinci Resolve for color grading.

The new HDR grading suite offers HDR mastering above 2,000 nits with a Flanders Scientific XM310K reference monitor that can master up to 3,000 nits. Cheat is also now a full-fledged Dolby Vision-certified mastering facility.

“Improving client experience was, of course, a key consideration in shaping the design of the renovation,” says Toby Tomkins, founder of Cheat. “The new color suite is our largest yet and comfortably seats up to 10 people. We designed it from the ground up with a raised client platform and a custom-built bias wall. This allows everyone to look at the same single monitor while grading and maintaining the spacious and relaxed feel of our other suites. The new lounge and bar area also offer a relaxing area for clients to feel at home.”


Dick Wolf’s television empire: his production and post brain trust

By Iain Blair

The TV landscape is full of scripted police procedurals and true crime dramas these days, but the indisputable and legendary king of that crowded landscape is Emmy-winning creator/producer Dick Wolf, whose name has become synonymous with high-quality drama.

Arthur Forney

Since it burst onto the scene back in 1990, his Law & Order show has spawned six dramas and four international spinoffs, while his “Chicago” franchise gave birth to another four series — the hugely popular Chicago Med, Chicago Fire and Chicago P.D. His Chicago Justice was cancelled after one season.

Then there’s his “FBI” shows, as well as the more documentary-style Cold Justice. If you’ve seen Cold Justice — and you should — you know that this is the real deal, focusing on real crimes. It’s all the more fascinating and addictive because of it.

Produced by Wolf and Magical Elves, the real-life crime series follows veteran prosecutor Kelly Siegler, who gets help from seasoned detectives as they dig into small-town murder cases that have lingered for years without answers or justice for the victims. Together with local law enforcement from across the country, the Cold Justice team has successfully helped bring about 45 arrests and 20 convictions. No case is too cold for Siegler, as the new season delves into new unsolved homicides while also bringing updates to previous cases. No wonder Wolf calls it “doing God’s work.” Cold Justice airs on true crime network Oxygen.

I recently spoke with Emmy-winning Arthur Forney, executive producer of all Wolf Entertainment’s scripted series (he’s also directed many episodes), about posting those shows. I also spoke with Cold Justice showrunner Liz Cook and EP/head of post Scott Patch.

Chicago Fire

Dick Wolf has said that, as head of post, you are “one of the irreplaceable pieces of the Wolf Films hierarchy.” How many shows do you oversee?
Arthur Forney: I oversee all of Wolf Entertainment’s scripted series, including Law & Order: Special Victims Unit, Chicago Fire, Chicago P.D., Chicago Med, FBI and FBI: Most Wanted.

Where is all the post done?
Forney: We do it all at NBCUniversal StudioPost in LA.

How involved is Dick Wolf?
Forney: Very involved, and we talk all the time.

How does the post pipeline work?
Forney: All film is shot on location and then sent back to the editing room and streamed into the lab. From there we do all our color corrections, which takes us into downloading it into Avid Media Composer.

What are the biggest challenges of the post process on the shows?
Forney: Delivering high-quality programming with a shortened post schedule.

Chicago Med

What are the editing challenges involved?
Forney: Trying to find the right way of telling the story, finding the right performances, shaping the show and creating intensity that results in high-quality television.

What about VFX? Who does them?
Forney: All of our visual effects are done by Spy Post in Santa Monica. All of the action is enhanced and done by them.

Where do you do the color grading?
Forney: Coloring/grading is all done at NBCUniversal StudioPost.

Now let’s talk to Cook and Patch about Cold Justice:

Liz and Scott, I recently saw the finale to Season 5 of Cold Justice. That was a long season.
Liz Cook: Yes, we did 26 episodes, so it was a lot of very long days and hard work.

It seems that there’s more focus than ever on drug-related cases now.
Cook: I don’t think that was the intention going in, but as we’ve gone on, you can’t help but recognize the huge drug problem in America now. Meth and opioids pop up in a lot of cases, and it’s obviously a crisis, and even if they aren’t the driving force in many cases, they’re definitely part of many.

L-R: Kelly Siegler, Dick Wolf, Scott Patch and Liz Cook. Photo by Evans Vestal Ward

How do you go about finding cases for the show?
Cook: We have a case-finding team, and they get the cases various ways, including cold-calling. We have a team dedicated to that, calling every day, and we get most of them that way. A lot come through agencies and sheriff’s departments that have worked with us before and want to help us again. And we get some from family members and some from hits on the Facebook page we have.

I assume you need to work very closely with local law agencies as you need access to their files?
Cook: Exactly. That’s the first part of the whole puzzle. They have to invite us in. The second part is getting the family involved. I don’t think we’d ever take on a case that the family didn’t want us to do.

What’s involved for you, and do you like being a showrunner?
Cook: It’s a tough job and pretty demanding, but I love it. We go through a lot of steps and stuff to get a case approved, and to get the police and family on board, and then we get the case read by one of our legal readers to evaluate it and see if there’s a possibility that we can solve it. At that point we pitch it to the network, and once they approve it and everyone’s on board, then if there are certain things like DNA and evidence that might need testing, we get all that going, along with ballistics that need researching, and stuff like phone records and so on. And it actually moves really fast – we usually get all these people on board within three weeks.

How long does it take to shoot each show?
Cook: It varies, as each show is different, but around seven or eight days, sometimes longer. We have a case coming up with cadaver dogs, and that stuff will happen before we even get to the location, so it all depends. And some cases will have 40 witnesses, while others might have over 100. So it’s flexible.

Cold Justice

Where do you post, and what’s the schedule like?
Scott Patch: We do it all at the Magical Elves offices here in Hollywood — the editing, sound, color correction. The online editor and colorist is Pepe Serventi, and we have it all on one floor, and it’s really convenient to have all the post in house. The schedule is roughly two months from the raw footage to getting it all locked and ready to air, which is quite a long time.

Dailies come back to us and we do our first initial pass by the story team and editors, and they’ll start whittling all the footage down. So it takes us a couple of weeks to just look at all the footage, as we usually have about 180 hours of it, and it takes a while to turn all that into something the editors can deal with. Then it goes through about three network passes with notes.

What about dealing with all the legal aspects?
Patch: That makes it a different kind of show from most of the others, so we have legal people making sure all the content is fine, and then sometimes we’ll also get notes from local law agencies, as well as internal notes from our own producers. That’s why it takes two months from start to finish.

Cook: We vet it through local law, and they see the cuts before it airs to make sure there are no problems. The biggest priority for us is that we don’t hurt the case at all with our show, so we always check it all with the local D.A. and police. And we don’t sensationalize anything.

Cold Justice

Patch: That’s another big part of editing and post – making sure we keep it authentic. That can be a challenge, but these are real cases with real people being accused of murder.

Cook: Our instinct is to make it dramatic, but you can’t do that. You have to protect the case, which might go to trial.

Talk about editing. You have several editors, I assume because of the time factor. How does that work?
Patch: Some of these cases have been cold for 25 or 30 years, so when the field team gets there, they really stand back and let the cops talk about the case, and we end up with a ton of stuff that you couldn’t fit into the time slot however hard you tried. So we have to decide what needs to be in, what doesn’t.

Cook: On day one, our “war room” day, we meet with the local law and everyone involved in the case, and that’s eight hours of footage right there.

Patch: And that gets cut down to just four or five minutes. We have a pretty small but tight team, with 10 editors who split up the episodes. Once in a while they’ll cross over, but we like to have each team and the producers stay with each episode as long as they can, as it’s so complicated. When you see the finished show, it doesn’t seem that complicated, but there are so many ways you could handle the footage that it really helps for each team to really take ownership of that particular episode.

How involved is Dick Wolf in post?
Cook: He loves the whole post process, and he watches all the cuts and has input.

Patch: He’s very supportive and obviously so experienced, and if we’re having a problem with something, he’ll give notes. And for the most part, the network gives us a lot of flexibility to make the show.

What about VFX on the show?
Patch: We have some, but nothing too fancy, and we use an outside VFX/graphics company, LOM Design. We have a lot of legal documents on the show, and that stuff gets animated, and we’ll also have some 3D crime scene VFX. The only other outside vendor is our composer, Robert ToTeras.


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: Bonfire Labs’ Mary Mathaisell

Over the course of nearly 30 years, San Francisco’s Bonfire Labs has embraced change. Over the years, the company evolved from an editorial and post house to a design and creative content studio that leverages the best aspects of the agency and production company models without adhering to either one.

This hybrid model has worked well for product launches for Google, Facebook, Salesforce, Logitech and many others.

The latest change is in the company’s ownership, with the last of the original founders stepping down and a new management partnership taking over — led by executive producer Mary Mathaisell, managing director Jim Bartel and head of strategy and creative Chris Weldon.

We spoke with Mathaisell to get a better sense of Bonfire Labs’ past, present and future.

Can you give us some history of Bonfire Labs? When did you join the company? How/why did you first get into producing?
I’ve been with Bonfire Labs for seven years. I started here as head of production. After being at several large digital agencies working on campaigns and content for brands like Target, Gap, LG and PayPal, I wanted to build something more sustainable than just another campaign and was thrilled that Bonfire was interested in growing into a full-service creative company with integrated production.

Prior to working at AKQA and Publicis, I worked in VFX and production as well as design for products and interfaces, but my primary focus and love has always been commercial production.

The studio has evolved from a traditional post studio to creative strategy and content company. What were the factors that drove those changes?
Bonfire Labs has always been smart about staying small and strategic about the kind of work and clients to focus on. We have been able to change based on both the kind of work we want to be doing and what the market needs. With a giant need for content, especially video content, we have decided to staff and service clients as experts across all the phases of creative development and production and finishing. Instead of going to an agency and a production company and post houses, our clients can work directly with us on everything from concept to finishing.

Silicon Valley is clearly a big client base for you. What are they generally coming to you for? Are the content needs in high tech different from other business sectors?
Our clients usually have a new product, feature or brand that they want the world to know about. We work on product launches, brand awareness campaigns, product education, event content and social content. Most of our work is for technology companies, but every company these days has a technology component. I would say that speed to market is one key differentiator for our clients. We are often building stories as we are in production, so we get a lot done with our clients through creative collaboration and by not following the traditional rules of an agency or a production company.

Any specific trends that you’re seeing recently from your clients? New areas that Bonfire is looking to explore, either new markets for your talents or technology you’re looking to explore further?
Rapid brand prototyping is a new service we are offering to much excitement. Because we have experience across so many technology brands and work closely with our clients, we can develop a language and brand voice faster than most traditional agencies. Technology brands are evolving so quickly that we often start working on content creation before a brand has defined itself or transitioned to its next phase. Rapid brand prototyping allows brands to test content and grow the brand simultaneously.

Blade Shadow

Can you talk about some projects that you have done recently that challenged you and the team?
We rolled out a launch film for a new start-up client called Blade Shadow. We are working with Salesforce to develop trailblazer stories and anthem films for its .org branch, which focuses on NGOs, education and philanthropy.

The company is undergoing a transition with some of the original partners. Can you talk about that a bit as well?
The original founders have passed the torch to the group of people who have been managing and producing the work over the past five to 15 years. We have six new owners, three managing partners and three associate partners. Jim Bartel is the managing director; Chris Weldon is the head of strategy and creative, and I’m the executive producer in charge of content development and production. The three of us make up the management team.

The three of us make up the management team. Sheila Smith (head of production) Robbie Proctor (head of editorial) and Phil Spitler (creative technology lead) are associate partners as they contribute to and lead so much of our work and process and have been part of the company for over 10 years each.

 


Review: Dell UltraSharp 27 4K InfinityEdge monitor

By Sophia Kyriacou

The Dell UltraSharp U2718Q monitor did not disappoint. Getting started requires minimal effort. You are up and running in no time — from taking it out of the box to switching it on. The stand, the standard Dell mount, is simple to assemble and intuitive, so you barely need to look at any instructions. But if you do, there is a step-by-step guide to help you set up within minutes.

The monitor comes in a well-designed package, which ensures it gets to you safely and securely. The Dell stand is easily adjustable without fuss and remains in place to your liking, with a swivel of 45 degrees to the left or right, a 90-degree pivot clockwise and counter clockwise, and a maximum height of 130mm. This adjustability means it will certainly meet all your comfort and workflow needs, with the pivot being incredibly useful when working in portrait formats.

The InfinityEdge display not only makes the screen look attractive but, more importantly, gives you extra surface area. When working with more than one monitor, having the ultra-thin edge makes the viewing experience less of a distraction, especially when monitors are butted up together. For me, the InfinityEdge is what makes it … in addition to the image quality and resolution, of course!

The Dell UltraSharp U2718Q has a flicker-free screen, making it comfortable on the eyes. It also has 3480×2160 pixels and boasts a color depth of 1.07 billion colors. The anti-glare coating works very well and meets all the needs of work environments with multiple and varied lighting conditions.

There are several connectors to choose from: one DP (v 1.2), one mDP (v 1.2), one HDMI (v 2.0), one USB 3.0 port (upstream), four USB 3.0 ports (including two USB 3.0 BC 1.2) with charging capability at 2A (max), and an audio line out. You are certainly not going to be short of inputs. I found the on-screen navigation incredibly easy to use. The overall casing design is minimal and subtle, with tones of black and dark silver. With the addition of the InfinityEdge, this monitor looks attractive. There is also a matching keyboard and mouse available.

Summing Up
Personally, I like to set my main monitor at a comfortable distance, with the second monitor butted up to my left at an angle of -35 degrees. Being left-handed, this setup works for me ergonomically, keeping my browser, timeline and editing window on that side, so I’m free to focus on the larger-scale composition in front of me.

The two Dell UltraSharp U2718Q monitors I use are great, as they give me the breathing space to focus on creating without having to constantly move windows around, breaking my flow. And thanks to InfinityEdge, the overall experience feels seamless. I have both monitors set up exactly the same so the color matches and retains the same maximum quality perfectly.


Sophia Kyriacou is an award-winning conceptual creative motion designer and animator with over 22 years experience within the broadcast design industry. She’s splits her time between working at the BBC in London and taking on freelance jobs. She is a full voting member at BAFTA and is currently working on a script for a 3D animated short film. 


Post vet Chris Peterson joins NYC’s Chimney North

Chimney’s New York studio has hired Chris Peterson as its new EP of longform entertainment, building on the company’s longform credits, which include The Dead Don’t Die, Atomic Blonde, Chappaquiddick, The Wife and Her.

Chimney is a full-service company working in feature films, television, commercials, digital media, live events and business-to-business communications. The studio has offices in 11 cities and eight countries worldwide.

In his new role, Peterson will be using his expertise in film finance, tax credit maximization and technical workflows to grow Chimney’s feature film and television capabilities. He brings over 20 years of experience in production and post, including a stint at Mechanism Digital and Post Factory, NY.

Peterson’s resume is diverse and spans the television, film, technology, advertising, music, video game and XR industries. Projects include the Academy Award-winning feature Spotlight, the Academy Award-winning documentary OJ: Made in America, and the Grammy-nominated Roger Waters: The Wall. For E! Entertainment’s travel series Wild On, he produced shows in Argentina, Brazil, Trinidad and across the United States. He was also a post producer on Howard Stern on Demand.

“Chimney combines the best of both worlds: a boutique feel and global resources,” says Peterson. “Add to that the company’s expertise in financing and tax credits, and you have a unique resource for producers and filmmakers.”

For the past eight years, Peterson has been board secretary of the Post New York Alliance, which was co-founded by Chimney North America CEO Marcelo Gandola. The PNYA is a trade association that lobbied for and passed the first post-only tax credit, which was recently extended for two years. Peterson is also a member of SMPTE.

Behind the Title: Amazon senior post exec Frank Salinas

NAME: Frank Salinas

COMPANY: Amazon Studios

CAN YOU DESCRIBE YOUR COMPANY?
We’re Amazon.com….Look us up. Small e-commerce bookstore turned global marketplace, cloud storage services and content maker and broadcaster.

WHAT’S YOUR JOB TITLE?
Senior Post Production Executive

WHAT DOES THAT ENTAIL?
My core responsibility is to support and shepherd our series, specials and/or episodes in partnership with our production company from preproduction to delivery.

From the early stages of conceptualizing and planning our productions through color grading, mixing, QC, mastering, publishing and broadcast/launch, it’s my responsibility to oversee that our timelines are met and our commitments to our customers are kept.

Our customers expect the highest standards for quality. I work closely and in tandem with all the other departments to assure that our content is ready for distribution on time, under budget and to the utmost standards. Meaning we are shooting at the highest quality, localizing (whether subtitles or dubbing) in all the languages we are distributing to and that the quality is upheld throughout that process.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I’m making it a point of getting involved in the post production process before cameras are chosen or scripts are ever finalized to assure we have a clear runway and a set workflow for success.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Being on set or leading into that moment before going on set and having a plan and a strategy in motion and being able to watch it be executed. It almost never plays out as you predicted, but having the knowledge and the confidence to adjust, and being fluid in that moment, is my favorite part of the job.

WHAT’S YOUR LEAST FAVORITE?
My least favorite part of the job would have to be the extraneous meetings that go into making a series. It’s part of the process but I’m not a big fan of meetings

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
My most productive part of the day would likely be my 90-minute drive into the office. This is when I can create my “to-do’s list” for that day, and then the two to three hours I have in the morning before anyone arrives. This allows me to tackle the list without interruption. That and the few times I have the opportunity to run in the morning. It’s those times that allow me to clear my head and process my thoughts linearly.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
If I wasn’t a post executive, I’d likely be a real estate agent or TV/film agent. I get a lot of joy whenever I’m able to make someone happy by being able to pair them with something or someone that fits them perfectly — whatever it is that they are looking for. Finding that perfect marriage between that person and that thing they are needing or wanting brings me a lot of happiness.

WHY DID YOU CHOOSE THIS PROFESSION?
I’ve enjoyed television and the film medium for as long as I can remember. From the moment I saw my first episode of The Twilight Zone and realized that you could really leave your audience asking the question of “Is this real?” or “What if? I thought there was something so powerful about that.

Lorena

CAN YOU NAME A RECENT PROJECT YOU HAVE WORKED ON?
The documentary Lorena; Last One Laughing Mexico;This Is Football, premiering early August; Gymkhana; The Jonas Brothers film Chasing Happiness; The live Prime Day concert 2019;
The series Carnival Row (launching 8/31); and the All or Nothing series, just to name a few.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I have a few, but most of them stem from my time at 25/7 Productions. Ultimate Beastmaster, The Briefcase and Strong all hold a special place in my heart, not only because I was able to work on them with people whom I consider my family but because we created something that positively changed peoples lives and expanded their way of thinking

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
I’m going to list four since I’m a techy through and through…

My phone. It’s my safety blanket and my window to the world.

My laptop, which is just a larger window or blanket.

My car. Although it’s basic in nature and not pretentious at all, it allows me to be mobile but still allows me a safe place to work. For the amount of time I spend in my car it’s really become my mobile office.

My headphones. Whether I’m running in my neighborhood or traveling on a plane, the joy I get from listening to music and podcasts is absolute. I love music.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram and Facebook are the two I find myself on, and I tend to follow things that I’m passionate about. My sports teams — the Dodgers, Lakers and Kings — and I love architecture and food so I tend to follow those publications that showcase great photos of both.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
I love music… almost all of it. Classic rock, reggae, pop, hip-hop, rap, house, country, jazz, Latin, punk. Everything but Phish or Grateful Dead? I just don’t get it.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
My love for running, cooking or eating great food, traveling and being with my family helps to remind me that it’s only TV. I constantly need to be reminded that what we are doing, while important, is also just entertainment.

HPA’s 2019 Engineering Excellence Award winners  

The Hollywood Professional Association (HPA) Awards Committee have announced the winners of the 2019 HPA Engineering Excellence Award. They were selected by a judging panel after a session held at IMAX on June 22. Honors will be bestowed on November 21 at the 14th annual HPA Awards gala at the Skirball Cultural Center in Los Angeles.

The HPA Awards were founded in 2005 to recognize creative artistry and innovation in the professional media content industry. A coveted honor, the Engineering Excellence Award rewards outstanding technical and creative ingenuity in media, content production, finishing, distribution and archive.

“Every year, it is an absolute pleasure and a privilege to witness the innovative work that is brewing in our industry,” says HPA Awards Engineering Committee chair Joachim Zell. “Judging by the number of entries, which was our largest ever, there is genuine excitement within our community to push our capabilities to the next level. It was a close race and shows us that the future is being plotted by the brilliance that we see in the Engineering Excellence Awards. Congratulations to the winners, and all the entrants, for impressive and inspiring work.”

Adobe After Effects

Here are the winners:
Adobe – Content-Aware Fill for Video in Adobe After Effects
Content-Aware Fill for video uses intelligent algorithms to automatically remove unwanted objects like boom mics or distracting signs from video. Using optical flow technology, Content-Aware Fill references frames before, next to or after an object and fills the area automatically making it look as if the object was never there.

Epic Games — Unreal Engine 4
Unreal Engine is a flexible and scalable realtime visualization platform enabling animation, simulation, performance capture and photorealistic renders at unprecedented speeds. Filmmakers, broadcasters and beyond use Unreal Engine to scout virtual locations and sets, complete previsualization, achieve in-camera final-pixel VFX on set, deliver immersive live mixed reality broadcasts, edit CG characters and more in realtime. Unreal Engine dramatically streamlines content creation and virtual production, affording creators greater flexibility and freedom to achieve their visions.

Pixelworks — TrueCut Motion
TrueCut Motion is a cinematic video tool for finely tuning motion appearance.  It uses Pixelworks’ 20 years of experience in video processing, together with a new motion appearance model and motion dataset. Used as a part of the creative process, TrueCut Motion enables filmmakers to explore a broader range of motion appearances than previously possible.

Portrait Displays and LG Electronics — CalMan LUT based Auto-Calibration Integration with LG OLED TVs
OLED televisions are commonly used in Hollywood for various uses, including as a client viewing monitor, SDR BT.709 reference monitor and as QC monitor for consumer deliverables, including broadcasting, optical media and OTT. To be used in these professional settings, a highly accurate color calibration is essential. Portrait Displays and LG Electronics partnered to bring 1D and 3D LUT-based hardware level CalMan AutoCal to the 2018 and newer LG OLED televisions.

Honorable Mentions were awarded to Ambidio for Ambidio Looking Glass; Grass Valley, for creative grading; and Netflix, Inc. for Photon.

In addition to the honors for excellence in engineering, the HPA Awards will recognize excellence in 12 craft categories, including color grading, editing, sound and visual effects. The recipients of the Judges Award for Creativity and Innovation and Lifetime Achievement Award will be announced in the coming weeks.
Tickets for the 14th annual HPA Awards will be available for purchase later this summer.

Review: Western Digital’s Blue SN500 NVMe SSD

By Brady Betzel

Since we began the transfer of power from the old standard SATA 3.5-inch hard drives to SSD drives, multimedia-based computer users have seen a dramatic uptick in read and write speeds. The only issue has been price. You can still find a 3.5-inch brick drive, ranging in size from 2TB to 4TB, for under $200 (maybe closer to $100), but if you upgraded to an SSD drive over the past five years, you were looking at a huge jump in price. Hundreds, if not thousands, of dollars. These days you are looking at just a couple of hundred for 1TB and even less for 256GB or 512GB SSD.

Western Digital hopes you’ll think of NVMe SSD drives as more of an automatic purchase than a luxury with the Western Digital Blue SN500 NVMe M.2 2280 line of SSD drives.

Before you get started, you will need a somewhat modern computer with an NVMe M.2-compatible motherboard (also referred to as a PCIe Gen 3 interface). This NVMe SSD is a “B+M key” configuration, so you will need to make sure you are compatible. Once you confirm that your motherboard is compatible, you can start shopping around. The Western Digital Blue series has always been the budget-friendly level of hard drives. Western Digital also offers the next level up: the Black series. In terms of NVMe SSD M.2 drives, the Western Digital Blue series drives will be budget-friendly, but they also use two fewer PCIe lanes, which results in a slower read/write speed. The Black series uses up to four PCIe lanes, as well as has a heat sink to dissipate the heat. But for this review, I am focusing on the Blue series and how it performs.

On paper the Western Digital Blue SN500 NVMe SSD is available in either 250GB or 500GB sizes, measures approximately 80mm long and uses the M.2 2280 form factor for the PCIe Gen 3 interface in up to two lanes. Technically, the 500GB drive can achieve up to 1,700MB/s read and 1450MB/s write speeds, and the 250GB can achieve up to 1700MB/s read and 1300MB/s write speeds.

As of this review, the 250GB version sells for $53.99, while the 500GB version sells for $75.99. You can find specs on the Western Digital website and learn more about the Black series as well.

One of the coolest things about these NVMe drives is that they come standard with a five-year limited warranty (or max endurance limit). The max endurance (aka TBW — terabytes written) for the 250GB SSD is 150TB, while the max endurance for the 500GB version is 300TB. Both versions have a MTTF (mean time to failure) of 1.75 million hours.

In addition, the drive uses an in-house controller and 3D NAND logic. Now those words might sound like nonsense, but the in-house controller is what tells the NVMe what to do and when to do it (it’s essentially a dedicated processor), while3D NAND is a way of cramming more memory into smaller spaces. Instead of hard drive manufacturers adding more memory on the same platform in an x- or y-axis, they achieve more storage space by stacking layers vertically on top — or on the z-axis.

Testing Read and Write Speeds
Keep in mind that I ran these tests on a Windows-based PC. Doing a straight file transfer, I was getting about 1GB/s. When using Crystal Disk Mark, I would get a burst of speed at the top, slow down a little and then mellow out. Using a 4GB sample, my speeds were:
“Seq Q32T” – Read: 1749.5 MB/s – Write: 1456.6 MB/s
“4KiB Q8T8” – Read: 1020.4 MB/s – Write: 1039.9 MB/s
“4KiB Q32T1” – Read: 732.5 MB/s – Write: 676.5 MB/s
“4KiB Q1T1” – Read: 35.77 MB/s – Write: 185.5 MB/s

If you would like to read exactly what these types of tests entail, check out the Crystal Disk Mark info page. In the AJA System Test I had a little drop off, but with a 4GB test file size, I got an initial read speed of 1457MB/s and a write speed of 1210MB/s, which seems to fall more in line with what Western Digital is touting. The second time I ran the AJA System Test, I got a read speed of 1458MB/s and write speed of 883MB/s. I wanted a third opinion, so I ran the Blackmagic Design Disk Speed Test (you’ll have to install drivers for a Blackmagic card, like the Ultrastudio 4K). On my first run, I got a read speed of 1359.6MB/s and write speed of 1305.8MB/s. On my second run, I got a read speed of 1340.5MB/s and write speed of 968.3MB/s. My read numbers were generally above 1300MB/s, and my write numbers varied between 800 and 1000MB/s. Not terrible for a sub-$100 hard drive.

Summing Up
In the end, the Western Digital Blue SN500 NVMe SSD is an amazing value at under $100, and hopefully we will get expanded sizes in the future. The drive is a B+M key configuration, so when you are looking at compatibility, make sure to check which key your PCIe card, external drive case or motherboard supports. It is typically M or B+M key, but I found a PCI card that supported both. If you need more space and speed than the WD Blue series can offer, check out Western Digital’s Black series of NVMe SSDs.

The sticker price starts to go up significantly when you hit the 1TB or 2TB marks — $279.99 and $529.99, respectively (with the heat sink attachment). If you stick to the 500GB version, you are looking at a more modest price tag.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Behind the Title: Cinematic Media head of sound Martin Hernández

This audio post pro’s favorite part of the job is the start of a project — having a conversation with the producer and the director. “It’s exciting, like any new relationship,” he says.

Name: Martin Hernández

Job Title: Supervising Sound Editor

Company: Mexico City’s Cinematic Media

Can you describe Cinematic Media and your role there?
I lead a new sound post department at Cinematic Media, Mexico’s largest post facility focused on television and cinema. We take production sound through the full post process: effects, backgrounds, music editing… the whole thing. We finish the sound on our mix stages.

What would surprise people most about what you do?
We want the sound to go unnoticed. The viewer shouldn’t be aware that something has been added or is unnatural. If the viewer is distracted from the story by the sound, it’s a lousy job. It’s like an actor whose performance draws attention to himself. That’s bad acting. The same applies to every aspect of filmmaking, including sound. Sound needs to help the narrative in a subjective and quiet way. The sound should be unnoticed… but still eloquent. When done properly, it’s magical.

Hernandez has been working on Easy for Netflix.

What’s your favorite part of the job?
Entering the project for the first time and having a conversation with the team: the producer and the director. It’s exciting, like any new relationship. It’s beautiful. Even if you’re working with people you’ve worked with before, the project is newborn.

My second favorite part is the start of sound production, when I have a picture but the sound is a blank page. We must consider what to add. What will work? What won’t? How much is enough or too much? It’s a lot like cooking. The dish might need more of this spice and a little less of that. You work with your ingredients, apply your personal taste and find the right flavor. I enjoy cooking sound.

What’s your least favorite part of the job?
Me.

What do you mean?
I am very hard on myself. I only see my shortcomings, which are, to tell you the truth, many. I see my limitations very clearly. In my perception of things, it is very hard to get where I want to go. Often you fail, but every once in a while, a few things actually work. That’s why I’m so stubborn. I know I am going to have a lot of misses, so I do more than expected. I will shoot three or four times, hoping to hit the mark once or twice. It’s very difficult for me to work with me.

What is your most productive time of the day?
In the morning. I’m a morning person. I work from my own place, very early, like 5:30am. I wake up thinking about things that I left behind in the session. It’s useless to remain in bed, so I go to my studio and start working on these ideas. It’s amazing how much you can accomplish between 6am and 9am. You have no distractions. No one’s calling. No emails. Nothing. I am very happy working in the mornings.

If you didn’t have this job, what would you be doing?
That’s a tough question! I don’t know anything else. Probably, I would cook. I’d go to a restaurant and offer myself as an intern in the kitchen.

For most people I know, their career is not something they’ve chosen; it was embedded in them when they were born. It’s a matter of realizing what’s there inside you and embracing it. I never, in my wildest dreams, expected to be doing this work.

When I was young, I enjoyed watching films, going to the movies, listening to music. My earliest childhood memories are sound memories, but I never thought that would be my work. It happened by accident. Actually, it was one accident after another. I found myself working with sound as a hobby. I really liked it, so I embraced it. My hobby then became my job.

So you knew early on that audio would be your path?
I started working in radio when I was 20. It happened by chance. A neighbor told me about a radio station that was starting up from scratch. I told my friend from school, Alejandro Gonzalez Iñárritu, the director. Suddenly, we’re working at a radio station. We’re writing radio pieces and doing production sound. It was beautiful. We had our own on-air, live shows. I was on in the mornings. He did the noon show. Then he decided to make films and I followed him.

Easy

What are some of your recent projects?
I just finished a series for Joe Swanberg, the third season of Easy. It’s on Netflix. It’s the fourth project I’ve done with Joe. I’ve also done two shows here in Mexico. The first one is my first full-time job as supervisor/designer for Argos, the company lead by Epigmenio Ibarra. Yankee is our first series together for Netflix, and we’re cutting another one to be aired later in the year. It’s a very exciting for me.

Is there a project that you’re most proud of?
I am very proud of the results that we’ve been getting on the first two series here in Mexico. We built the sound crew from scratch. Some are editors I’ve worked with before, but we’ve also brought in new talent. That’s a very joyful process. Finding talent is not easy, but once you do, it’s very gratifying. I’m also proud of this work because the quality is very good. Our clients are happy, and when they’re happy, I’m happy.

What pieces of technology can you not live without?
Avid Pro Tools. It’s the universal language for sound. It allows me to share sound elements and sessions from all over the world, just like we do locally, between editing and mixing stages. The second is my converter. We are using the Red system from Focusrite. It’s a beautiful machine.

This is a high-stress job with deadlines and client expectations. What do you do to de-stress from it all?
Keep working.

Veteran episodic colorist Scott Klein joins Light Iron

Colorist Scott Klein has joined post house Light Iron, which has artists working on feature films, episodic series and music videos at its Los Angeles- and New York-based studios. Klein brings with him 40 years of experience supervising a variety of episodic series.

“While Light Iron was historically known for its capabilities with feature films, we have developed an equally strong episodic division, and Scott builds upon our ongoing commitment to providing the talent and technology necessary for supporting all formats and distribution platforms,” says GM Peter Cioni of Light Iron.

Klein’s list of credits include Fox’s Empire, HBO’s Deadwood: The Movie and Showtime’s Ray Donovan. He also collaborated on the series Bosch, True Blood, The Affair, Halt and Catch Fire, Entourage and The Sopranos. Klein is also an associate member of the American Society of Cinematographers (ASC). He will be working on Blackmagic’s DaVinci Resolve.

“I really enjoy the artistic collaboration with filmmakers,” he says. “It is great to be part of a facility with such a pure passion for supporting the creative through technology. Colorists need strong technology that serves as a means to best express the feelings being conveyed in the images and further enhance the moods that draw audiences into a story.”

Also joining Klein are his colleagues and fellow colorists Daniel Yang, Jesús Borrego and Ara Thomassian. They join Light Iron after working together at Warner Bros. and then Technicolor.

In addition to growing its team of artists to support the expanding market and client needs, Light Iron has also expanded its physical footprint with a second Hollywood-based location a short distance from its flagship facility. A full breadth of creative finishing services for feature films and episodic series is available at both locations. Light Iron also has locations in Atlanta, Albuquerque, Chicago and New Orleans.

 

CVLT hires Katya Pavlova as head of post

Bi-coastal video production studio CVLT has added Katya Pavlova as head of post production. She will be based in the studio’s New York location.

Pavlova joins the team after six years at The Mill, where she produced projects that include David Bowie’s Life on Mars music video remake directed by photographer Mick Rock, as well as Steven Klein’s augmented reality experience for W Magazine’s cover, featuring an interactive 3D digital portrait of Katy Perry.

In her new role, Pavlova will focus on growing CVLT’s post production operation and developing new partnerships. She brings career expertise in a broad range of editorial, VFX, design and CG disciplines across digital and broadcast. In her time as a producer at The Mill, she worked on variety of work for brands including Netflix, Facebook, Ralph Lauren, Jimmy Choo and Vogue.

“We have seen post production needs shift focus from traditional media channels to multi-platform requirements, including emerging technology like augmented reality and crafting short-form videos for social media and mobile audiences. At CLVT, I intend to adapt our team to execute post on advanced AR projects as well as quick turnaround videos for social channels.”

Assimilate Scratch 9.1: productivity updates, updated VFX workflow

Assimilate’s Scratch 9.1, a dailies and finishing software, now includes new and extensive performance and productivity features, including integration with Foundry Nuke and Adobe After Effects. It’s available now.

“A primary goal for us is to quickly respond to the needs of DITs and post artists, whether it’s for more advanced features, new format support, or realtime bug-fixes,” said Mazze Aderhold, Scratch product manager at Assimilate. “Every feature introduced in Scratch 9.1 is based on feedback we received from our users before and during the beta cycle.”

The software now features native touch controls for grading by clicking and dragging directly on the image. Thanks to this intuitive way to color and manipulate images, an artist can grade the overall image or even control curves and secondaries — all without a panel and directly where the cursor is dragging.

There is also a redesigned color management system, enabling deep control over how camera-specific gamut and gamma spaces are handled and converted. Additionally, there is a new color-space conversion plugin (any color space to any other) that can be applied at any stage of the color/mastering process.

Also new is integration with After Effects and Nuke. Within Scratch, users can now seamlessly send shots to and from Nuke and After Effects, including transparencies and alphas. This opens up Scratch to high-end tracking, compositing, 3D models, advanced stabilization, motion graphics and more.

Within the VFX pipeline, Scratch can act as a central hub for all finishing needs. It provides realtime tools for any format, data management, playback and all color management in a timeline with audio, including to and from After Effects and Nuke.

Other new features include:

• Integration with Avid, including all metadata in the Avid MXF. Additionally, Scratch includes all the source-shot metadata, such as the genuine Sound TC in Avid MXF, which is important later on in post for something like a Pro Tools roundtrip
• Per-frame metadata on ARRIRAW files, allowing camera departments to pass through camera roll and tilt, lens focus distance metadata items, and more. Editorial and VFX teams can benefit from per-frame info later in the post process.
• Faster playback and rendering
• Realtime, full-res Red 8K DeBayer on GPU
• A deep set of options to load media, including sizing options, LUTs and automatic audio-sync, speeding up the organizational process when dealing with large amounts of disparate media
• A LUT cycler that allows for quick preview and testing of large numbers of looks on footage
• Preset outputs for Pix, Dax, MediaSilo and Copra, simplifying the delivery of industry-standard web dailies


• Vector tool for advanced color remapping using a color grid
• Automatic installation of free Matchbox Shaders, opening Scratch up to a wealth of realtime VFX effects, including glows, lens effects, grain add/remove, as well as more advanced creative FX
• Built-in highlight glow, diffusion, de-noise and time-warp FX
• Added support for AJA’s Io 4K Plus and Kona 5 SDI output devices using the latest SDKs.
• Support for Apple’s new ProRes RAW compressed-acquisition format and Blackmagic RAW support on both OS X and Windows

Scratch 9.1 starts at $89 monthly and $695 annually.

Picture Shop buys The Farm Group

Burbank’s Picture Shop has acquired UK-based The Farm Group. The Farm Group was founded in 1998 and currently has four locations in London, as well as facilities in Manchester, Bristol and Los Angeles.

The Farm, London

The Farm also operates the in-house post production teams for BBC Sport in Salford, England; UKTV; and Fremantle Media. This deal marks Picture Shop’s second international acquisition, followed by the deal it made for Vancouver’s Finalé Post earlier this year.

The founders of The Farm, Nicky Sargent and Vikki Dunn, will stay involved in The Farm Group. In a joint statement, Sargent and Dunn said, “We are delighted that after 20 successful years, we have a new partner. Picture Shop is poised to expand in the international post market and provide the combination of technical, creative and professional excellence to the world’s content creators.”

The duo will also re-invest in the expanded Picture Head Group, which includes Picture Head and audio post company Formosa Group, in addition to Picture Shop.

L-R: The Farm Group’s Nicky Sargent and Vikki Dunn.

Bill Romeo, president of Picture Shop, says, “Based on the amount of content being created internationally, we felt it was important to have a presence worldwide and support our clients’ needs. The Farm, based on its reputation and creative talent, will be able to maintain the philosophy of Picture Shop. It is a perfect fit. Our clients will benefit from our collaborative efforts internationally, as well as benefit from our technology and experience. We will continue to partner and support our clients while maintaining our boutique feel.”

Recent work from The Farm Group includes BBC Two’s Summer of Rockets, Sky One’s Jamestown and Britain’s Got Talent.

 

Editing for Features and Docs

By Karen Moltenbrey

When editing a feature film, the cutter can often feel as if he or she is assembling a puzzle, putting together a plethora of pieces, from the acting, to the lighting, to the production design, and turning those raw elements into a cohesive, comprehensive story. With so much material to sort through, so many shots to select from and so many choices to be made overall, the final cut indeed is reflective of these many choices made by the editor over a significant period of time.

Here, we examine the unique workflow of two editors, one who worked on a drama with an up-and-coming director, and another who cut a documentary with a director who is very well known throughout the film world.

Clemency
The feature film Clemency will be released at the end of the year, but already it commanded attention at the 2019 Sundance Film Festival and beyond, taking home the Grand Jury Prize. The drama, directed by Chinonye Chukwu, stars Alfre Woodard as prison warden Bernadine Williams, who’s preparing for the execution of another inmate and struggling with the emotional toll that task has taken on her. The film was edited by Phyllis Housen.

As is often the case, while cutting Clemency, the editing style evolved organically from the story being told. “That happens all the time, unless it’s a very specific genre piece, like a thriller or horror film,” Housen says. For this film, she describes the style as “deliberate.” “There is no racing through the day. We feel the time pass. In prison, time stretches and changes, and we wanted to recreate that feeling of time. Often you don’t know if it’s night or day,” she says.

Also, the director wanted the film to feel as though the audience was there, living inside the prison. “So, there is a lot of repetition. We visit and revisit some of the routines of daily life like the prisoners do,” Housen adds.

Phyllis Housen

According to Housen, the film looks at what it is like for the warden to have a day-to-day relationship with the inmates on the ward as well as what happens when the warden, ultimately and occasionally, has to perform an execution. “By creating the routine of daily life, we would get to know how the prisoners live and experience that through them,” she explains.

The focus in the film turns to one prisoner in particular, Anthony Woods, a convicted felon on death row. “You get attached to these people, and to him,” Housen points out.

For instance, there is a good deal of walking in the movie, as the camera follows the warden while she sets out from her office and through the prison hallways, passing prisoners all the way to the death row ward, which is separated from everything and everyone — even the general population of prisoners. “You feel that length and distance as she is walking. You get a sense of how far away — literally and figuratively — the death row prisoners are,” Housen explains.

Housen (Cargo, the I, Witness TV documentary series and much more) cut the film at Tunnel in Santa Monica, California, using Adobe Premiere Pro, after having migrated from Apple Final Cut Pro years back. She says she finds the Adobe platform very intuitive.

In terms of her workflow, Housen believes it is fairly consistent across all projects. She receives dailies that are transcoded from raw footage, an assistant organizes all the footage for her, then she starts putting scenes together, maybe one or two days after principal photography begins so there is some footage to work with. “I am thinking of the footage as if I am building a house, with the scenes as the bricks,” she says. “So, I might get footage from, say, scenes 12, 84 and 105 on the first day, and I start lightly sketching those scenes out. I watch the dailies to get a feeling of what the scenes might eventually become. It takes longer than it sounds! And then the next day, four more scenes might come in, and the day after, seven. You’re always getting a bit behind the eight ball during dailies, but you sketch as best you can.”

Once Housen begins building out the scenes, she starts creating what she calls “reels,” an assembly of the film in 20-minute segments — a habit from the days of working with film in the predigital age. “Once you create your reels, then you end up, when they are done shooting, with a rather long, but not paced, assembly of the film that serves as a blueprint,” she says. “When post begins, we roll up our sleeves and start at Scene 1 and dig in.”

Housen finds that on an independent film, there isn’t a lot of time to interact with the director while the film is being shot, and this held true for Clemency; but once they got to the cutting room, “we were there every day together, all day, attached at the hip,” she says.

Clemency was the first time Housen had the opportunity to work with Chukwu. “She’s a very bold director, and there are some very bold choices in this film,” Housen says. She points out that some liberties were taken in terms of pacing and editing style, especially toward the end of the film, which she believes really pays off. However, Housen stops short of revealing too much about the scenes prior to the film’s release.

“It is a very heavy film, a difficult film,” Housen continues. “It’s thought-provoking. For such a heavy movie, we had a light time making it. We laughed a lot and enjoyed the process very much. I was just so pleased with [Chukwu’s] vision. She is a young and up-and-coming filmmaker. I think we are going to continue hearing a lot about her.”

Pavarotti
In the documentary Pavarotti, in limited release starting June 7, director Ron Howard tells the story of the opera legend Luciano Pavarotti through an assemblage of unique footage, concert performances and interviews. The film was edited by Paul Crowder, ACE.

Director Ron Howard and editor Paul Crowder take a selfie at the Pavarotti premiere.

As Crowder notes, it seemed logical to approach the story of Pavarotti in the format of an opera. His art and his life lent themselves to a natural three-act arc: The tenor starts his career as an opera singer and becomes successful. Then there is a period of self-doubt, followed by the meteoric success of The Three Tenors, his philanthropic period and then his marriage to a much younger woman. “You have these dramatic moments in his life story like you do in an opera, and we thought if we could use Pavarotti’s music and operas, that would tell the story, so we gave the documentary an operatic feel,” he says.

A musician himself, Crowder well understood this unique dimension to the documentary. Still, approaching the film in this way required careful navigation in the editing suite. “It’s not like editing pop music or something like that. You can’t just drop in and out of arias. They don’t come in four-bar sections or a middle-eight section,” he points out. “They’re all self-contained. Each section is its own thing. You have to select the moments when you can get in and out of them. Once you commit to them, you have to really commit to a degree, and it all becomes part of the style and approach of the editing.”

Crowder edited the film on an Avid system at his home studio. “I am an Avid Media Composer guy and will be to the day I die,” he says. “I was brought up on Avid, and that will always be my go-to choice.”

The biggest editing challenge on the documentary was dealing with the large mix of media and formats, as the film integrates footage from past concerts and interviews that took place all over the world at different points in time. In all, music was pulled from 22 different operas – not opera pieces, but different operas themselves. The footage was digitized in Avid using native frame rates “because Avid is so adept at dealing with multiple frame rates on a single timeline,” he says, noting that his assistant, Sierra Neal, was instrumental in keeping all the various media in check.

Nevertheless, dealing with various frame rate issues in the online was tough. Everyone has a way to do it, Crowder says, but “there is no definitive excellent way to go from standard def to HD.”

The mixed frame rates and formats also made it difficult to spot flaws in the imported footage: The overall transfer might look good, but there might be a frame or two that did not transfer well. “We kept spotting them throughout the online in the same clips we had already fixed, but then we’d find another flaw that we hadn’t seen,” Crowder says.

The film was built in pieces. The first section Crowder and writer Mark Monroe built pertained to Pavarotti’s children. “It was a leaping-off point for the film. We knew the girls were going to be in it and they would have something fun to say,” he says. He then worked forward from that point.

Crowder praises the research team at Pavarotti production company White Horse Pictures with assembling the tremendous amount of research and documentation for the film, organizing the various content and clips that made it easier for him and Neal to locate those with the best potential for particular scenes. “Still, it was essential to really look closely at everything and know where it was,” he adds, “Otherwise, you don’t know what you might miss.”

In fact, Crowder has something he calls his “hip pocket,” interesting material that hasn’t been placed yet. “It’s just a bin that contains material when I need something strong,” he says. On this project, footage of Pavarotti’s trip to the Amazon in 1995 is in that bin. And, they found an ideal place for it in the opening of the film.

“The film always talks to you, and sometimes you can’t find something you’re looking for but it’s staring you right in the face,” Crowder says. In this case, it was the Amazon footage. “It was vital that we hear Luciano’s voice at the opening of the film. If you don’t hear him sing, then there’s no point because it’s all about his voice. And everything we are going to tell you from that point on comes off the back of his voice.”

While he has worked on series as well as other kinds of projects, Crowder prefers films — documentaries, in particular. Series work, he says, can become a little too “factory-esque” for his taste — especially when there is a deadline and you are aware of what worked before, it can be come easy to get into a rhythm and possibly lose creative drive. “With a film, you lead audiences on an emotional journey, but you can take it to completion in one sitting, and not drag it out week after week,” Crowder says.

And, how did the editor feel working alongside famed director Ron Howard? Crowder says it was a fantastic experience, calling Howard very decisive and knowledgeable. “A wonderful and generous person to learn from. It was a great working relationship where we could discuss ideas honestly.”

Another bonus about this project: Crowder’s mom was an amateur opera singer, a soprano, while his grandfather was an amateur tenor. “I wanted to work on the film for my mom. She passed away, unfortunately, but she would have loved it.” Surely others will as well.


Karen Moltenbrey is a veteran writer/editor covering VFX and post production.

Envoi’s end-to-end cloud solution for data migration, post 

Envoi has launched a cloud-based data, migration and post production workflow solution at the AWS M&E Symposium on June 18  in Los Angeles. Enabled by Cantemo and Teradici PCoIP technology, Envoi is offering this as a media “production-to-payment” platform.

Envoi is a cloud-based content management, distribution and monetization platform, giving broadcasters and video content providers a complete secure end-to-end video management and distribution system. Available on Amazon Web Services (AWS) Marketplace, Envoi is designed to provide simple and efficient data migration to the cloud and between services in the workflow.

Thanks to a partnership with Cantemo, Envoi has been integrated with Cantemo’s media asset management solution, Cantemo Portal and its cloud video management hub, Cantemo Iconik. Iconik makes it easy to collaborate on media, regardless of geographic location. Advanced Artificial Intelligence simplifies content discovery by improving metadata collection. By combining Envoi with Cantemo Portal, media companies of virtually all sizes can now monetize their video libraries within 48 hours.

Envoi also enables post in the cloud with the integration of Iconik with Teradici-enabled workstations on AWS. These workstations are configured to support a wide range of editing and post production tools. By supporting the entire post process on AWS, Envoi says it is providing a solution that increases the security, performance and collaboration potential within the creative process. Delivering the solution through AWS Marketplace simplifies procurement, delivery and deployment for Envoi’s customers.

 

London’s Media Production Show: technology for content creation

By Mel Lambert

The fourth annual Media Production Show, held June 11-12 at Olympia West, London, once again attracted a wide cross section of European production, broadcast, post and media-distribution pros. According to its organizers, the two-day confab drew 5,300 attendees and “showcased the technology and creativity behind content creation,” focusing on state-of-the-art products and services. The full program of standing room-only discussion seminars covered a number of contemporary topics, while 150-plus exhibitors presented wares from the media industry’s leading brands.

The State of the Nation: Post Production panel.

During a session called “The State of the Nation: Post Production,” Rowan Bray, managing director of Clear Cut Pictures, said that “while [wage and infrastructure] costs are rising, our income is not keeping up.” And with salaries, facility rent and equipment amortization representing 85% of fixed costs, “it leaves little over for investment in new technology and services. In other words, increasing costs are preventing us from embracing new technologies.”

Focusing on the long-term economic health of the UK post industry, Bray pointed out that few post facilities in London’s Soho area are changing hands, which she says “indicates that this is not a healthy sector [for investment].”

“Several years ago, a number of US companies [including Technicolor and Deluxe] invested £100 million [$130 million] in Soho; they are now gone,” stated Ian Dodd, head of post at Dock10.

Some 25 years ago, there were at least 20 leading post facilities in London. “Now we have a handful of high-end shops, a few medium-sized ones and a handful of boutiques,” Dodd concluded. Other panelists included Cara Kotschy, managing director of Fifty Fifty Post Production.

The Women in Sound panel

During his keynote presentation called “How we made Bohemian Rhapsody,” leading production designer Aaron Haye explained how the film’s large stadium concert scenes were staged and supplemented with high-resolution CGI; he is currently working on Charlie’s Angels (2019) with director/actress Elizabeth Banks.

The panel discussion “Women in Sound” brought together a trio of re-recording mixers with divergent secondary capabilities and experience. Participants were Emma Butt, a freelance mixer who also handles sound editorial and ADR recordings; Lucy Mitchell, a freelance sound editor and mixer; plus Kate Davis, head of sound at Directors Cut Films. As the audience discovered, their roles in professional sound differ. While exploring these differences, the panel revealed helpful tips and tricks for succeeding in the post world.


LA-based Mel Lambert is principal of Content Creators. He can be reached at mel.lambert@content-creators.com. Follow him on Twitter @MelLambertLA.

LumaFusion mobile filmmaking editing app updated

Luma Touch has updated LumaFusion, its video editing application for iOS. Created by video editing industry veterans Chris Demiris and Terri Morgan, LumaFusion Version 2 introduces new features and a new UI, and effectively doubles the number of audio/video tracks supported to 12 tracks, with six video tracks supporting 4K video in realtime.

The UI now features all-new vector icons streamline editing, with new track headers for locking, hiding and muting all tracks, and an overview of the timeline that lets users jump to any location in your edit with a single touch.

Keying

Additional updates include:
• New Timeline Overview:, which makes it quick and easy to see your whole project and jump to a specific location in your edit
• New Shuttle Control: Press-and-hold the Play button to scrub at different rates to find the right frame
• Track Headers with track link/unlink, track locking, hide and mute
• Flexible Editing: Video and audio clips on the primary (anchor) track let users to edit the way they want
• External Display: Users can view their video on the large screen and get more room for your timeline and library with new UI layouts
• Support for Gnarbox 2.0 SSD, as well as improvements for supporting Gnarbox1.0
• Dozens of editing and media management improvements

Ryan Connolly is a filmmaker, writer, director and creator of the YouTube channel, Film Riot. He has been testing LumaFusion 2.0. “LumaFusion is surprisingly fast and fluid, and is also perfect for doing previs on location scouts.”

LumaFusion Version 2  is available now on the App Store for $29.99, but the company is offering a discount of 50% until June 27, 2019.

Quick Chat: Sinking Ship’s Matt Bishop on live-action/CG series

By Randi Altman

Toronto’s Sinking Ship Entertainment is a production, distribution and interactive company specializing in children’s live-action and CGI-blended programming. The company has 13 Daytime Emmys and a variety of other international awards on its proverbial mantel. Sinking Ship has over 175 employees across all its divisions, including its VFX and interactive studio.

Matt Bishop

Needless to say, the company has a lot going on. We decided to reach out to Matt Bishop, founding partner at Sinking Ship, to find out more.

Sinking Ship produces, creates visual effects and posts its own content, but are you also open to outside projects?
Yes, we do work in co-production with other companies or contract our post production service to shows that are looking for cutting-edge VFX.

Have you always created your own content?
Sinking Ship has developed a number of shows and feature films, as well as worked in co-production with production companies around the world.

What came first, your post or your production services? Or were they introduced in tandem?
Both sides of company evolved together as a way to push our creative visions. We started acquiring equipment on our first series in 2004, and we always look for new ways to push the technology.

Can you mention some of your most recent projects?
Some of our current projects include Dino Dana (Season 4), Dino Dana: The Movie, Endlings and Odd Squad Mobile Unit.

What is your typical path getting content from set to post?
We have been working with Red cameras for years, and we were the first company in Canada to shoot in 4K over a decade ago. We shoot a lot of content, so we create backups in the field before the media is sent to the studio.

Dino Dana

You work with a lot of data. How do you manage and keep all of that secure?
Backups, lots of backups. We use a massive LTO-7 tape robot and we have over a 2PB of backup storage on top of that. We recently added Qumulo to our workflow to ensure the most secure method possible.

What do you use for your VFX work? What about your other post tools?
We use a wide range of software, but our main tools in our creature department are Pixologic Zbrush and Foundry Mari, with all animation happening inside Autodesk Maya.

We also have a large renderfarm to handle the amount of shots, and our render engine of choice is Arnold, which is now an Autodesk project.  In post we use an Adobe Creative Cloud pipeline with 4K HDR color grading happening in DaVinci Resolve. Qumulo is going to be a welcome addition as we continue to grow and our outputs become more complex.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

EIPMA: Focusing on industry mentoring

By Barry Goch

As an instructor, I try to bridge the gap between the technology of yesterday, today and tomorrow. So much of what I do as an industry pro depends on knowing and respecting the past while keeping an eye on the future. I see a digital divide as I guide my students into the world of contemporary post production. For example, it helps them to know the origins of terms like bin, trim and splice.

So when I had the opportunity to learn more about the Entertainment Industry Professionals Mentoring Alliance (EIPMA), I was intrigued. It’s an organization that wants to pay it forward by providing mentors to students and educational institutions. I’m proud to say that I am one of the first beneficiaries. When I was looking for a guest speaker for my UCLA post production class, EIPMA came through in a heartbeat.

I’m happy this organization exists and I want to spread the word to other educators, institutions and facilities. Let’s find out more from EIPMA president Bernard Weiser, who is also VP of the Motion Picture Sound Editors (MPSE).

Bernard Weiser

What inspired you to start the Entertainment Industry Professionals Mentoring Alliance?
The beginning idea for EIPMA started with the Motion Picture Sound Editors (MPSE). The MPSE is a craft society for sound editors and I am vice president. Its main purpose is to bring attention to the craft of sound editing and what sound editors do — both technically and creatively.

A longtime board member and treasurer of the MPSE, Paul Rodriguez, passed away about a year and half ago. We very much looked upon him as a sound ambassador — he went to many events, including NAB, each year, speaking about sound editorial. (You can see him chatting with us and sharing his wisdom during NAB 2017) The MPSE wanted to honor him and came up with the idea of a mentoring program in his name, since he had given so many editors their start in our industry. MPSE President Tom McCarthy began talking about it, and a lot of other organizations started to hear about the idea and said, “You know, we’ve been trying to put a mentorship program together. We’d like to be involved in this.”

How long did it take to get it going?
Literally, in two or three days, this had grown far bigger than the MPSE, far bigger than anything that was imagined. After a month or two of discussion about this, and given my background as an instructor at the UCLA Film School, I was voted president of what is now called EIPMA. In addition to the MPSE, we have many industry organizations involved as members — American Cinema Editors (ACE), Audio Engineering Society, Cinema Audio Society (CAS), Motion Picture Sound Editors (MPSE), The Recording Academy (Grammy’s), SMPTE and SoundGirls.org (a group of women that does field reporting). All are founding members with more industry organizations poised to come aboard.

It sounds like you have a lot of momentum already for a brand-new organization, and there’s definitely a need for it. There’s definitely a lack of hand-off from the old-school ways to the new-school ways.
We realized that many top industry and veteran professionals have a feeling of wanting to give back. But also, what all of us would see are changes in the industry that create a gap. New people coming in are basically fresh out of school or from some other background, and there’s no real apprenticeship program anymore. So they come in and start working and they really don’t have a background for professional workflows, protocols, and just the way that industry professional life works. Professors and educators see the need for this as well, and that is the core of what we are doing as an organization, to be a conduit between those two points.

How do you envision the rollout of mentoring programs?
We start out with Q&As, setting up a panel especially for high schools that will show the different crafts that are out there. Around the high school level, you have a lot of kids that might be talented and looking toward the craft of storytelling through videos and such, but they just don’t know all of the different fields that are out there. They know there’s writing and there’s directing, but they really don’t know the depths of the different crafts. A Q&A can start to show that, and they can ask professionals how they got started and learn a more detailed perspective of those crafts.

Then, we move to the college level, where these are people who probably are majoring in cinema studies, film studies, television or broadcast, and they have more of a commitment toward what’s going on. So we will do Q&As in the different crafts for them too, but start to proceed a little bit further — and that’s where group mentoring can happen. Also, we can send individual professionals in as a guest lecturers to help cross that divide within the classroom. We look upon it as an aid to the educators, and the way we see this working, in fact, is having educators invite us in so we can help support education from a “real-world” perspective.

Then the third part is graduate and post-graduate students, or what we call “pre-industry individuals,” such as people coming out of the military, which I am very familiar with. One of my first jobs was doing films for the military for three years. There’s great talent in the military. They come out and have no idea where to go or how to pursue a career in entertainment; I really feel we have a role to fill in that area as well. In this third category, we’d start with many of the events I mentioned earlier, but also include one-on-one mentoring, helping people with their own projects, getting them seen, helping them with areas of filmmaking that could be their strength to help them keep going. That’s where job fairs and new contacts leading them toward internships and a much higher level of advice can come into play.

We also want to offer shadowing possibilities for late-college-level, close-to-graduation, college-level and the graduate students. They could come for a couple of days and follow someone skilled in a craft to see what goes on during the day.

L-R, front: At Notre Dame High School are EIPMA board members MPSE/music editor Steven A. Saltzman, MPSE/sound supervisor Christopher B. Reeves, ACE/picture editor Molly Shock and Sound Girls/mastering engineer Jett Galindo.

I have my own experience with the organization. Having Mark Lanza, MPSE, from EIPMA as a guest speaker in my UCLA Extension post production class was magical.
Yeah, by the way, Mark, who is also on the EIPMA board, is one of our first mentors/lecturers. It’s a perfect example. In fact, on May 3, we had a Q&A at Notre Dame High School in the San Fernando Valley, with panelists representing picture editing, sound design/editing, music editing and live field recording.

How is the EIPMA addressing the diversity issue in the industry?
EIPMA recognizes that diversity is an important step in fixing serious issues that have existed for so long in our business. When one sees what diversity has to offer the entertainment industry creatively, I for one fall in love with filmmaking all over again. I see it directly in the students at UCLA who come from around the world, bringing their different cultures, varying social, economic and ethnic backgrounds all into their stories and into their films. And, at the end of the day, this is what it’s all about — storytelling. Diversity opens a huge door to a wide world of fresh stories and with it, the next generation of incredibly talented filmmakers

Where are you in terms of rolling this out, and how can the readers of postPerspective connect with the organization?
What we’re doing this summer is building our database. We have our website, which is EIPMA.org. We invite educators, potential mentors, volunteers, interested businesses, students and individuals interested in the program to come and register their information, and especially their emails, so we can contact them as the program goes forward. In late September, we will have an introductory event at Sony Picture Studios in Culver City. Sound Girls is putting together an event that will happen in a few weeks as well.

Bernard Weiser mingling with educators and Avid folks during Avid’s Learning Program reception during NAB.

Tell us about the connection with Avid.
Avid is the only manufacturer involved with us as a member organization and has representatives on our board. At NAB, during Avid Connect weekend, there was a meet and greet with educators from around the world. I gave a talk about what we’re doing. Avid CEO Jeff Rosica fell in love with what we were doing. The next day I met with Avid executives from back east, and we had 100% of their support.

Avid talks about its connection with education. It’s not just making sales. They really want to support the educators and help develop the next generation of filmmakers. They know what that means business-wise but also, they’re also very supportive in doing the right thing. We are thrilled by Avid’s support and commitment.

Main Image: Mark Lanza, MPSE, is on the EIPMA board talking to Barry Goch’s UCLA Extension class.


Barry Goch is a finishing artist at LA’s The Foundation as well as a UCLA Extension Instructor, Post Production. You can follow him on Twitter at @Gochya

Rocketman director Dexter Fletcher on Elton John musical

By Iain Blair

The past year has been huge for British director Dexter Fletcher. He was instrumental in getting Bohemian Rhapsody across the finish line when he was brought in to direct the latter part of the production after Bryan Singer was fired. The result? A $903 million global smash that Hollywood never saw coming.

L-R: Dexter Fletcher and Iain Blair

Now he’s back with Rocketman, another film about another legendary performer and musician, Elton John. But while the Freddie Mercury film was more of a conventional, family-friendly biopic that opted for a PG-13 rating and approach that sidestepped a lot of the darker elements of the singer’s life, Rocketman fully embraces its R-rating and dives headfirst into the sex, drugs and rock ‘n’ roll circus that was Elton’s life at the time — hardly surprisingly, the gay sex scenes have already been censored in Russia.

Conceived as an epic musical fantasy about Elton’s breakthrough years, the film follows the transformation of shy piano prodigy Reginald Dwight into international superstar Elton John. It’s set to Elton’s most beloved songs — performed by star Taron Egerton — and tells the story of how a small-town boy became one of the most iconic figures in pop culture.

Rocketman also stars Jamie Bell as Elton’s longtime lyricist and writing partner, Bernie Taupin; Richard Madden as Elton’s first manager John Reid; and Bryce Dallas Howard as Elton’s mother Sheila Farebrother.

Fletcher started as a child actor, appearing in such films as Bugsy Malone, The Elephant Man and The Bounty before graduating to adult roles in film (Lock, Stock and Two Smoking Barrels) and TV (Band of Brothers). He made his directing debut with 2012’s Wild Bill and has since made a diverse slate of films, including Eddie the Eagle.

I recently met up with him to talk about making the film and his workflow.

When you took this on, were you worried you’d now be seen as the go-to director for films about gay British glam rockers?
(Laughs) No, and I never set out to create this specific cinematic universe about gay British glam rockers. I don’t know how many more of them there are left that people want to see films about — maybe Marc Bolan. That would be the next obvious one.

Dexter Fletcher and Taron Egerton on the set of Rocketman.

What happened was that I was attached early on to direct Bohemian Rhapsody, but then Rocketman came up. While I was preparing that, Bohemian Rhapsody folks came back (after director Bryan Singer was fired during the shoot) and said they needed some help to get it done, so it was more of a coincidence, and Elton’s music is so different from Queen’s.

What sort of film did you set out to make?
Definitely an epic musical, and something that was different and imaginative. The first idea that came up was “based on a true fantasy,” and having done biopics before, like Eddie the Eagle, I know you can’t do them accurately. You simply can’t fit a life into two hours, and there’s always people who nitpick it and go, “He’s wearing the wrong shoes, and it missed this bit” and so on. A biopic isn’t a documentary, and you have to breathe creative life into it. The truth/fantasy element of this was far more important to me in telling Elton’s story than doing a by-the-numbers recreation of his career and life.

Casting was obviously crucial. What did Taron bring to the mix?
A great voice, a great performance, and Elton encouraged him to really make the performance his own. He kept saying, “Do your own thing, don’t just copy me. If they wanted just a copy of my music, they can just buy it. So make it original.”

Taron has this great innate ability of being vulnerable and confident at the same time, and that’s a great gift. He’s able to be very driven and focused and yet retain that inner vulnerability and able to show you both sides clashing, which I felt was very true of Elton.

So Elton gave you a pretty free hand?
Yeah, he did. He sat us down right at the start and said to Taron, “Don’t do an impression of me. No one wants that. Do you, honestly, and that’s what will convince an audience and draw them in.” He was right, and he was extremely giving and generous with us. He’s had this incredible life, and he’s putting it all out there on the big screen, which is pretty brave.

In Bohemian Rhapsody, Rami lipsynced, partly because Freddie Mercury famously had this amazing range that’s so hard to replicate. Taron sang all his vocals?
He did, every note. It was prerequisite for the role, and he wanted to anyway. A musical is very different from a biopic.

You took an imaginative visual approach to the story, especially with all the fantasy elements. How did you collaborate on the look with DP George Richmond, who has shot all your films, whose credits include Tomb Raider and the Kingsman franchise.
He’s got a great eye, and we looked at a lot of the great ‘70s musicals, like The Rose, All That Jazz and Stardust, and there’s this dusty, raw, grainy quality to them. I really wanted to get that feel and texture as this is a period piece and I didn’t want it to look too modern.

So we studied the camera moves and lighting, and it was the same with all the costumes by Julian Day. Elton’s outrageous outfits were the starting point, but we pushed it a little further. So it’s about emotion and how you felt more than just recreating a look or costume or a chronological retelling, and I elaborated as much as possible.

How tough was the shoot?
Fairly grueling. We shot mainly at Bray Studios, outside London, where they shot all the old Hammer Film Productions horror films, and then did some stuff in London.

Where did you post?
We did it at Hireworks in London, which is above this beautiful old cinema, right in the heart of London. It was really conducive for the editing and what we were creating. Then we did all the sound and the mixing round the corner at Goldcrest.

Do you like the post process?
I love it, and I love it more and more now. It’s this whole side of filmmaking that I never really appreciated as an actor, as I didn’t have much to do with it. But now I can’t wait to get in the edit, and I’m there every day, and I’m very involved with every aspect of post.

Talk about editing with Chris Dickens. What were the big editing challenges?
I’d never worked with him before, though we’d met for another project. He was on the set with us at Bray where he had edit rooms set up, so that was very convenient. He’d start assembling and I could just walk over and check on it all. We had a rough assembly just two weeks after we finished shooting, and as I said, I’m very involved.

We’d discuss stuff, especially all the big musical numbers. Those were the big challenges, as you have to make the music and visuals all work together, and you’re working to a playback track. You’re also very exposed when it comes to changing the tempo or rhythm of a scene. You can’t just cut a few words, as you’re locked into the track. And everyone knows the songs. Songs like “Your Song” and “Don’t Let The Sun Go Down On Me” were done totally live, so it was pretty complicated. But Chris is very experienced with all that, as he cut Slumdog Millionaire. That end musical number there is a total triumph of editing.

Talk about the importance of sound and music. I assume Elton was quite involved and listened to everything?
He was very interested, of course, but he let us all do our own thing. Giles Martin, son of Beatles’ producer George Martin, was in charge of the music. He’s an amazing producer in his own right, and he also has a long history with Elton, who stayed at his house when Giles was young. So there’s a very strong relationship there, and that was key in terms of dealing with Elton’s music legacy.

Giles was the custodian of all that and was instrumental in re-imagining all of Elton’s songs in the most interesting ways, and Elton would listen to them and love it. For instance, at first we thought “Crocodile Rock” wouldn’t fit, but we re-did it in this elevated, really hard rock way, and it worked out so well. We recorded at various places, including Abbey Road and Air Studios and, of course, we spent a lot of time and detail on all the music and sound. Just like with ‘Bohemian Rhapsody,’ if you don’t get that right, the film’s not going to work.

Visual effects play a big role. What was involved?
Cinesite in Montreal did them all, with a few by Atomic Arts, and we had a lot of artists and VFX guys working on them. We had so many, from fireworks to scenes with people floating and all the crowd scenes at stadiums, where we had to recreate fans in the ‘70s. So some of that stuff was fairly standard, but they did a brilliant job. I quite like working with VFX, as it allows you to do so much more with a period piece like this.

Where did you do the DI, and how important is it to you?
We did it at Goldcrest with colorist Rob Pizzey, and it’s very important to myself and my DP George Richmond. As I said, we wanted to get a very particular look and texture to it, and George and I worked closely on that from the very outset. Then in the DI, Rob and George worked very closely on it. In fact, George was shooting in Boston at the time, but he flew back to do it and finalize the look. I’m learning so much from him about the DI, and I give my notes and they make all the changes and adjustments. I love the DI.

Did the film turn out the way you hoped?
Absolutely. I’m really happy with it. In fact, it’s turned out better than I hoped.

What’s next?
I don’t have anything lined up. I’m out of work!


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.

Post vet Jason Mayo named COO of Chimney North America

Chimney Group has hired industry veteran Jason Mayo as chief operating officer for North America. He will be based in the studio’s New York office. Mayo joins at a time of significant growth for Chimney Group, an independently-owned Stockholm-based creative and post company with studios in 11 cities and eight countries worldwide.

“What attracted me is Chimney being able to leverage their full power of resources around the globe. We need to make budgets and schedules work harder for our clients, and having a 24/7 production and post pipeline is a powerful package we can offer clients on a global scale,” says Mayo.

He joins from Postal TV, where he was managing director. Before that, Mayo was managing director/partner at NYC’s Click 3X. He helped grow the studio from a 20-person VFX boutique to a fully integrated digital production company with a staff of over 75 full-time designers, animators, live-action directors, producers, developers, editors, colorists and VFX artists.

The Chimney Group’s recent foray into the North American market includes the opening of studios in New York and Los Angeles and the hiring of over 35 people, including the recent addition of chief client officer Kristen Martini. Mayo will work closely with North American CEO Marcelo Gandola to bring the Swedish operational and creative model to the States, delivering brand strategy as well as full-service production and post capabilities to multiple verticals.

“The work we are doing for our clients is increasingly global and full-service in nature,” says Gandola. “Jason has a great track record building companies and is an ideal operational leader for us to build a team to serve Chimney’s global clientele in the US market.”

Blackmagic intros Teranex Mini SDI to DisplayPort 8K HDR monitor

Blackmagic’s Teranex Mini SDI to DisplayPort 8K HDR, is an advanced 8K monitoring solution that lets you use the new Apple Pro Display XDR as a color-critical reference monitor on set and in post.

With dual on-screen scope overlays, HDR, 33-point 3D LUTs and monitor calibration that’s designed for the pro film and television market, the new Teranex Mini SDI to DisplayPort 8K HDR works with the new generation of monitors, like Apple’s just-announced Pro Display XDR. The Teranex Mini SDI to DisplayPort 8K HDR will be available in October for $1,295.

The Teranex Mini SDI to DisplayPort 8K HDR can use third-party calibration probes to accurately align connected displays for precise color. There are two on-screen scopes that can be selected between WFM, Parade, Vector and Histogram.

The front panel includes controls and a color display for input video, audio meters and the video standard indicator. The rear panel has Quad Link 12G-SDI for HD, Ultra HD and 8K formats. There are two DisplayPort connections for regular computer monitors or USB-C-style DisplayPort monitors, such as the Pro Display XDR. The built-in scaler will ensure the video input standard is scaled to the native resolution of the connected DisplayPort monitor. Customers can even connect both 2SI or Square Division inputs.

Teranex Mini SDI to DisplayPort 8K HDR makes it easy to work in 8K. Users just need only to connect an HDR-compatible DisplayPort monitor to allow HDR SDI monitoring. Static metadata PQ and Hybrid Log Gamma (HLG) formats in the VPID are handled according to the ST2108-1, ST2084 and the ST425 standards.

Teranex Mini SDI to DisplayPort 8K HDR handles ST425, which defines two new bits in the VPID to indicate transfer characteristic of SDR, HLG or PQ. Plus the ST2108-1 standard defines how to transport HDR static or dynamic metadata over SDI. Plus there is support for ST2082-10 for 12G SDI as well as ST425 for 3G-SDI sources. It also supports both Rec.2020 and Rec.709 colorspaces and 100% of the DCI-P3 format.

Features include:
• Support for HDR via SDI and DisplayPort
• Two built-in scopes live overlaid on the monitor
• Film industry quality 33-point 3D LUTs
• Automatic monitor calibration support using color probes
• Advanced Quad Link 12G-SDI inputs for 8K
• Scales input video to the native monitor resolution
• Includes LCD for monitoring and menu settings
• Utility software included for Mac and Windows
• Supports latest 8K DisplayPort monitors and displays
• Can be used on a desktop or rack mounted

Whiskey Cavalier DPs weigh in on the show’s look, DITs

While ABC recently cancelled freshman series Whiskey Cavalier, their on-set workflow is an interesting story to tell. The will-they-won’t-they drama featured FBI agent Will Chase (Scott Foley) and CIA operative Frankie Trowbridge (Lauren Cohan) — his codename is Whiskey Cavalier and hers is Fiery Tribune. The two lead an inter-agency team of spies who travel all over the world, periodically saving the world and each other, all while navigating friendship, romance and office politics.

David “Moxy” Moxness

Like many episodic television shows, Whiskey Cavalier used two cinematographers who alternated episodes so that the directors could work side-by-side with a cinematographer while prepping. David “Moxy” Moxness, CSC, ASC, shot the pilot. Moxness had previously worked on shows like Lethal Weapon, Fringe and Smallville and was just finishing another show when Warner Bros. sent him the pilot script.

“I liked it and took a meeting with director Peter Atencio,” explains Moxness. “We had a great meeting and seemed to be on the same page creatively. For me, it’s so much about collaborating on good shows with great people. Whiskey gave me that feeling.” Sid Sidell, ASC, a friend and colleague of Moxness’, was brought on as the second DP.

While Whiskey Cavalier’s plot has its two main characters traveling all over the world, principal photography took place in Prague. Neither cinematographer had worked there previously, although Moxness had passed through on vacation years before. While prepping and shooting the pilot, Moxness developed the look of the show with director Atencio. “Peter and I had the idea of using the color red when our lead character Will Chase was conflicted emotionally to trigger an emotional response for him,” he explains. “This was a combo platter of set dressing, costumes and lighting. We were very precise about not having the color red in frame other than these times. Also, when the team was on a mission, we kept to a cooler palette while their home base, New York, used warmer tones.”

This didn’t always prove to be straightforward. “You still have to adjust to location surroundings — when scouting for the pilot, I realized Prague still had mostly sodium vapor streetlights, which are not often seen in America anymore,” explains Moxness. “This color was completely opposite to what Peter and I had discussed regarding our nighttime palette, and we had a big car chase over a few nights and in different areas. I knew time and resources would in no way allow us to change or adjust this, and that I would have to work backwards from the existing tones. Peter agreed and we reworked that into our game. For our flashbacks, I shot 35mm 4-perf film with an ARRI IIC hand-cranked camera and Kowa lenses. That was fun! We continued all of these techniques and looks during the series.”

DITs
Mission, a UK-based DIT/digital services provider serving Europe, was brought on to work beside the cinematographers. Mission has an ever-expanding roster of DITs and digital dailies lab operators and works with cinematographers from preproduction onward, safeguarding their color decisions as a project moves from production into post.

Moxness and Sidell hadn’t worked with Mission before, but a colleague of Moxness’ had spoken to him about the experience of working with Mission on a project the year before. This intrigued Moxness, so he was waiting for a chance to work with them.

“When Whiskey chose to shoot in Prague I immediately reached out to Mission’s managing director, Mark Purvis,” explains Moxness. “Mark was enthusiastic about setting us up on Whiskey. After a few conversations to get to know each other, Mark suggested DIT Nick Everett. Nick couldn’t have been a better match for me and our show.”

Interestingly, Sidell had often worked without a DIT before his time on Whiskey Cavalier. He says, “My thoughts on the DP/DIT relationship changed drastically on Whiskey Cavalier. By choice, before Whiskey, I did the majority of my work without a DIT. The opportunity to work alongside Nick Everett and his Mission system changed my view of the creative possibilities of working with a DIT.”

Gear
Whiskey Cavalier was shot with the ARRI Alexa Mini and primarily ARRI Master Prime lenses with a few Angenieux zooms. Both Moxness and Sidell had worked with the Mini numerous times before, finding it ideal for episodic television. The post workflow was simple. On set, Everett used Pomfort’s LiveGrade to set the look desired by the cinematographers. Final color was done at Picture Shop in Los Angeles by senior colorist George Manno.

Moxy (behind camera) and director/EP Peter Atencio (to his right) on the Prague set.

“There are a few inherent factors shooting episodic television that can, and often do, handcuff the DP with regards to maintaining their intended look,” says Moxness. “The shooting pace is very fast, and it is not uncommon for editorial, final color and sometimes even dailies to happen far away from the shooting location. Working with a properly trained and knowledgeable DIT allows the DP to create a desired look and get it into and down the post pipeline to maintain that look. Without a proper solid roadmap, others start to input their subjective vision, which likely doesn’t match that of the DP. When shooting, I feel a strong responsibility to put my thumbprint on the work as I was hired to do. If not, then why was I chosen over others?”

Since successfully working on Whiskey Cavalier in Prague, Mission has set up a local office in Prague, led by Mirek Sochor and dedicated to Mission’s expansion into Central Europe.

And Moxness will be heading back to Prague to shoot Amazon’s The Wheel of Time.

 

Showrunner and EP Peter Gould on AMC’s Better Call Saul

By Iain Blair

Having a legal issue? Thinking of calling someone who has a questionable relationship with the rule of law? Jimmy McGill? Saul Goodman? Or, maybe, Gene, the lonely Cinnabon store manager? The slippery, shady, shape-shifting character — played beautifully by multiple Emmy-nominee Bob Odenkirk — is at the heart of Better Call Saul, the spin-off prequel to AMC’s Breaking Bad. But if you want to know what’s going on under the hood of the show, you better call writer/showrunner Peter Gould.

L-R: Peter Gould and Vince Gilligan

A Sony Pictures Television and AMC Studios co-production, Better Call Saul is executive produced by co-creators Gould and Vince Gilligan, as well as Mark Johnson (Breaking Bad, Diner, Rain Man), Melissa Bernstein (Breaking Bad, Rectify, Halt and Catch Fire) and Breaking Bad alums Thomas Schnauz and Gennifer Hutchison. The show recently won a Peabody Award in the Entertainment category and has racked up wins and nominations from pretty much every organization that hands them out, including Primetime Emmys, Golden Globes, SAG, AFI and the WGA.

For those of you who are champing at the bit for a new season this summer, you must be patient. The new season isn’t set to premiere until 2020, so maybe binge watch some Saul or even Breaking Bad to get you through!

I recently spoke with Gould about making the show and the latest on the Breaking Bad movie.

Do you enjoy being a showrunner?
I love it. In my opinion it’s the greatest job in show business. It’s a privilege to get to work with all the people on this, and it’s a fantastic situation. If the show falls short I only have myself to blame, as the cast and crew are all extraordinary.

What are the big challenges of showrunning Better Call Saul?
The number one challenge is always figuring out the story and how to tell the story in the most interesting and engaging way… while being as true as possible to the characters we’ve created, and then how to create the most cinematic experience that we can. By that, I mean using every tool we have available in production and post.

How far along are you Season 5?
Today we’re shooting the last day of Episode 3. Episode 4 starts next week, and we’re breaking the last episode, which is number 10.  We’re also in the middle of cutting the first three episodes, so there’s a lot going on.

What can fans expect? Will we see more of Gene Takovic, the man Jimmy McGill becomes after he becomes Saul Goodman?
I think it’s safe to say that we’re very interested in Gene. There’s a lot more to be said about him, and fans can expect that. One of the fun things about Gene is that his scenes are in black-and-white, so it gives us a very different space to play in visually.

Why such a long wait from season four until five airs next year?
There’s a lot of moving parts, and we do our best each season to craft the best show we can. So the time is actually spent more in the writing than in the production or post, which are more predictable in terms of schedules. Then there’s the matter of scheduling with the network and other outlets. But I think it’s about the same, month to month. It takes us about 14 months to do a season from start to finish; that seems to be how it works on this. I’m not proud of that, as there are a lot of other TV shows that make a lot more episodes in a lot less time, but we can’t seem to do it much faster and keep up the high quality we all aim for.

Are you still shooting in Albuquerque?
Absolutely. That setting and all the locations are a very important part of the show.

Where do you post, and do you like the post process?
I love working on all the post, and I work closely with our post EP Diane Mercer and the people at our post facility, Keep Me Posted, which is our partner and part of Fotokem in Burbank. We do the audio mix at Wildtracks in Hollywood. Phillip Palmer does our production sound mixing, and Kevin Valentine and Larry Benjamin do all our re-recording mixing. They’re just the best there is.

Talk about editing. You have several editors, I assume because of the time factor. How does that work?
Our editors — Skip Macdonald and Chris McCaleb — cut the show here at our LA offices, where we also have our writers’ room. So at the start of a season, it’s very quiet because nothing much is happening there, but once production starts, every part of our offices are very busy. Then once the writers go home, all the post comes in and it’s really bustling.

What are the big editing challenges?
We have a very big cast and a lot of moving pieces in each episode. Plus there are a lot of time jumps, so we alternate with the editors. So this year Skip is on the odds and Chris is on the evens. They do their cuts and then the directors come in to do their cut. As they’re so heavily booked these days, some of them end up giving notes remotely, and we use Pix to distribute our cuts and dailies.

One of the eccentricities of the way this show’s evolved — and it’s really based on the way Vince Gilligan ran Breaking Bad, and where I learned everything I know about showrunning — is that we don’t really do a producer’s cut until fairly late in the process. There are cuts of pretty much every episode before we close production, but we don’t fully address post until after production has closed, especially on a season like number three.

When I direct the season finale, that creates a big hole in the production schedule, and as soon as I get back we start working on the producer’s cut. Generally, I’ll give notes on the director’s cut and editor’s cut, and the editors will execute those on their own. Then I’ll end up spending about a week with the editor on each episode. Usually, the writer and maybe another producer will sit in too. And often an EP like Tom Schnauz will sit in as he has a great eye for editing, and we’ll do the producer’s cut together in that week.

You mention directing a few of the shows. Do you like directing?
I do, but I find it very stressful. I haven’t done it enough of it to lower my stress level, but I find it very creative. I think it’s very useful for the show to have a showrunner come and direct and episode now and again, as it keeps my humility level going as directing is a hard battle. It’s wonderful to be able to work with the cast and crew in such a hands-on way.

Peter Gould (center) on set

I’ve always loved every aspect of filmmaking, and I’m fascinated by it all — from the chip sensors we use to the dollies, lights and so on. I have such respect for the craft and artistry of everyone making the show, and what I’ve learned about directing is that success or failure is about the situation you’re in as much as it is about your own talent. This is a great situation.

This show has a great score, and great sound design. Where do you mix and talk about the importance of sound and music.
Nick Forshager is our sound supervisor over at Wildtracks. I’m pretty involved in all the sound, but we do things a bit different from most shows. For a start, we use almost no temp music on the cuts, for various reasons. One, it can be a bit of a crutch, and second, you get used to it, so anything new then sounds strange. We’ve trained ourselves to cut without it, and our composer Dave Porter is brilliant at spotting where music can be useful and where it’s not necessary. So we spend time spotting each episode and talk a lot about the music and sound, and I believe sound and music are the way to get to an audience’s emotion by bypassing the logical brain.

You can really enhance the drama and clue-in the audience on how to read a scene through sound design and ambient shifts. I can’t tell you how often we’ve had a scene that sort of played okay, but which just came alive when we found the right sound. There’s a great example of that in a scene at the end of Season 1 where Jimmy’s running the bingo game, and he has this nervous breakdown. We kept making the speakers worse and worse, and added some delay and we had the pops in the mic when he got too close — and it went from being a really interesting scene to one that was funnier, more public and more psychological. So we put in so much detail and it really pays off.

Where do you do the grading, and who’s the colorist?
It’s all done at Keep Me Posted and our colorist is Ted Brady. You asked earlier why it all takes so long, and one big reason is that I’m at every producer’s color session. Our DP Marshall Adams is usually there too, and we’ll go through the whole show together. It takes about a day to do one episode and make sure we’re happy with the look.

It definitely has a different look from Breaking Bad, and even from season to season.
You’re right. That was shot on film, and it was a very different process in post. Now we’re shooting digitally, there’s almost too many possibilities. We also switched cameras this season, from Reds to an ARRI LF, and it has a different look from the Red. And we began shooting night exteriors on Season Three with the Panasonic VariCam, which gave us a very interesting look — neither filmic nor digital. The other thing is that as the characters evolve and change, it just made sense to change the look too.

How long do you see the show running?
Great question! This is a show with a beginning, middle and end, and I can say we’re closer to the end than the beginning. I just hope we can stick the ending the way Vince stuck it on Breaking Bad.

What’s the latest on the Breaking Bad movie?
You tell me! Vince knows.


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.

Dell adds to Precision workstation line, targets M&E

During the Computex show, Dell showed new Precision mobile workstations featuring the latest processors, next-gen graphics, new display options and longer battery life. These systems are designed demanding data- and graphics-intensive workloads.

Dell Precision workstations are ISV-certified and come with Dell Precision Optimizer software that automatically tailors the system’s settings to get the best software performance from the workstation. The compact design of the new 5000 and 7000 series models offer a combination of extreme battery life, powerful processor configurations and large storage options. Starting at 3.9 pounds, the Dell Precision 5540 comes with Intel Xeon E or 9th Gen Intel Core eight-core processors.

With a 15.6-inch InfinityEdge display inside a 14-inch chassis, the Precision 5540 houses up to 4TB of storage and up to 64GB of memory, which helps pros to quickly access, transfer and store large 3D, video and multimedia files. Editors and designers will also benefit from contrast ratios, touch capability and picture quality with up to a UHD, 100% Adobe color gamut display or the new OLED display with 100% DCI-P3 color gamut.

The Dell Precision 7540 15-inch mobile workstation comes with a range of 15.6-inch display options, including a UHD HDR 400 display. It supports up to 8K resolution and playback of HDR content via single DisplayPort 1.4. The Precision 7540 can accelerate heavy workflows with up to 3200MHz SuperSpeed memory or up to 128GB of 2666MHz ECC memory.

For creatives whose process requires an even more immersive experience, the new Dell Precision 7740 has a 17.3-inch screen and is Dell’s most powerful and scalable mobile workstation. VR- and AI-ready, it is designed to help users bring their most data-heavy, graphic-intensive ideas to life while keeping applications running smoothly.

The Precision 7740 has been updated to feature up to the latest Intel Xeon E or 9th Gen Intel Core eight-core processors and comes with up to 128GB of ECC memory and a large PCIe SSD storage capacity (up to 8TB). Nvidia Quadro RTX graphics offer realtime raytracing with AI-based graphics acceleration. Additional options include next-generation AMD Radeon Pro GPUs. It is available with a range of display options, including a new 17.3-inch UltraSharp UHD IGZO display featuring 100% Adobe color gamut.

Along with the new Precision mobile workstation models, Dell has also updated its Precision 3000 series towers and the Precision 1U rack workstation. The 3930 1U rack workstation has been updated with Intel Xeon E or 9th Gen Intel Core processor options. The solution now offers up to 128GB of memory and up to one double-width 295W of Nvidia Quadro or AMD Radeon Pro professional graphics support.

The next-gen Dell Precision 3630 and 3431 towers improve response time with up to 128GB or 64GB of 2666MHz ECC or non-ECC memory, respectively, and both offer scalable storage options. All workstations have a range of operating system options, including Windows 10 Pro, Red Hat and Ubuntu Linux.

The Dell Precision 5540, 7540 and 7740 mobile workstations will be available on Dell.com in early July. Starting prices are $1339, $1149 and $1409, respectively. The Dell Precision 3630 tower workstation will be available on dell.com in mid-July starting at $609.

The Dell Precision 3431 Tower workstation will be available on their site in June starting at $609. The Dell Precision 3930 Rack will be available on their site in mid-July starting at $879.

Phil Kubel named director of HPA

The Hollywood Professional Association (HPA) has appointed Phil Kubel as the organization’s director. He will be the Burbank-based presence of the HPA management team, managing the organization’s day-to-day business as well as supporting strategic planning, membership development and program development.

After his graduation from USC, Kubel worked in a number of production-related positions. In 2003 he became one of the founding members of HRTV, a national television network that featured equestrian and horse racing content. Kubel was instrumental in the design, engineering and production build of the studios and broadcast facility at Santa Anita Park in Arcadia, California. He went on to oversee day-to-day operations of all digital media, production and technology initiatives at HRTV, including creating the subscription-based HRTV.com.

In addition to Kubel’s technical portfolio, he served as VP of post production for HRTV and was the creative force behind the documentary series Inside Information, which earned 10 Emmy wins.

In 2015, Kubel was named VP/EP for a new digital media initiative for The Stronach Group. Under Stronach Digital, he oversaw the launch of XBTV, which is now an industry-leading multi-media horse racing product that provides insight and analysis for wagering customers.

“It’s an exciting time to be joining HPA,” notes Kubel. “We have a rare opportunity to use our accumulated knowledge and relationships to support industry growth by connecting the players and leading the conversation. I look forward to continuing the vision of HPA and developing it as a world-class resource for production professionals.”

He will report to HPA’s executive director, Barbara Lange.

Sonnet adds new card and adapter to 10GbE line

Sonnet Technologies is offering the Solo10G SFP+ PCIe card and the Solo10G SFP+ Thunderbolt 3 Edition adapter, the latest products in the company’s line of 10 Gigabit Ethernet (10GbE) network adapters.

Solo10G SFP+ adapters add fast 10GbE network connectivity to a wide range of computers, enabling users to easily connect to 10GbE-enabled network infrastructure and storage systems via LC fiber optic cables (sold separately). Both products include a 10GBase-SR (short-range) SFP+ transceiver (the most commonly used optical transceiver), enabling 10Gb connectivity at distances up to 300 meters.

The Solo10G SFP+ PCIe card is a low-profile x4 PCIe 3.0 adapter card that offers Mac, Windows and Linux users an easy-to-install and easy-to-manage solution for adding 10GbE fiber network connectivity to computers with PCIe card slots. This card is also suited for use in a multi-slot Thunderbolt-to-PCIe card expansion system connected to a Mac. The Solo10G SFP+ Thunderbolt 3 Edition adapter is a compact, rugged, bus-powered, fanless Thunderbolt 3 adapter for Mac and Windows computers with Thunderbolt 3 ports.

Sonnet’s Solo10G SFP+ products offer Mac users a plug-and-play experience with no driver installation required; Windows and Linux use only requires a simple driver installation. Both products are configured using operating system settings, so there’s no separate management program to install or run.

With its broad OS support and small form factor, the Solo10G SFP+ PCIe card allows companies to standardize on a single adapter and deploy it across platforms with ease. For users with Thunderbolt 3-equipped Mac and Windows computers, the Solo10G SFP+ Thunderbolt 3 Edition adapter is a simple external solution for adding 10GbE fiber network connectivity. From its replaceable captive cable to its bus-powered operation, the Thunderbolt 3 adapter is highly portable.

Solo10G SFP+ products were engineered with security features essential to today’s users. Incorporating encryption in hardware, the Sonnet network adapters are protected against malicious firmware modification. Any unauthorized attempt to modify the firmware to enable covert computer access renders them inoperable. These security features prevent the Solo10G SFP+ adapters from being reprogrammed, except by a manufacturer’s update using a secure encryption key.

Measuring a compact 3.1 inches wide by 4.9 inches deep by 1.1 inches tall — less than half the size of every other adapter in its class — the Solo10G SFP+ Thunderbolt 3 Edition adapter features an aluminum enclosure that effectively cools the circuitry and eliminates the need for a fan, enabling silent operation. Unlike every other 10GbE fiber Thunderbolt adapter available, Sonnet’s Solo10G SFP+ adapter requires no power adapter and instead is powered by the computer to which it’s connected.

The Solo10G SFP+ PCIe card and Solo10G SFP+ Thunderbolt 3 Edition adapter are available now for $149 and $249, respectively.

Cutters Studios promotes Heather Richardson, Patrick Casey

Cutters Studios has promoted Heather Richardson to executive producer and Patrick Casey to head of production. Richardson’s oversight will expand into managing and recruiting talent, and in maintaining and building the company’s client base. Casey will focus on optimizing workflows, project management and bidding processes.

Richardson joined Cutters in 2015, after working as a producer for visual effects studio A52 in LA and for editorial company Cosmo Street in both LA and New York for more than 10 years. On behalf of Cutters, she has produced Super Bowl spots for Lifewtr, Nintendo and WeatherTech, and campaigns including Capital One, FCA North America (Fiat, Dodge Ram, and Jeep), Gatorade, Google, McDonald’s and Modelo.

“I’ve been fortunate to have worked with some excellent executive producers during my career, and I’m honored and excited for the opportunity to expand the scope of my role on behalf of Cutters Studios, and alongside Patrick Casey,” says Richardson. “Patrick’s kindness and thoughtfulness in addition to his intelligence and experience are priceless.”

In addition to leading Cutters editors, Casey produced the groundbreaking Always “#LikeAGirl” campaign, Budweiser’s Harry Caray’s Last Call and Whirlpool’s “Care Counts” campaign that won top Cannes Lions, Clio, Effie and Adweek Project Isaac Awards.

NYC’s The-Artery expands to larger space in Chelsea

The-Artery has expanded and moved into a new 7,500-square-foot space in Manhattan’s Chelsea neighborhood. Founded by chief creative officer Vico Sharabani, The-Artery will use this extra space while providing visual effects, post supervision, offline editorial, live action and experience design and development across multiple platforms.

According to Sharabani, the new space is not only a response to the studio’s growth, but allows The-Artery to foster better collaboration and reinforce its relationships with clients and creative partners. “As a creative studio, we recognize how important it is for our artists, producers and clients to be working in a space that is comfortable and supportive of our creative process,” he says. “The extraordinary layout of this new space, the size, the lighting and even our location, allows us to provide our clients with key capabilities and plays an important part in promoting our mission moving forward.”

Recent The-Artery projects include 2018’s VR-enabled production for Mercedez-Benz, their work on Under Armour’s “Rush” campaign and Beyonce’s Coachella documentary, Homecoming.

They have also worked on feature films like Netflix’s Beasts of No Nation, Wes Anderson’s Oscar-winning Grand Budapest Hotel and the crime caper Ocean’s 8.

The-Artery’s new studio features a variety of software including Flame, Houdini, Cinema 4D, 3ds Max, Maya, the Adobe Creative Cloud suite of tools, Avid Media Composer, Shotgun for review and approval and more.

The-Artery features a veteran team of talented team of artists and creative collaborators, including a recent addition — editor and former Mad River Post owner Michael Elliot. “Whether they are agencies, commercial and film directors or studios, our clients always work directly with our creative directors and artists, collaborating closely throughout a project,” says Sharabani.

Main Image: Vico Sharabani (far right) and team in their new space.

Picture Shop acquires Vancouver-based Finalé

Picture Shop has acquired Finalé Post in Vancouver. Burbank-based Picture Shop, which provides finishing and VFX work for episodic television, including The Walking Dead, NCIS, Hawaii Five-0 and Chilling Adventures of Sabrina, had been looking to make an expansion into the Vancouver market. The company will be branded Finalé, a Picture Shop company.

“Having a Vancouver-based location has always been a strategy of ours, but it was very important to find the right company,” says Picture Shop president Bill Romeo. “We are thrilled to incorporate Finalé into the Picture Shop family. With the amount of content being produced, our goal is to always have strategic locations that support our clients’ needs but still maintain our company’s philosophy — creating an experience with the highest level of service and a creative partnership with our clients.”

Launched in 1988 by Finalé CEO and industry veteran Don Thompson, Finalé is located in the center of Vancouver and has served most major studios. Finalé offers a host of post production services, ranging from digital dailies and color, through 4K HDR finishing and editorial. It also offers mobile dailies and editorial rentals in Toronto and other major Canadian production centers. Finalé’s credits include Descendants 3, iZombie, Tomorrowland and The Magicians.

Main Image: ( L-R) Picture Shop’s Tom Kendall and Robert Glass, Finalé’s Don Thompson, Picture Shop’s Bill Romeo and Finalé’s Andrew Jha.

 

Atto’s FibreBridge now part of NetApp’s MetroCluster

Atto Technology has teamed with NetApp to offer Atto FibreBridge 7600N as a key component in the MetroCluster continuous data availability solution. Atto FibreBridge 7600N storage controller enables synchronous site-to-site replication up to 300km by providing low latency 32Gb Fibre Channel connections to NetApp flash and disk systems while maintaining high resiliency. FibreBridge 7600N supports up to 1.2 million IOPS and 6,400MB/s per controller.

NetApp MetroCluster enhances the built-in high availability and non-disruptive operations of NetApp systems with Ontap software, providing an additional layer of protection for the entire storage and host environment.

The Atto XstreamCore FC 7600 is a hardware protocol converter that connects 32Gb Fibre Channel ports to 12Gb SAS. It allows post and production houses to free up server resources normally used for handling storage activity and distribute storage connections across up to 64 servers with less than four micro seconds of latency. XstreamCore FC 7600 offers the flexibility needed for modern media production, allowing streaming of uncompressed HD, 4K and larger video, adding shared capabilities to direct attached storage and remotely locating direct attached disk or tape devices. This is a major advantage in workflow management, system architecting and layout of production facilities.

FibreBridge 7600N is one of Atto XstreamCore storage controller products, just one of Atto’s broad portfolio of connectivity solutions widely tested and certified for compatibility with all operating systems and platforms.

Goldcrest Post hires industry vet Dom Rom as managing director

Domenic Rom, a veteran of the New York post world, has joined Goldcrest Post as managing director. In this new role, he will oversee operations, drive sales and pursue growth strategies for Goldcrest, a provider of post services for film and television. Rom was most recently president/GM of Deluxe TV Post Production Services in LA.

“Domenic is a visionary leader who brings a client-centric approach toward facility management, and understands the industry’s changing dynamics,” says Goldcrest Films owner/executive director Nick Quested. “He inspires his team to perform at a peak level and deliver the quality services our clients expect.”

In his previous position, Rom led Deluxe’s global services for television, including its subsidiaries Encore and Level 3. Prior to that, he was managing director of Deluxe’s New York studio, which included East Coast operations for Encore, Company 3 and Method. He was SVP at Technicolor Creative Services for three years and an executive at Postworks for 11. Rom began his career as a colorist at DuArt Film Labs, eventually becoming executive VP in charge of its digital and film labs.

Rom says that he looks forward to working with Goldcrest Post’s management team, including head of production Gretchen McGowan and head of picture Jay Tilin. “We intend to be a very client-oriented facility,” he notes. “When clients walk in the door, they should feel at home, feel that this is their place. Jay and Gretchen both get that. We will work together very closely to ensure Goldcrest is a solid, responsive facility.”

He is also very happy about being back in New York City. “New York is my home,” says Rom. “When I decided to come back to the city just walking around town made me feel alive again. The New York market is so tight, the energy so high it just felt right. The people are real, the clients are amazing and the work is equal to anywhere in the world. I don’t regret a second of the past few years… I expanded my knowledge of other markets and made life-long friendships all over the world. At the end of the day though, my family and my work family are in New York.”

Recent projects for Goldcrest include the Netflix series Russian Doll and the independent features Sorry to Bother You, The Miseducation of Cameron Post, Native Son and High Flying Bird.

All Is True director Kenneth Branagh

By Iain Blair

Five-time Oscar-nominee Ken Branagh might be the biggest Shakespeare fan in the business. In fact, it’s probably fair to say that the actor/director/producer/screenwriter largely owes his fame and fortune to the Bard. For the past 30 years he’s directed (and often starred in) dozens of theatrical productions, as well as feature film adaptations of Shakespeare’s works, starting with 1989’s Henry V. That film won him two Oscar nominations: Best Actor and Best Director. He followed that with Much Ado About Nothing, Othello, Hamlet (which won him a Best Adapted Screenplay Oscar nod), Love’s Labour’s Lost and As You Like It.

Ken Branagh and Iain Blair

So it was probably only a matter of time before the Irish star jumped at the chance to play Shakespeare himself in the new film All Is True, a fictionalized look at the final years of the playwright. Set in 1613, Shakespeare is acknowledged as the greatest writer of the age, but disaster strikes when his renowned Globe Theatre burns to the ground. Devastated, Shakespeare returns to Stratford, where he must face a troubled past and a neglected family — wife Anne (Judi Dench) and two daughters, Susanna (Lydia Wilson) and Judith (Kathryn Wilder). The large ensemble cast also includes Ian McKellen as the Earl of Southampton.

I sat down with Branagh — whose credits include directing such non-Shakespeare movies as Thor, Cinderella and Murder on the Orient Express and acting in Dunkirk and Harry Potter and the Chamber of Secrets — to talk about about making the film and his workflow.

You’ve played many of Shakespeare’s characters in film or on stage. Was it a dream come true to finally play the man himself, or was it intimidating?
It was a dream come true, as I feel like he’s been a guide and mentor since I discovered him at school. And, rather like a dog, he’s given me unconditional love ever since. So I was happy to return some. It’s easy to forget that he was just a guy. He was amazing and a genius, but first and foremost he was a human being.

What kind of film did you hope to make?
A chamber piece, a character piece that took him out of his normal environment. I didn’t want it to be the predictable romp inside a theater, full of backstage bitching and all that sort of theatricality. I wanted to take him away from that and put him back in the place he was from, and I also wanted to load the front part of the movie with silence instead of tons of dialogue.

How close do you feel it gets to the reality of his final years?
I think it’s very truthful about Stratford. It was a very litigious society, and some of the scenes — like the one where John Lane stands up in church and makes very public accusations — all happened. His son Hamnet’s death was unexplained, and Shakespeare did seem to be very insecure in some areas. He wanted money and success and he lived in a very volatile world. If he was supposed to be this returning hero coming back to the big house and a warm welcome from his family, whom he hadn’t seen much of the past two decades, it didn’t quite happen that way. No, he was this absentee dad and husband, and the town had an ambivalent relationship with him; it wasn’t a peaceful retirement at all.

The film is visually gorgeous, and all the candlelit scenes reminded me of Barry Lyndon.
I’m so glad you said that as DP Zac Nicholson and I were partly inspired by that film and that look, and we used only candlelight and no additional lights for those scenes. Painters, like Vermeer and Rembrandt, were our inspiration for all the day and night scenes, respectively.

Clint Eastwood told me, “Don’t ever direct and star in a movie unless you’re a sucker for punishment — it’s just too hard.” So how hard was it?
(Laughs) He’s right. It is very hard, and a lot of work, but it’s also a big privilege. But I had a lot of great help — the crew and people like Judi and Ian. They had great suggestions and you listen to every tidbit they have to offer. I don’t know how Clint does it, but I do a lot of listening and stealing. The directing and acting are so interlinked to me, and I love directing as I get to watch Ian and Judi work, and they’re such hard workers. Judi literally gets to the set before anyone else, and she’s pacing up and down and getting ready to defend Anne Hathaway. She has this huge empathy for her characters which you feel so much, and here she was giving voice to a woman who could not read or write.

Where did you post?
We were based at Longcross Studios, where we did Murder on the Orient Express and the upcoming Artemis Fowl. We did most of it there, and then we ended up at The Post Republic, which has places in London and Berlin, to do the final finishing. Then we did all the final mixing at Twickenham with the great re-recording mixer Andy Nelson and his team. It was my second picture with Andy Nelson as the rerecording mixer. I am completely present throughout and I am completely involved in the final mix.

Do you like the post process?
I love it. It’s the place where I understood, right from my first film, that it could make — in terms of performance — a good one bad, a good one great, a bad one much better. The power of change in post is just amazing to me, and realizing that anything is possible if you have the imagination. So the way you juxtapose the images you’ve collected — and the way a scene from the third act might actually work better in the first act — is so huge in post. That fluidity was a revelation to me, and you can have these tremendous eureka moments in post that can be beautiful and so inspiring.

Can you talk about working with editor Una Ni Dhongaile, who cut The Crown and won a BAFTA for Three Girls?
She’s terrific. She wasn’t on the set but we talked a lot during the shoot. I like her because she really has an opinion. She’s definitely not a “yes” person, but she’s also very sensitive. She also gets very involved with the characters and protects you as a director. She won’t let you cut too soon or too deep, and she encourages you to take a moment to think about stuff. She’s one of those editors who has this special kind of intuition about what the film needs, in addition to all her technical skills and intellectual understanding of what’s going on.

What were the big editing challenges?
After doing a lot of very long takes we used the very best, and despite using a very painterly style we didn’t make the film feel too static. We didn’t want to falsely or artificially cut to just affect the pace, but allow it to flow naturally so every minute was earned. We also didn’t want to feel afraid of holding a particular shot for a long time. We definitely needed pauses and rests, and Shakespeare is musical in his poetry and the way he juxtaposes fast and slow moments. So all those decisions were critical and needed mulling as well as executing.

Talk about the importance of sound and music, as it’s a very quiet film.
It’s absolutely critical in a world like this where light and sound play huge roles and are so utterly different to our own modern understanding of it. The aural and audio space you can offer an audience for this was a big chance to adventure back in time, when the world was far more sparsely populated. Especially in a little place like Stratford; silence played a big role as well. You’re offering a hint of the outside world and the aural landscape is really the bedrock for all the introspection and thoughtfulness this movie deals with.

Patrick Doyle’s music has this gossamer approach — that was the word we used. It was like a breath, so that the whole sound experience invited the audience into the meditative world of Shakespeare. We wanted them to feel the seasons pass, the wind in the trees, and how much more was going on than just the man thinking about his past. It was the experience of returning home and being with this family again, so you’d hear a creak of a chair and it would interrupt his thoughts. So we worked hard on every little detail like that.

Where did you do the grading and coloring?
Post Republic in their North London facility, and again, I’m involved every step of the way.

Did making this film change your views about Shakespeare the man?
Yes, and it was an evolving thing. I’ve always been drawn to his flawed humanity, so it seemed real to be placing this man in normal situations and have him be right out of his comfort zone at the start of the film. So you have this acclaimed, feted and busy playwright, actor, producer and stage manager suddenly back on the dark side of the moon, which Stratford was back then. It was a small town, a three-day trip from London, and it must have been a shock. It was candlelight and recrimination. But I think he was a man without pomp. His colleagues most often described him as modest and gentle, so I felt a vulnerability that surprised me. I think that’s authentic to the man.

What’s next for you?
Disney’s Artemis Fowl, the fantasy-adventure based on the books, which will be released on May 29, and then I start directing Death on the Nile for Fox, which starts shooting late summer.


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.

EP Nick Strange Thye joins The Underground in New York

The Underground in New York City has hired executive producer Nick Strange Thye, who joins the boutique content company after four years at The Mill. Thye’s appointment comes on the heels of veteran production executive Hugh Broder being named as The Underground’s managing director/executive producer at the beginning of the year.

“Nick has an amazing depth of experience and knowledge in production and post production, both in the US market and overseas,” explains Broder. “I’m very excited to have him as a partner as we continue to expand and build our capabilities.”

Thye was most recently senior producer at The Mill, overseeing a range of projects, including spots for the NFL for Super Bowl 50, Cadillac for The Oscars and Samsung for the Olympics, as well as ads for Adidas, the US Marine Corps and PlayStation 4. He’s collaborated with such agencies as Johannes Leonardo, BBDO, Droga5, Rokkan and BBH. Thye, who’s from Denmark, previously worked in Europe as an international executive producer for several companies, including Chimney Group.

At The Underground, he’ll work closely with Broder as well as creative director/lead Flame artist Nic Seresin. Recent projects at the studio include extensive post production on a new Hyundai campaign for Innocean as well as a soon-to-be-released short film for Aston Martin.

“I believe in the flexibility of boutique companies,” says Thye. “They represent the future for this industry. The business is changing to be more project-based, and The Underground has the ability to build the right team for each project. Because of my European background, I have a lot of experience doing this, and I’m eager to put that expertise to work here.”

The Underground is part of the P2P Group, which also includes P2P Retouching, a leading presence in the beauty industry for the past two decades. The expansion of the umbrella group is a concerted effort led by company owner Ben Bettenhausen.

 

Idris Elba and Gary Reich talk about creating Netflix’s Turn Up Charlie

By Iain Blair

Idris Elba has always excelled at playing uber-cool, uber-controlled characters — often villains and troubled souls, such as drug lord Stringer Bell on HBO’s The Wire, detective John Luther on the BBC’s Luther, and the war lord in the harrowing feature film Beasts of No Nation. No wonder everyone thinks he’d be perfect as the next uber-sexy Bond.

But there’s another, hidden side to the charismatic star. The actor has long been heavily involved in post production. Additionally, he moonlights as a DJ, the inspiration for his new Netflix show Turn Up Charlie. He trashes his super-cool image by starring as the titular Charlie, a decidedly uncool, struggling DJ and eternal bachelor, who finally gets a shot at success when he reluctantly becomes a “manny” to his famous best friend’s problem-child daughter.

The show also serves as a showcase for Elba’s self-described “nerdy” side behind the camera, his love of producing and his hands-on involvement in every aspect of post. The eight-part series is co-produced by Elba’s Green Door Pictures and Gary Reich’s Brown Eyed Boy Productions, with Elba and Reich serving as executive producers alongside Tristram Shapeero, who directs the series with Matt Lipsey.

And in a serious show of support for the show and its star, Netflix (which for the first time beat HBO in Emmy noms last year) officially launched an Emmy “For Your Consideration” campaign, with a screening and panel discussion featuring Elba.

Prior to the event, I spoke with the Emmy- and Golden Globe-nominated Elba (whose credits also include the Avengers and Thor franchises, American Gangster, Star Trek Beyond, Mandela: Long Walk to Freedom, The Office and The Jungle Book) about his latest project, his real-life moonlighting gig as a DJ, his love of post and his upcoming role in Cats. We also spoke with his Turn Up Charlie co-creator Reich.

Let’s talk about post production on the show. How involved are you, considering you’re also starring and co-producing?
Idris Elba: We did it at The Farm in London, and I’m pretty involved in every aspect of post, though I’m not sitting in the edit suite all day long looking at every frame. But I really love the whole process, especially editing and, of course, the sound and music because of my background as a DJ. So I’ll be there checking the edits and how it’s being put together.

Then I’ll be there for all the sound mix stuff and also for the final grade, which I love too. I’m super-nerdy in that way, and I find it very satisfying to be involved in post. For most actors, post is this whole hidden, secret world that you never see or get involved in, but I’ve always been fascinated by how it all comes together… how you can manipulate a performance or the sound to totally change a scene and how it works and affects the audience. It’s really the most creative part of making a TV show or a movie, and hopefully I’ll be more and more involved in it all.

People think of you as an actor first and foremost, but you’ve been involved in producing and post for quite a while.
Elba: Yeah, I’ve always been interested in it, learning stuff as I go, and watching directors and how post works. When I directed my first film, Yardie, a couple of years ago, it was a real education, and I loved every minute of it — being involved in all the editing and working on all the elements that go into the sound mix and music. I’ve been involved in production with a lot of the shows I’ve done, like Luther and Five by Five and now this one, and I really enjoy it.

Gary, any surprises working with Idris? And what was the schedule like?
Gary Reich: For someone so busy across so many different mediums, it was amazing how he was always able to give 100% in the moment. He’s like a powerful lighthouse — when he shines on you and your production, you get a dazzling 150% of him. As a co-executive producer, he was involved across many surprisingly small details, as well as the larger picture. We edited at The Farm, and the offline was what you’d expect — a week for each half-hour episode. The music was extremely complex, so once the pictures were locked, there was a long process of auditioning tracks.

Who edited, and what were the main challenges?
Reich: Gary Dollner edited block 1 (Episodes 1-4) with the block 1 director, Tristram Shapeero. Pete Drinkwater edited block 2 (Episodes 5-8) with the block 2 director, Matt Lipsey. The main challenges were that Idris wanted us to approach the edit like a DJ, where the rhythm of each episode’s scene-to-scene transitions would be similar to what a DJ achieves mixing between tracks. Luckily, our editors more than rose to that challenge.

Talk about the importance of sound and music for you and Idris on this. Where did you mix?
Reich: We also mixed at The Farm. Sound and music were extremely key to the show as it is, after all, a show about, created by and scored by a DJ. The score was composed by DJ James Lavelle, so Idris and he had various meetings in the edit where it was clear they spoke the same language. It was important to Idris that the character themes were all electronic rather than acoustic, even the very emotional beats. James and his team adapted accordingly, and we have some amazing new sounds in the show.

Also, one of the key series arcs was a track that Idris’ character Charlie had had a big one-off hit with in the ’90s, that then gets remixed across three episodes by our female Calvin Harris character, played by Piper Perabo, and then gets dropped at the Latitude Festival. It was key that we were authentic, as we showed the track coming together at different stages across different scenes. The mix was all done at The Farm.

I noticed some VFX credits. What was involved, who did them?
Reich: We had a lot of mobile phone and some Skype screens that needed shots compositing in, and some posters too, as well as needing to build a nightclub onto the back of a beach bar. They were all done by The Farm.

Who was the colorist and what was involved?
Reich: Perry Gibbs was the colorist. Because we shot on anamorphic lenses, but also had to use the Red cameras in order to meet certain Netflix technical requirements, there were challenges in the grade, but they were worth it, as the end result was particularly deep.

Idris, Charlie is a major U-turn from your usual self-assured characters. You co-created this show with Gary for yourself, so is this actually the real you?
Elba: (Laughs). Yeah, it is the closest to the real me. I’m not anything like Luther or the other characters I’m best known for. I’m closer to Charlie than anything else. I really wanted to show what the real world of DJs is like, and we spent a lot of time in post working on the music. But the truth is, no one really cares about what DJs go through as long as the music’s good, so I needed to add some heart and other elements to it, and it gradually became more about parenting and all those challenges. I’m a parent, so I brought all those experiences and stories to it and merged the two worlds. It ended up being a bit about the world of music and a lot about people.

Many people probably don’t know that you actually started out as a DJ in London before you got into acting.
Elba: Right, and partly thanks to this, I seem to be getting a lot more exposure for my DJ’ing these days, especially after doing “the wedding” [Elba was asked by Prince Harry to DJ at his wedding to Meghan Markle], and now I’ll be DJ’ing at Coachella, and then I’m doing the Electric Daisy Carnival in Vegas and some other gigs. So if the acting thing falls apart, I’m all set!

DJ’ing was really my first love, and by the time I was 13, 14, I was DJ’ing for house parties and whatnot, and then I met my drama teacher, and DJ’ing went out the window. But the truth is, I kept DJ’ing alongside my acting career, and I just love doing it. It grounds me, and I love music. What I chose not to do is market my DJ’ing as part of my acting career, but recently it’s become this crazy crossroads of all this stuff happening, what with this show and Coachella and so on. It all looks like a brilliant marketing plan, but it’s not. I’m just not that clever!

When you get back to London, you’ll keep filming Tom Hooper’s movie adaptation of Andrew Lloyd Webber’s Cats, which is due out later this year. What can you tell us about it?
Elba: I can’t reveal too much, but it’s going great. I get to play another villain, Macavity, which is always fun for me. Tom’s got a really interesting look and take on it, and he’s assembled this amazing cast: Taylor Swift, who I got on great with, and Jennifer Hudson and James Corden. He’s so funny. And Ian McKellen. It’s going to be pretty special.

Aren’t you playing another villain in Hobbs & Shaw, the Fast & Furious spinoff due out in August?
Elba: Yeah, I play Brixton Lore, this cyber-enhanced criminal mastermind who’s going at it with Dwayne Johnson and Jason Statham. Director David Leitch did Atomic Blonde and Deadpool 2, and we did some really wild stuff. I’m really excited about it. It’s been a busy year.


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.

Behind the Title: Exile editor Lorin Askill

Name: Lorin Askill

Company: Exile (@exileedit)

Can you describe your company?
Exile is an editorial and finishing house based in NYC and LA. I am based in New York.

What’s your job title?
Editor

What does that entail?
I take moving images, sound and other raw materials and arrange them in time to create shape and meaning and ultimately tell stories. I always loved the Tarkovsky book title, sculpting in Time. I like to think that is what I do.

What would surprise people the most about what falls under that title?
Probably how much of an all-encompassing creative process it is. As well as editing picture, I source and edit sounds, I experiment with music, I create rough comps and block compositions for VFX, I play with color and place titles. At its best, editing is not only finding the best pieces of footage and ordering them to tell a story, an editor is crafting the whole visual-aural world that will be carried through to the finished piece.

Hyundai

What’s your favorite part of the job?
I love watching the first cut! When you’re excited about a project, you’ve found the gems and assembled your favorite pieces, solved some challenging problems, fudged together some tricky stunt or effects moments (and it’s already working!). Then you put a piece of music under it that (which you know you can’t actually use), and you feel like it has a good shape and runs from start to finish — usually very over length. It’s so much fun getting to this stage, then sitting back, turning the volume up, pressing play and watching it all together for the first time!

What’s your least favorite part?
My least favorite part is then going through and destroying that first cut with boring realities like running length and client requirements… JOKING. I also love the process of tightening and honing a cut to hit all the right notes and achieve the ultimate vision. But there is nothing like watching the first assembly of a project you love.

What is your most productive time of the day?
Probably first thing when I’ve got fresh eyes and I’m solving problems that seemed impossible the day before. Also the very end of the day when you’re in a little delirious zone and you’re really immersed and engrossed. When I’m cutting a music video, I like to pull up the project late at night and give myself the freedom to play because your brain is definitely functioning in a different way, and sometimes it’s really creative.

If you didn’t have this job, what would you be doing instead?
I think I’d photograph landscapes and spread environmental awareness while having food pop-ups in my garden.

Why did you choose this profession? How early on did you know this would be your path?
Ever since I got my first iMac in high school and started speeding up, slowing down and reversing footage in iMovie. I was addicted to it. I was manipulating time and creating stories with images and sound, and it felt like a beautiful combination of visual art and music, both of which I loved and studied. When I realized I could make a living being creative, and hopefully one day make movies. It seemed like a no-brainer.

Sia

Can you name some recent projects you have worked on?
Most recently I’ve been editing a passion project. It’s a short film directed by my brother. It’s a proof-of-concept for a film we’ve been writing together for a long time. Before that I was working on a bunch commercial projects while also cutting musical sequences for a feature film directed by Sia.

What do you use to edit?
I grew up on iMovie and then Final Cut Pro. Now I use Adobe Premiere Pro and find it does exactly what I need it to do.

Name a few pieces of technology you can’t live without.
I hate to say my phone, but it’s undeniable. My laptop for edits on the run. Good headphones. My Hasselblad from the ‘60s.

What do you do to de-stress from it all?
I get into nature whenever possible, and I cook.

Colorist Andreas Brueckl on embracing ACES workflow

By Debra Kaufman

Senior colorist Andreas Brueckl has graded a wide range of projects, from feature films to over 1,000 commercials, in Europe, the Middle East and Asia. He began his career at Bavaria Film/Cinepost in Germany, then freelanced across Europe and the Middle East before landing at 1000Volt in Istanbul, where he was lead colorist for almost four years. In 2014, he moved to Pinewood Studios Malaysia and is now currently senior colorist at FutureWorks in Mumbai, India.

Andreas Brueckl

With his cinematic grading approach, Brueckl was an early adopter of the ACES workflow. Since then he has published tutorials about ACES workflows and color grading. He spoke to postPerspective about adopting the ACES workflow and why he’s encouraging cinematographers and VFX houses to use it

Tell me about how those first trials worked out?
In 2013, when I was working at 1000Volt in Istanbul, I played around with ACES color spaces, but I was so busy — working on as many as six TV commercials a day — that I didn’t really have the time to devote to learning something new. That changed when I started at Pinewood Studios in Malaysia in 2014. The Malaysian government really wanted to build up the film industry and attract international clients. They teamed up with Imagica from Japan to create a post department. I had this beautiful brand new 100-seat 4K grading theater and a new FilmLight Baselight. I graded my first feature there in the typical telecine way with a P3 timeline, and then I started from scratch with the same movie and graded it in ACES, learning along the way. After a week or so of working on it, my grade clearly looked way better in ACES.

How was the learning process?
I was used to starting from a log image, which is the way most of us DI colorists graded for many years — and was irritated that my image was suddenly so contrasty and saturated. Thankfully, Andy Minuth and Daniele Siragusano from FilmLight helped me to understand that a scene-referred color space isnʼt as limited as a display-referred color space. In other words, I wasn’t losing information or limiting myself, and I could always dial it back to a more log-looking image if needed. Knowing this, I could achieve a “film-style” grading more readily. After a year of using ACES, and as Pinewood Malaysia started getting more and more Singaporean and Chinese clients, I made ACES tutorials with Chinese subtitles to help educate those clients.

Bazaar

Now that you’re working at FutureWorks, are you still using ACES?
In 2017, I signed on at FutureWorks in Mumbai where we work on a wide range of content, including blockbuster movies, smaller movies, TV commercials and, more recently, lots of streaming TV from Amazon Prime and Netflix. We’ve really committed to ACES there. Hope Aur Hum and Bazaar are just two examples of how well ACES has worked. Besides always grading in ACES, we switched our entire VFX pipeline to ACES in combination with Baselight grade files. In-house, all of that was easy — and welcomed by our clients. I have cinematographers coming in asking if we’re grading in ACES. Some of them already know the benefits of ACES quite well, and others just heard it is a new and very “filmic” approach of grading. So the DPs that haven’t tried ACES yet are keen to know everything about this new grading style.

How has switching to an ACES pipeline for visual effects worked out?
It was and still is a bit more work to convince VFX vendors to switch to ACES. They’re not concerned about ACES per se, but about the size of the OpenEXR files which, at uncompressed 4K, can go up to 50MB per frame. For that reason, they sometimes want to stick to the 10-bit DPX they’ve used for the past 10 years.

I found that communication is key to get the VFX facility to embrace the ACES workflow. To make it easier, we meet the compositing supervisors of all the VFX vendors and walk them through the process in Nuke and how to use the Baselight plugin. It makes it super easy.

Hope Aur Hum

If there is no demand for uncompressed files, there’s nothing wrong with using an OpenEXR Zip 1 or Piz compression, which is actually smaller than DPX renders. This year, I’m working on some of the biggest feature films and Netflix and Amazon shows in the Indian market. I’m making it clear from the beginning to all the vendors that we work in ACES and we go for an ACES VFX workflow. We’ve found that once we contact all the VFX houses and walk them through the process, they have no problem implementing the ACES workflows.

What do you personally like about ACES?
First of all, ACES is not a plugin that only works on one platform — it is an entire system that connects all platforms. I explain to the DPs that I can mix my LMTs (Look Modification Transforms) to shape the look and play with the density in chosen areas. Essentially, I have the chance to mix my own digital film stock. ACES gives me a base look much faster than I could get from a log telecine timeline workflow, where I would have had to build up a time-consuming grade from a Log image.

As HDR grades become more popular, ACES is absolutely mandatory in my opinion. One big advantage of using ACES is the ability to get additional details in the highlights. Finally, ACES is the perfect workflow for deliveries to multiple platforms. With just a few adjustments, I can make deliverables in P3, Rec.709, HDR and so on without quality loss.

Main Image: Bazaar


Debra Kaufman has been writing about the intersection of technology and media/entertainment for nearly 30 years. She currently writes the daily newsletter for USC’ Entertainment Technology Center (www.etcentric.org).

The Kominsky Method‘s post brain trust: Ross Cavanaugh and Ethan Henderson

By Iain Blair

As Bette Davis famously said, “Old age ain’t no place for sissies!” But Netflix’s The Kominsky Method proves that in the hands of veteran sitcom creator Chuck Lorre — The Big Bang Theory, Two and a Half Men and many others — there’s plenty of laughs to be mined from old age… and disease, loneliness and incontinence.

The show stars Michael Douglas as divorced, has-been actor and respected acting coach Sandy Kominsky and Alan Arkin as his longtime agent Norman Newlander. The story follows these bickering best friends as they tackle life’s inevitable curveballs while navigating their later years in Los Angeles, a city that values youth and beauty above all. Both comedic and emotional, The Kominsky Method won Douglas a Golden Globe.

Ethan Henderson and Ross Cavanaugh

The single-camera show is written by Al Higgins, David Javerbaum and Lorre, who also directed the first episode. Lorre, Higgins and Douglas executive produce the series, which is produced by Chuck Lorre Productions in association with Warner Bros. Television.

I recently spoke with associate producer Ross Cavanaugh and post coordinator Ethan Henderson about posting the show.

You are currently working on Season 2?
Ross Cavanaugh: Yes, and we’re moving along quite quickly. We’re already about three-quarters of the way through the season shooting-wise, out of the eight-show arc.

Where do you shoot, and what’s the schedule like?
Cavanaugh: We shoot mainly on the lot at Warner Bros. and then at various locations around LA. We start prepping each show one week before we start shooting, and then we get dailies the day after the first shooting day.

Our dailies lab is Picture Shop, which is right up the street in Burbank and very convenient for us. So getting footage from the set to them is quick, and they’re very fast at turning the dailies around. We usually get them by midnight the same day we drop them off,  then our editors start cutting fairly quickly after that.

Where do you do all the post?
Cavanaugh: Mainly at Picture Shop, who are very experienced in TV post work. They do all the post finishing and some of the VFX stuff — usually the smaller things, like beauty fixes and cleanup. They also do all the final color correction since DP Anette Haellmigk really wanted to work with colorist George Manno. They’ve been really great.

Ethan Henderson: We’re back and forth from the lot to Picture Shop, and once we get more heavily involved in all the post, I spend a lot of time there while we are onlining the show, coloring and doing the VFX drop-ins, and when we start the final deliverables process, since everything for Netflix comes out of there.

What are the big challenges of post production on this show, and how closely do you work with Chuck Lorre?
Cavanaugh: As with any TV show, you’re always on a very tight deadline, and there are a lot of moving parts to deal with very quickly. While our prolific showrunner Chuck Lorre is busy with all the projects he has going — especially with all the writing — he always makes time for us. He’s very passionate about the cut and is extremely on top of things.

I’d say the challenges on this show are actually fairly minimal. Basically, we ran a pretty tight ship on the first season, and now I’d say it’s a well-oiled machine. We haven’t had any big problems or surprises in post, which can happen.

Let’s talk about editing. You had two editors for Season 1 in Matthew Barbato and Gina Sansom. I assume that’s because of the time factor. How does that work?
Cavanaugh: Each editor has their own assistant editor — that was true in Season One (Matthew with Jack Cunningham and Gina with Barb Steele) and in Season two (Steven Lang with Romeo Rubio and Gina with Rahul Das). They cut separately and work on an odds-and-evens schedule, each doing every other episode. We all get together to watch screenings of the Director’s Cut, usually in the editorial bay.

What are the big editing challenges?
Cavanaugh: We have a pretty big cast, and there’s a ton of jokes and stuff going on all the time. In addition to Michael Douglas and Alan Arkin, the actors are so experienced. They give such great performances — there’s a lot of material for the editors to cut from. To be honest, the scripts are all so tight that I think one of the challenges is knowing when to cut out a joke, to serve the pacing of an episode.

This isn’t a VFX-driven show, but there are some visual effects shots. Can you explain?
Cavanaugh: We do a lot of driving scenes and use 24frame.com, who have this really good wraparound HD projection technology, so we pretty much shoot all our car scenes on the stage.

Henderson: Once in a while, we’ll pick up some exterior or establishing shots on a freeway using doubles in the cars. All the plates are picked ahead of time. Occasionally, for the sake of continuity, we’ll have to replace a plate in the background and put a different section of the plate in because too many cars ran by, and it didn’t match up in the edit.

That’s one of the things that comes up every so often. The other big thing is that both of the leads wear glasses, so reflections of crew and equipment can become an issue; we have to deal with all that and clean it up.

Cavanaugh: We don’t use many big VFX shots, and we can’t reveal much about what happens in the new season, but sometimes there’s stuff like the scene in season one where one of the characters threw some firecrackers at Michael Douglas’ feet. We obviously weren’t going to throw real ones at Michael Douglas, although I think he’d have sucked it up if we’d done it that way! We were shooting in a residential neighborhood at night and we couldn’t set off real ones because they are very loud, so we ended up doing it all with VFX. FuseFx handled the workload for the heavier VFX work.

Henderson: There was a big shot in the pilot where we did a lot of shot extensions in a restaurant where Sandy Kominsky (Douglas) and Nancy Travis’ character are having coffee. It was this big sweeping pan down over the city.

Can you talk about the importance of sound and music?
Cavanaugh: They both play a key role, and we have a great team that includes music editor Joe Deveau, supervising sound editor Lou Thomas, and sound mixers Yuri Reese and Bill Smith. The sound recording quality we get on set is always great, so that means we only need very minimal ADR. The whole sound mix is done here on the lot at Warners.

Our composer, Jeff Cardoni, worked with Chuck on Young Sheldon, and he’s really on top of getting all the new cues for the show. We basically have two versions of our main title sequence music cues — one is very bombastic and in-your-face, and the other is a bit more subtle — and it’s funny how it broke down in the first season. The guy who cut the pilot and the odd episodes went with the more bombastic version, while the second editor on the even episodes preferred the softer cues, so I’ll be curious to see how all that breaks down in the new season.

How important is all the coloring on this?
Cavanaugh: Very important. After we do all the online, we ship it over to George at Picture Shop and spend about a day and a half on it. The DP either comes in or gets a file, and she gives her notes. Then we’ll play it for Chuck. We’re in the HDR world with Dolby Vision, and it makes it look so beautiful — but then we have to do the standard pass on it as well.

I know you can’t reveal too much about the new season, but what can fans expect?
Henderson: They’re getting a continuation of these two characters’ journey together — growing old and everything that comes with that. I think it feels like a very natural extension of the first season.

Cavanaugh: In terms of the post process, I feel like we’re a Swiss watch now. We’re ticking along very smoothly. Sometimes post can be a nightmare and full of problems, so it’s great to have it all under control.


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.

Behind the Title: PS260 editor Ned Borgman

This editor’s path began early. “I was the kid who would talk during the TV show and then pay attention to the commercials,” he says.

Name: Ned Borgman

Company: PS260

Can you describe your company?
PS260 is a post house built for ideas, creative solutions and going beyond the boards. We have studios in New York, Venice, California and Boston. I am based in New York.

What’s your job title?
Film editor, problem solver, cleaner of messes.

What does that entail?
My job is to make everything look great. Every project takes an entire team of super-talented people who bring their expertise to bear to tell a story. They create all of the puzzle pieces that end up in the dailies, and I put them together in such a way that they can all shine their best.

Facebook small business campaign

What would surprise people the most about what falls under that title?
I think it would be the sheer amount of stuff that can become an editor’s responsibility. So many details go into crafting a successful edit, and an editor needs to be well-versed in all of it. Color grading, visual effects, design, animation, music, sound design, the list goes on. The point isn’t to be a master of all of those things, (that’s why we work with other amazing people when it comes to finishing), but to know the needs of each of those parts and how to make sure every detail can get properly addressed.

What’s your favorite part of the job?
It’s the middle part. When we’re all in the middle of the edit, up to our necks in footage and options and ideas. Out of all of that exploration the best bits start to stand out. The sound design element from that cut and the music track from that other version and a take we tried last night. It all starts to make sense, and from there it’s about making sure the best bits can work well together.

What’s your least favorite?
Knowing there are always some great cuts that will only ever exist inside a Premiere Pro bin. Not every performance or music track or joke can make it into the final cut and out into the world and that’s ok. Maybe those cuts are airing in some other parallel universe.

What is your most productive time of the day?
Whenever the office is empty. So either early in the morning or late at night.

If you didn’t have this job, what would you be doing instead?
Probably something with photography. I’m too attached to visual storytelling, and I’m a horrible illustrator.

Why did you choose this profession? How early on did you know this would be your path? 
I’ve always been enamored with commercials. I was the kid who would talk during the TV show and then pay attention to the commercials. I remember making my first in-camera edit in third grade when I was messing around with the classroom camcorder set up on a tripod. I had recorded myself in front of the camera and then recorded a bit of the empty classroom. Playing it back, it looked like I had vanished into thin air. It blew my eight-year-old mind.

Burger King

Can you name some recent projects you have worked on?
Let’s see, Burger King’s flame-broiled campaign with MullenLowe was great. It has a giant explosion, which is always nice. Facebook’s small business campaign with 72andSunny was a lot of fun with an amazing team of people. And some work for the Google Home Hub launch with Google Creative Labs was fun because launching stuff is exciting.

Do you put on a different hat when cutting for a specific genre? 
Not exactly. Every genre has its specific needs, but I think the fundamentals remain the same. I need to pay attention to rhythm, to performances, to music, to sound design, to VO — all of that stuff. It’s about staying in tune with how all of these ingredients interact with each other to create a reaction from the audience, no matter the reaction you’re striving for.

What is the project that you are most proud of?
I grew up obsessed with practical effects in movies, so I’d have to say Burger King “Gasoline Shuffle”. It has a massive explosion that was shot in camera and it looks incredible. I wish I was on set that day.

What do you use to edit?
Adobe Premiere Pro all the way. I like to think that one day I’ll be back on Avid Media Composer though.

What is your favorite plugin?
I don’t have one. Just give me that basic install.

Are you often asked to do more than edit? If so, what else are you asked to do?
Sure. I’ll often record the scratch VO when there’s one needed. My voice is…serviceable. What that means is that as soon as the real VO talent gets placed in the cut, everyone’s thrilled with how much better everything sounds. That’s cool by me.

Name three pieces of technology you can’t live without.
My iPhone, my Shure in-ear headphones, and an extra long charging cable.

This is a high stress job with deadlines and client expectations. What do you do to de-stress from it all?
Change some diapers. My wife and I just had our first kid last August, and she’s incredible. A game of peek-a-boo can really change your perspective.

Quantum offers new F-Series NVMe storage arrays

During the NAB show, Quantum introduced its new F-Series NVMe storage arrays designed for performance, availability and reliability. Using non-volatile memory express (NVMe) Flash drives for ultra-fast reads and writes, the series supports massive parallel processing and is intended for studio editing, rendering and other performance-intensive workloads using large unstructured datasets.

Incorporating the latest Remote Direct Memory Access (RDMA) networking technology, the F-Series provides direct access between workstations and the NVMe storage devices, resulting in predictable and fast network performance. By combining these hardware features with the new Quantum Cloud Storage Platform and the StorNext file system, the F-Series offers end-to-end storage capabilities for post houses, broadcasters and others working in rich media environments, such as visual effects rendering.

The first product in the F-Series is the Quantum F2000, a 2U dual-node server with two hot-swappable compute canisters and up to 24 dual-ported NVMe drives. Each compute canister can access all 24 NVMe drives and includes processing power, memory and connectivity specifically designed for high performance and availability.

The F-Series is based on the Quantum Cloud Storage Platform, a software-defined block storage stack tuned specifically for video and video-like data. The platform eliminates data services unrelated to video while enhancing data protection, offering networking flexibility and providing block interfaces.

According to Quantum, the F-Series is as much as five times faster than traditional Flash storage/networking, delivering extremely low latency and hundreds of thousands of IOPs per chassis. The series allows users to reduce infrastructure costs by moving from Fiber Channel to Ethernet IP-based infrastructures. Additionally, users leveraging a large number of HDDs or SSDs to meet their performance requirements can gain back racks of data center space.

The F-Series is the first product line based on the Quantum Cloud Storage Platform.

Facilis Launches Hub shared storage line

Facilis Technology rolled out its new Hub Shared Storage line for media production workflows during the NAB show. Facilis Hub includes new hardware and an integrated disk-caching system for cloud and LTO backup and archive designed to provide block-level virtualization and multi-connectivity performance.

“Hub Shared Storage is an all-new product based on our Hub Server that launched in 2017. It’s the answer to our customers’ requests for a more compact server chassis, lower-cost hybrid (SSD and HDD) options and integrated cloud and LTO archive features,” says Jim McKenna, VP of sales and marketing at Facilis. “We deliver all of this with new, more powerful hardware, new drive capacity options and a new look to both the system and software interface.”

The Facilis shared storage network allows both block-mode Fibre Channel and Ethernet connectivity simultaneously with the ability to connect through either method with the same permissions, user accounts and desktop appearance. This expands user access, connection resiliency and network permissions. The system can be configured as a direct-attached drive or segmented into various-sized volumes that carry individual permissions for read and write access.

Facilis Object Cloud
Object Cloud is an integrated disk-caching system for cloud and LTO backup and archive that includes up to 100TB of cloud storage for an annual fee. The Facilis Virtual Volume can display cloud, tape and spinning disk data in the same directory structure on the client desktop.

“A big problem for our customers is managing multiple interfaces for the various locations of their data. With Object Cloud, files in multiple locations reside in the same directory structure and are tracked by our FastTracker asset tracking in the same database as any active media asset,” says McKenna. “Object Cloud uses Object Storage technology to virtualize a Facilis volume with cloud and LTO locations. This gives access to files that exist entirely on disk, in the Cloud or on LTO, or even partially on disk and partially in the cloud.”

Every Facilis Hub Shared Storage server comes with unlimited seats in the Facilis FastTracker asset tracking application. The Object Cloud Software and Storage package is available for most Facilis servers running version 7.2 or higher.

Atomos’ new Shogun 7: HDR monitor, recorder, switcher

The new Atomos Shogun 7 is a seven-inch HDR monitor, recorder and switcher that offers an all-new 1500-nit, daylight-viewable, 1920×1200 panel with a 1,000,000:1 contrast ratio and 15+ stops of dynamic range displayed. It also offers ProRes RAW recording and realtime Dolby Vision output. Shogun 7 will be available in June 2019, priced at $1,499.

The Atomos screen uses a combination of advanced LED and LCD technologies which together offer deeper, better blacks the company says rivals OLED screens, “but with the much higher brightness and vivid color performance of top-end LCDs.”

A new 360-zone backlight is combined with this new screen technology and controlled by the Dynamic AtomHDR engine to show millions of shades of brightness and color. It allows Shogun 7 to display 15+ stops of real dynamic range on-screen. The panel, says Atomos, is also incredibly accurate, with ultra-wide color and 105% of DCI-P3 covered, allowing for the same on-screen dynamic range, palette of colors and shades that your camera sensor sees.

Atomos and Dolby have teamed up to create Dolby Vision HDR “live” — a tool that allows you to see HDR live on-set and carry your creative intent from the camera through into HDR post. Dolby have optimized their target display HDR processing algorithm which Atomos has running inside the Shogun 7. It brings realtime automatic frame-by-frame analysis of the Log or RAW video and processes it for optimal HDR viewing on a Dolby Vision-capable TV or monitor over HDMI. Connect Shogun 7 to the Dolby Vision TV and AtomOS 10 automatically analyzes the image, queries the TV and applies the right color and brightness profiles for the maximum HDR experience on the display.

Shogun 7 records images up to 5.7kp30, 4kp120 or 2kp240 slow motion from compatible cameras, in RAW/Log or HLG/PQ over SDI/HDMI. Footage is stored directly to AtomX SSDmini or approved off-the-shelf SATA SSD drives. There are recording options for Apple ProRes RAW and ProRes, Avid DNx and Adobe CinemaDNG RAW codecs. Shogun 7 has four SDI inputs plus a HDMI 2.0 input, with both 12G-SDI and HDMI 2.0 outputs. It can record ProRes RAW in up to 5.7kp30, 4kp120 DCI/UHD and 2kp240 DCI/HD, depending on the camera’s capabilities. Also, 10-bit 4:2:2 ProRes or DNxHR recording is available up to 4Kp60 or 2Kp240. The four SDI inputs enable the connection of most quad-link, dual-link or single-link SDI cinema cameras. Pixels are preserved with data rates of up to 1.8Gb/s.

In terms of audio, Shogun 7 eliminates the need for a separate audio recorder. Users can add 48V stereo mics via an optional balanced XLR breakout cable, or select mic or line input levels, plus record up to 12 channels of 24/96 digital audio from HDMI or SDI. Monitoring selected stereo tracks is via the 3.5mm headphone jack. There are dedicated audio meters, gain controls and adjustments for frame delay.

Shogun 7 features the latest version of the AtomOS 10 touchscreen interface, first seen on the Ninja V.  The new body of Shogun 7 has a Ninja V-like exterior with ARRI anti-rotation mounting points on the top and bottom of the unit to ensure secure mounting.

AtomOS 10 on Shogun 7 has the full range of monitoring tools, including Waveform, Vectorscope, False Color, Zebras, RGB parade, Focus peaking, Pixel-to-pixel magnification, Audio level meters and Blue only for noise analysis.

Shogun 7 can also be used as a portable touchscreen-controlled multi-camera switcher with asynchronous quad-ISO recording. Users can switch up to four 1080p60 SDI streams, record each plus the program output as a separate ISO, then deliver ready-for-edit recordings with marked cut-points in XML metadata straight to your NLE. The current Sumo19 HDR production monitor-recorder will also gain the same functionality in a free firmware update.

There is asynchronous switching, plus use genlock in and out to connect to existing AV infrastructure. Once the recording is over, users can import the XML file into an NLE and the timeline populates with all the edits in place. XLR audio from a separate mixer or audio board is recorded within each ISO, alongside two embedded channels of digital audio from the original source. The program stream always records the analog audio feed as well as a second track that switches between the digital audio inputs to match the switched feed.

SymplyWorkspace: high-speed, multi-user SAN for smaller post houses

Symply has launched SymplyWorkspace, a SAN system that uses Quantum’s StorNext 6 for high-speed collaboration over Thunderbolt 3 for up to eight simultaneous Mac, Windows, or Linux editors, with RAID protection for content safety.

SymplyWorkspace is designed for sharing content in realtime video production. The product features a compact desk-side design geared to smaller post houses, in-house creatives, ad agencies or any creative house needing an affordable high-speed sharing solution.

“With the high adoption rates of Thunderbolt in smaller post houses, with in-house creatives and with other content creators, connecting high-speed shared storage has been a hassle that requires expensive and bulky adapters and rack-mounted, hot and noisy storage, servers and switches,” explains Nick Warburton from Global Distribution, which owns Symply. “SymplyWorkspace allows Thunderbolt 3 clients to just plug into the desk-side system to ingest, edit, finish and deliver without ever moving content locally, even at 4K resolutions, with no adapters or racks needed.”

Based on the Quantum StorNext 6 sharing software, SymplyWorkspace allows users to connect up to eight laptops and workstations to the system and share video files, graphics and other data files instantly with no copying and without concerns for version control or duplicated files. A file server can also be attached to enable re-sharing of content to other users across Ethernet networks.

Symply has also addressed the short cable-length issues commonly cited with Thunderbolt. By using the latest Thunderbolt 3 optical cable technology from Corning, clients can be up to 50 feet away from SymplyWorkspace while maintaining full high-speed collaboration.

The complete SymplyWorkspace solution starts at $10,995 for 24TB of RAID-protected storage and four simultaneous Mac users. Four additional users (up to eight total) can be added at any time. The product is also available in configurations up to 288TB and supporting multiple 4K streams, with any combination of up to eight Mac, Windows or Linux users. It’s available now through worldwide resellers and joins the SymplyUltra line of workflow storage solutions for larger post and broadcast facilities.

Review: Mzed.com’s Directing Color With Ollie Kenchington

By Brady Betzel

I am constantly looking to educate myself, no matter what the source — or subject. Whether I am learning how to make a transition in Adobe After Effects from an eSports editor on YouTube to Warren Eagles teaching color correction in Blackmagic’s DaVinci Resolve on FXPHD.com, I’m always beefing up my skills. I even learn from bad tutorials — they teach you what not to do!

But when you come across a truly remarkable learning experience, it is only fair to share with the rest of the world. Last year I saw an ad for an MZed.com course called “Directing Color With Ollie Kenchington,” and was immediately interested. These days you can pretty much find any technical tutorial you can dream of on YouTube, but truly professional, higher education-like, theory-based education series are very hard to come by. Even ones you need to pay for aren’t always worth their price of admission, which is a huge let down.

Ollie sharing his wisdom.

Once I gained access to MZed.com I wanted to watch every educational series they had. From lighting techniques with ASC member Shane Hurlbut to the ARRI Amira Camera Primer, there are over 150 hours of education available from industry leaders. However, I found my way to Directing Color…

I am often asked if I think people should go to college or a film school. My answer? If you have the money and time, you should go to college followed by film school (or do both together, if the college offers it). Not only will you learn a craft, but you will most likely spend hundreds of hours studying and visualizing the theory behind it. For example, when someone asks me about the science behind camera lenses, I can confidently answer them thanks to my physics class based on lenses and optics from California Lutheran University (yes, a shameless plug).

In my opinion, a two-, four- or even 10-year education allows me to live in the grey. I am comfortable arguing for both sides of a debate, as well as the options that are in between —  the grey. I feel like my post-high school education really allowed me to recognize and thrive in the nuances of debate. Leaving me to play devil’s advocate maybe a little too much, but also having civil and proactive discussions with others without being demeaning or nasty — something we are actively missing these days. So if living in the grey is for you, I really think a college education supplemented by online or film school education is valuable (assuming you make the decision that the debt is worth it like I did).

However, I know that is not an option for everyone since it can be very expensive — trust me, I know. I am almost done paying off my undergraduate fees while still paying off my graduate ones, which I am still two or three classes away from finishing. That being said, Directing Color With Ollie Kenchington is the only online education series I have seen so far that is on the same level as some of my higher education classes. Not only is the content beautifully shot and color corrected, but Ollie gives confident and accessible lessons on how color can be used to draw the viewer’s attention to multiple parts of the screen.

Ollie Kenchington is a UK-based filmmaker who runs Korro Films. From the trailer of his Directing Color series, you can immediately see the beauty of Ollie’s work and know that you will be in safe hands. (You can read more about his background here.)

The course raises the online education bar and will elevate the audiences idea of professional insight. The first module “Creating a Palette” covers the thoughts behind creating a color palette for a small catering company. You may even want to start with the last Bonus Module “Ox & Origin” to get a look at what Ollie will be creating throughout the seven modules and about an hour and a half of content.

While Ollie goes over “looks,” the beauty of this course is that he goes through his internal thought processes including deciding on palettes based on color theory. He didn’t just choose teal and orange because it looks good, he chooses his color palette based on complementary colors.

Throughout the course Ollie covers some technical knowledge, including calibrating monitors and cameras, white balancing and shooting color charts to avoid having wrong color balance in post. This is so important because if you don’t do these simple steps, your color correction session while be much harder. And wasting time on fixing incorrect color balance takes time away from the fun of color grading. All of this is done through easily digestible modules that range from two to 20 minutes.

The modules include Creating a Palette; Perceiving Color; Calibrating Color; Color Management; Deconstructing Color 1 – 3 and the Bonus Module Ox & Origin.

Without giving away the entire content in Ollie’s catalog, my favorite modules in this course are the on-set modules. Maybe because I am not on-set that often, but I found the “thinking out loud” about colors helpful. Knowing why reds represent blood, which raise your heart rate a little bit, is fascinating. He even goes through practical examples of color use in films such as in Whiplash.

In the final “Deconstructing Color” modules, Ollie goes into a color bay (complete with practical candle backlighting) and dives in Blackmagic’s DaVinci Resolve. He takes this course full circle to show how since he had to rush through a scene he can now go into Resolve and add some lighting to different sides of someone’s face since he took time to set up proper lighting on set, he can focus on other parts of his commercial.

Summing Up
I want to watch every tutorial MZed.com has to offer. From “Philip Bloom’s Cinematic Masterclass” to Ollie’s other course “Mastering Color.” Unfortunately, as of my review, you would have to pay an additional fee to watch the “Mastering Color” series. It seems like an unfortunate trend in online education to charge a fee and then when an extra special class comes up, charge more, but this class will supposedly be released to the standard subscribers in due time.

MZed.com has two subscription models: MZed Pro, which is $299 for one year of streaming the standard courses, and MZed Pro Premium for $399. This includes the standard courses for one year and the ability to choose one “Premium” course.

“Philip Bloom’s Cinematic Master Class” was the Premium course I was signed up for initially, but you you can decide between this one and the “Mastering Color” course. You will not be disappointed regardless of which one you choose. Even their first course “How to Photograph Everyone” is chock full of lighting and positioning instruction that can be applied in many aspects of videography.

I really was impressed with Directing Color with Ollie Kenchington, and if the other course are this good MZed.com will definitely become a permanent bookmark for me.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

FilmLight offers additions to Baselight toolkit

FilmLight will be at NAB showing updates to its Baselight toolkit, including T-Cam v2. This is FilmLight’s new and improved color appearance model, which allows the user to render an image for all formats and device types with confidence of color.

It combines with the Truelight Scene Looks and ARRI Look Library, now implemented within the Baselight software. “T-CAM color handling with the updated Looks toolset produces a cleaner response compared to creative, camera-specific LUTs or film emulations,” says Andrea Chlebak, senior colorist at Deluxe’s Encore in Hollywood. “I know I can push the images for theatrical release in the creative grade and not worry about how that look will translate across the many deliverables.”

FilmLight had added what they call “a new approach to color grading” with the addition of Texture Blend tools, which allow the colorist to apply any color grading operation dependent on image detail. This gives the colorist fine control over the interaction of color and texture.

Other workflow improvements aimed at speeding the process include enhanced cache management; a new client view that displays a live web-based representation of a scene showing current frame and metadata; and multi-directory conform for a faster and more straightforward conform process.

The latest version of Baselight software also includes per-pixel alpha channels, eliminating the need for additional layer mattes when compositing VFX elements. Tight integration with VFX suppliers, including Foundry Nuke and Autodesk, means that new versions of sequences can be automatically detected, with the colorist able to switch quickly between versions within Baselight.

VFX house Rodeo FX acquires Rodeo Production

Visual effects studio Rodeo FX, whose high-profile projects include Dumbo, Aquaman and Bumblebee, has purchased Rodeo Production and added its roster of photographers and directors to its offerings.

The two companies, whose common name is just a coincidence, will continue to operate as distinct entities. Rodeo Production’s 10-year-old Montreal office will continue to manage photo and video production, but will now also offer RodeoFX’s post production services and technical expertise.

In Toronto, Rodeo FX plans to open an Autodesk Flame editing suite in the Rodeo Production’ studio and expand its Toronto roster of photographers and directors with the goal of developing stronger production and post services for clients in the city’s advertising, television and film industries.

“This is a milestone in our already incredible history of growth and expansion,” says Sébastien Moreau, founder/president of Rodeo FX, which has offices in LA and Munich in addition to Montreal.

“I have always worked hard to give our artists the best possible opportunities, and this partnership was the logical next step,” says Rodeo Production’s founder Alexandra Saulnier. “I see this as a fusion of pure creativity and innovative technology. It’s the kind of synergy that Montreal has become famous for; it’s in our DNA.”

Rodeo Production clients include Ikea, Under Armour and Mitsubishi.