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Category Archives: post production

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. 

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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.

Xytech’s 2019 version: new UI, ability to personalize MediaPulse

Xytech, which makes facility management software for M&E, will launch the 2019 version of its MediaPulse facility management software system at NAB in Vegas.

The MediaPulse Sky UI has an entirely new user interface, allowing for a faster, cleaner and more modern look. The UI now includes a responsive design appropriate for use in all browsers and on all devices. This responsive design features performance improvements, including Xytech’s new Limitless Scrolling for instant search results regardless of the size of the result set.

A key part of the 2019 version update includes personalizing the MediaPulse experience for each user. “This update addresses a big shift in the marketplace, expanding our technology to foster automation through all users in our clients’ ecosystem,” says CEO Greg Dolan. “With the 2019 version of MediaPulse, every participant in an organization now has a personalized MediaPulse, allowing us to deliver the appropriate experience for each user tailored for their given role.”

In addition to the user experience upgrade, OpenID is supported through Sky, and the entire platform has now moved to a 64-bit architecture. Automated IMF distribution functionality, European Working Time Directive support, transmission module updates, in addition to hundreds of other new features, are now available.

The 2019 version of MediaPulse will be available in June 2019.

Frame.io intros 10 new features for video collaboration

Frame.io, which makes a video review and collaboration platform, has introduced 10 new features that will improve how media professionals collaborate on video, from initial upload to final delivery. Top user-requested features now available in Frame.io include a new reel player presentation format, @mentions and support for multi-page PDFs.

Here are some details:
– Multi-page PDFs: Users can now collaborate on scripts and storyboards just like on video. Entire video projects from the initial brief to the final deliverable, can now live in Frame.io.
– Enhanced version management: Users now have more control over how they manage versions. They can reorder or remove versions in one place.
– Private comments: For teams who routinely create a separate review link for internal teams to gather feedback they don’t want clients to see. Internal team conversations can be separated from client conversations, all within the same project.
– @mentions: Users can tag anyone on a project to quickly grab their attention when it’s needed most. Anytime someone is @mentioned, they’ll receive a notification creating streamlined communication.
– Reel player: Drop all assets into a filmstrip format for easy viewing, complete with built-in autoplay
– Archival storage (beta): Users can now free up more account storage by archiving projects. Original files will be archived but low-res preview files stay online and searchable. Users can still comment, compare and share Frame.io archived projects. Originals can be restored within a few hours.
– Updated review pages (beta): Frame.io review pages now include a simpler interface that makes it easier for clients to leave feedback with no login required.
– Redesigned iPhone app: Frame.io’s iOS app has a design update. Users will see a cleaner,  improved app interface.
– Short links: No more long and clunky URLs for clients and collaborators. New shareable URLs will use a f.io shortlink, making sharing them significantly more user-friendly.
– Account switching: For those users with multiple accounts, Frame.io now offers a simple way to navigate between them on Frame.io.

Red Ranger all-in-one camera system now available

Red Digital Cinema has made its new Red Ranger all-in-one camera system available to select Red authorized rental houses. Ranger includes Red’s cinematic full-frame 8K sensor Monstro in an all-in-one camera system, featuring three SDI outputs (two mirrored and one independent) allowing two different looks to be output simultaneously; wide-input voltage (11.5V to 32V); 24V and 12V power outs (two of each); one 12V P-Tap port; integrated 5-pin XLR stereo audio input (Line/Mic/+48V Selectable); as well as genlock, timecode, USB and control.

Ranger is capable of handling heavy-duty power sources and boasts a larger fan for quieter and more efficient temperature management. The system is currently shipping in a gold mount configuration, with a v-lock option available next month.

Ranger captures 8K RedCode RAW up to 60fps full-format, as well as Apple ProRes or Avid DNxHR formats at 4K up to 30fps and 2K up to 120fps. It can simultaneously record RedCode RAW plus Apple ProRes or Avid DNxHD or DNxHR at up to 300MB/s write speeds.

To enable an end-to-end color management and post workflow, Red’s enhanced image processing pipeline (IPP2) is also included in the system.

Ranger ships complete, including:
• Production top handle
• PL mount with supporting shims
• Two 15mm LWS rod brackets
• Red Pro Touch 7.0-inch LCD with 9-inch arm and LCD/EVF cable
• LCD/EVF adaptor A and LCD/EVF adaptor D
• 24V AC power adaptor with 3-pin 24V XLR power cable
• Compatible Hex and Torx tools

Shooting, posting New Republic’s Indie film, Sister Aimee

After a successful premiere at the Sundance Film Festival, New Republic Studios’ Sister Aimee screened at this month’s SXSW. The movie tells the story of an infamous American evangelist of the 1920s, Sister Aimee Semple McPherson, who gets caught up in her lover’s dreams of Mexico and finds herself on a road trip toward the border.

Sister Aimee shot at the newly renovated New Republic Studios near Austin, Texas, over two and a half weeks. “Their crew used our 2,400-square-foot Little Bear soundstage, our 3,000-square-foot Lone Wolf soundstage, our bullpen office space and numerous exterior locations in our backlot,” reports New Republic Studios president Mindy Raymond, adding that the Sister Aimee production also had access to two screening rooms with 5.1 surround sound, HDMI hookups to 4K monitors and theater-style leather chairs to watch dailies. The film also hit the road, shooting in the New Mexico desert.

L-R: Directors Samantha Buck, Marie Schlingmann at SXSW. Credit: Harrison Funk

Co-written and co-directed by Samantha Buck and Marie Schlingmann, the movie takes some creative license with the story of Aimee. “We don’t look for factual truth in Aimee’s journey,” they explain. “Instead we look for a more timeless truth that says something about female ambition, the female quest for immortality and, most of all, the struggle for women to control their own narratives. It becomes a story about storytelling itself.”

The film, shot by cinematographer Carlos Valdes-Lora at 3.2K ProRes 4444 XQ on an Arri Alexa Mini, was posted at Dallas and Austin-based Charlieuniformtango.

We reached out to the DP and the post team to find out more.

Carlos, why did you choose the package of the Alexa and Cooke Mini S4 Primes?
Carlos Valdes-Lora: In early conversations with the directors, we all agreed that we didn’t want Sister Aimee to feel like a traditional period movie. We didn’t want to use softening filters or vintage lenses. We aimed instead for clear images, deep focus and a rich color palette that remains grounded in the real world. We felt that this would lend the story a greater sense of immediacy and draw the viewer closer to the characters. Following that same thinking, we worked very extensively with the 25mm and 32mm, especially in closeups and medium closeups, emphasizing accessibility.

The Cooke Mini S4s are a beautiful and affordable set (relative to our other options.) We like the way they give deep dimensionality and warmth to faces, and how they create a slightly lower contrast image compared to the other modern lenses we looked at. They quickly became the right choice for us, striking the right balance between quality, size and value.

The Cookes paired with the Alexa Mini gave us a lightweight camera system with a very contained footprint, and we needed to stay fast and lean due to our compressed shooting schedule and often tight shooting quarters. The Chapman Cobra dolly was a big help in that regard as well.

What was the workflow to post like?
Charlieuniformtango producers Bettina Barrow, Katherine Harper, David Hartstein: Post took place primarily between Charlieuniformtango’s Dallas and Austin offices. Post strategizing started months before the shoot, and active post truly began when production began in July 2018.

Tango’s Evan Linton handled dailies brought in from the shoot, working alongside editor Katie Ennis out of Tango’s Austin studio, to begin assembling a rough cut as shooting continued. Ennis continued to cut at the studio through August with directors Schlingmann and Buck.

Editorial then moved back to the directors’ home state of New York to finish the cut for Sundance. (Editor Ennis, who four-walled out of Tango Austin for the first part of post, went to  New York with the directors, working out of a rented space.)

VFX and audio work started early at Tango, with continuously updated timelines coming from editorial, working to have certain locked shots also finished for the Sundance submission, while saving much of the cleanup and other CG heavy shots for the final picture lock.

Tango audio engineer Nick Patronella also tackled dialogue edit, sound design and mix for the submission out of the Dallas studio.

Can you talk about the VFX?
Barrow, Harper, Hartstein: The cut was locked in late November, and the heavy lifting really began. With delivery looming, Tango’s Flame artists Allen Robbins, Joey Waldrip, David Hannah, David Laird, Artie Peña and Zack Smith divided effects shots, which ranged from environmental cleanup, period-specific cleanup, beauty work such as de-aging, crowd simulation, CG sign creation and more. 3D

(L-R) Tango’s Artie Peña, Connor Adams, Allen Robbins in one of the studio’s Flame suites.

Artist Connor Adams used Houdini, Mixamo and Maya to create CG elements and crowds, with final comps being done in Nuke and sent to Flame for final color. Over 120 VFX shots were handled in total and Flame was the go-to for effects. Color and much of the effects happened simultaneously. It was a nice workflow as the project didn’t have major VFX needs that would have impacted color.

What about the color grade?
Barrow, Harper, Hartstein: Directors Buck and Schlingmann and DP Valdes-Lora worked with Tango colorist Allen Robbins to craft the final look of the film — with the color grade also done in Flame. The trio had prepped shooting for a Kodachrome-style look, especially for the exteriors, but really overall. They found important reference in selections of Robert Capa photographs.

Buck, Schlingmann and Valdes-Lora responded mostly to Kodachrome’s treatment of blues, browns, tans, greens and reds (while staying true to skin tone), but also to their gamma values, not being afraid of deep shadows and contrast wherever appropriate. Valdes-Lora wanted to avoid lighting/exposing to a custom LUT on set that would reflect this kind of Kodachrome look, in case they wanted to change course during the process. With the help of Tango, however, they discovered that by dialing back the Capa look it grounded the film a little more and made the characters “feel” more accessible. The roots of the inspiration remained in the image but a little more naturalism, a little more softness, served the story better.

Because of that they monitored on set with Alexa 709, which he thought exposing for would still provide enough room. Production designer Jonathan Rudak (another regular collaborator with the directors) was on the same page during prep (in terms of reflecting this Capa color style), and the practical team did what they could to make sure the set elements complemented this approach.

What about the audio post?
Barrow, Harper, Hartstein: With the effects and color almost complete, the team headed to Skywalker Ranch for a week of final dialogue edit, mix, sound design and Foley, led by Skywalker’s Danielle Dupre, Kim Foscato and E. Larry Oatfield. The team also was able to simultaneously approve color sections in Skywalker’s Stag Theater allowing for an ultra-efficient schedule. With final mix in hand, the film was mastered just after Christmas so that DCP production could begin.

Since a portion of the film was musical, how complex was the audio mix?
Skywalker sound mixer Dupre: The musical number was definitely one of the most challenging but rewarding scenes to design and mix. It was such a strong creative idea that played so deeply into the main character. The challenge was in striking a balance between tying it into the realism of the film while also leaning into the grandiosity of the musical to really sell the idea.

It was really fun to play with a combination of production dialogue and studio recordings to see how we could make it work. It was also really rewarding to create a soundscape that starts off minimally and simply and transitions to Broadway scale almost undetectably — one of the many exciting parts to working with creative and talented filmmakers.

What was the biggest challenge in post?
Barrow, Harper, Hartstein: Finishing a film in five to six weeks during the holidays was no easy feat. Luckily, we were able to have our directors hands-on for all final color, VFX and mix. Collaborating in the same room is always the best when you have no time to spare. We had a schedule where each day was accounted for — and we stuck to it almost down to the hour.

 

Vickie Sornsilp joins 1606 Studio as head of production

San Francisco-based 1606 Studio, formerly Made-SF, has hired veteran post producer Vickie Sornsilp to head of production. Sornsilp, whose background includes senior positions with One Union Recording and Beast Editorial, will oversee editorial and post finishing projects for the studio, which was launched last month by executive producer Jon Ettinger, editor/director Doug Walker and editors Brian Lagerhausen and Connor McDonald.

“Vickie represents what 1606 Studio is all about…family,” says Ettinger. “She trained under me at the beginning of her career and is now ready to take on the mantle of head of production. Our clients trust her to take care of business. I couldn’t be prouder to welcome her to our team.”

A graduate of San Francisco’s Academy of Art University, Sornsilp began her career as a copywriter with agency DDB. She got her start in post production in 2014 with Beast Editorial, where she produced work for such brands as Amazon, Clorox, Doritos, HP, Round Table Pizza, Mini Cooper, Toyota, Visa, Walmart and Yahoo! She joined One Union Recording as executive producer in 2018.

Sornsilp is excited to reunite with 1606 Studio’s founders. “It feels like coming home,” she says. “Jon, Doug, Brian and Connor are legends in the business and I look forward to doing more great work with them.”

Launched under the interim name Made-SF, the company is rebranding as 1606 Studio in anticipation of moving into permanent facilities in April at 1606 Stockton Street in San Francisco’s historic North Beach neighborhood. Currently undergoing a build-out, that site will feature five Adobe Premiere editorial suites, two motion graphics suites, and two Flame post finishing suites with room for further expansion.

“We want to underscore that we are a San Francisco-centric company,” explains Walker. “Service companies from outside the area have been moving into the city to take advantage of the boom in advertising and media production. We want to make it clear that we’re already here and grounded in the community.”

Signiant intros Jet SaaS solution for large, automated, fast file transfers
 

Signiant will be at NAB next month showing Jet, its new SaaS solution that makes it easy to automate and accelerate the transfer of large files between geographically dispersed locations. Targeted at simple “lights-out” use cases, Signiant Jet meets the growing need to replace scripted FTP with a faster, more reliable and more secure alternative.

Jet uses Signiant’s innovative SaaS platform, which also underpins the company’s Media Shuttle solution. Jet’s feature set and price point allow small- and mid-sized companies to easily automate system-to-system workflows, as well as recurring data exchange with partners.

Like all Signiant products, Jet uses a proprietary transport protocol that optimizes network performance for fast, reliable movement of large files under all network conditions. Coupled with enterprise-grade security and features tuned for media professionals, Signiant products are designed to enable the global flow of content, within and between companies, in a hybrid cloud world. The Signiant portfolio is now comprised of the following offerings:

• Manager+Agents – advanced enterprise software for complex networks and workflows
• Jet – SaaS solution for simple system-to-system automated file transfer
• Media Shuttle – SaaS solution that enables the sending and sharing of large files
• Flight – SaaS solution for transfers to and from AWS and/or Azure public cloud services

Media companies can deploy a single Signiant product to solve a specific problem or combine them for managing access to content that is located in various storage types worldwide. Signiant products interoperate with each other, as well as with third-party products in the media technology ecosystem.

Netflix hires Leon Silverman to enhance global post operation

By Adrian Pennington

Veteran postproduction executive Leon Silverman was pondering the future when Netflix came calling. The former president of Laser Pacific has spent the last decade building up Disney’s in-house digital post production wing as general manager, but will be taking on what is arguably one of the biggest jobs in the industry — director, post operations and creative services at Netflix.

“To tell you the truth, I wasn’t looking for a new job. I was looking to explore the next chapter of my life,” said Silverman, announcing the news at the HPA Tech Retreat last month.

“The fact is, if there is any organization or group of people anywhere that can bring content creators together with creative technology innovation in service of global storytelling, it is Netflix. This is a real opportunity to work closely with the creative community and with partners to create a future industry worthy of its past.”

That final point is telling. Indeed, Silverman’s move from one of the titans of Hollywood to the powerhouse of digital is symbolic of an industry passing the baton of innovation.

“In some ways, moving to Netflix is a culmination of everything I have been trying to achieve throughout my career,” says Silverman. “It’s about the intersection of technology and creativity, that nexus where art and science meet in order to innovate new forms of storytelling. Netflix has the resources, the vision and the talent to align these goals.”

L-R: Leon Silverman and Sean Cooney

Silverman will report to Sean Cooney, Netflix, director worldwide post production. During his keynote at the HPA Tech Retreat, Cooney introduced Silverman and his new role. He noted that the former president of the HPA (2008-2016) had built and run some of the most cutting-edge facilities on the planet.

“We know that there is work to be done on our part to better serve our talent,” says Cooney. “We were looking for someone with a deep understanding of the industry’s long and storied history of entertainment creation. Someone who knows the importance of working closely with creatives and has a vision for where things are going in the future.”

Netflix global post operation is centered in LA where it employs the majority of its 250 staff and will oversee delivery of 1,000 original pieces of programming this year. But with regional content increasingly important to the growth of the organization, Cooney and Silverman’s tricky task is to streamline core functions like localization, QC, asset management and archive while increasing output from Asia, Latin America and Europe.

“One of the challenges is making sure that the talent we work with feel they are creatively supported even while we operate on a such a large scale,” explains Cooney. “We want to continue to provide a boutique experience even as we expand.”

There’s recognition of the importance to Netflix of its relationship with dozens of third-party post houses, freelance artists and tech vendors.

“Netflix has spent a lot of time cultivating deep relationships in the post community, but as we get more and more involved in upstream production we want to focus on reducing the friction between the creative side of production and the delivery side,” says Silverman. “We need to redesign our internal workflows to really try to take as much as friction out of the process as possible.”

Netflix: Black Mirror – Bandersnatch

While this makes sense from a business point of view, there’s a creative intent too. Bandersnatch, the breakthrough interactive drama from the Black Mirror team, could not have been realized without close collaboration from editorial all the way to user interface design.

“We developed special technology to enable audience interaction but that had to work in concert with our engineering and product teams and with editorial and post teams,” says Cooney.

Silverman likens this collapse of the traditional role of post into the act of production itself as “Post Post.” It’s an industry-wide trend that will enable companies like Netflix to innovate new formats spanning film, TV and immersive media.

“We are at a time and a place where the very notion of a serial progression from content inception to production to editorial then finish to distribution is anachronistic,” says Silverman. “It’s not that post is dead, it’s just that ‘post’ is not ‘after’ anything as much as it has become the underlying fabric of content creation, production and distribution. There are some real opportunities to create a more expansive, elegant and global ability to enable storytellers of all kinds to make stories of all kinds — wherever they are.”


UK-based Adrian Pennington is a professional journalist and editor specializing in the production, the technology and the business of moving image media.

Posting director Darren Lynn Bousman’s horror film, St. Agatha

Atlanta’s Moonshine Post helped create a total post production pipeline — from dailies to finishing — for the film St. Agatha, directed by Darren Lynn Bousman (Saw II, Saw III, Saw IV, Repo the Genetic Opera). 

The project, from producers Seth and Sara Michaels, was co-edited by Moonshine’s Gerhardt Slawitschka and Patrick Perry and colored by Moonshine’s John Peterson.

St. Agatha is a horror film that shot in the town of Madison, Georgia. “The house we needed for the convent was perfect, as the area was one of the few places that had not burned down during the Civil War,” explains Seth Michaels. “It was our first time shooting in Atlanta, and the number one reason was because of the tax incentive. But we also knew Georgia had an infrastructure that could handle our production.”

What the producers didn’t know during production was that Moonshine Post could handle all aspects of post, and were initially brought in only for dailies. With the opportunity to do a producer’s cut, they returned to Moonshine Post.

Time and budget dictated everything, and Moonshine Post was able to offer two editors working in tandem to edit a final cut. “Why not cut in collaboration?” suggested Drew Sawyer, founder of Moonshine Post and executive producer. “It will cut the time in half, and you can explore different ideas faster.”

“We quite literally split the movie in half,” reports Perry, who, along with Slawitschka, cut on Adobe Premiere “It’s a 90-minute film, and there was a clear break. It’s a little unusual, I will admit, but almost always when we are working on something, we don’t have a lot of time, so splitting it in half works.”

Patrick Perry

Gerhardt Slawitschka

“Since it was a producer’s cut, when it came to us it was in Premiere, and it didn’t make sense to switch over to Avid,” adds Slawitschka. “Patrick and I can use both interchangeably, but prefer Premiere; it offers a lot of flexibility.”

“The editors, Patrick and Gerhardt, were great,” says Sara Michaels. “They watched every single second of footage we had, so when we recut the movie, they knew exactly what we had and how to use it.”

“We have the same sensibilities,” explains Gerhardt. “On long-form projects we take a feature in tandem, maybe split it in half or in reels. Or, on a TV series, each of us take a few episodes, compare notes, and arrive at a ‘group mind,’ which is our language of how a project is working. On St. Agatha, Patrick and I took a bit of a risk and generated a four-page document of proposed thoughts and changes. Some very macro, some very micro.”

Colorist John Peterson, a partner at Moonshine Post, worked closely with the director on final color using Blackmagic’s Resolve. “From day one, the first looks we got from camera raw were beautiful.” Typically, projects shot in Atlanta ship back to a post house in a bigger city, “and maybe you see it and maybe you don’t. This one became a local win, we processed dailies, and it came back to us for a chance to finish it here,” he says.

Peterson liked working directly with the director on this film. “I enjoyed having him in session because he’s an artist. He knew what he was looking for. On the flashbacks, we played with a variety of looks to define which one we liked. We added a certain amount of film grain and stylistically for some scenes, we used heavy vignetting, and heavy keys with isolation windows. Darren is a director, but he also knows the terminology, which gave me the opportunity to take his words and put them on the screen for him. At the end of the week, we had a successful film.”

John Peterson

The recent expansion of Moonshine Post, which included a partnership with the audio company Bare Knuckles Creative and a visual effects company Crafty Apes, “was necessary, so we could take on the kind of movies and series we wanted to work with,” explains Sawyer. “But we were very careful about what we took and how we expanded.”

They recently secured two AMC series, along with projects from Netflix. “We are not trying to do all the post in town, but we want to foster and grow the post production scene here so that we can continue to win people’s trust and solidify the Atlanta market,” he says.

Uncork’d Entertainment’s St. Agatha was in theaters and became available on-demand starting February 8. Look for it on iTunes, Amazon, Google Play, Vudu, Fandango Now, Xbox, Dish Network and local cable providers.

Warner Bros. Studio Facilities ups Kim Waugh, hires Duke Lim

Warner Bros. Studio Facilities in Burbank has promoted long-time post exec Kim Waugh to executive VP, worldwide post production services. They have also hired Duke Lim to serve as VP, post production sound at the studio.

In his new role, Waugh will be reporting to Jon Gilbert, president, worldwide studio facilities, Warner Bros. and will continue to lead the post creative services senior management team, overseeing all marketing, sales, talent management, facilities and technical operations across all locations. Waugh has been instrumental in expanding the business beyond the studio’s Burbank-based headquarters, first to Soho, London in 2012 with the acquisition of Warner Bros. De Lane Lea and then to New York in the 2015 acquisition of WB Sound in Manhattan.

The group supports all creative post production elements, ranging from sound mixing, editing and ADR to color correction and restoration, for Warner Bros.’ clients worldwide. Waugh’s creative services group features a vast array of award-winning artists, including the Oscar-nominated sound mixing team behind Warner Bros. Pictures’ A Star is Born.

Reporting to Waugh, Lim is responsible for overseeing the post sound creative services supporting Warner Bros.’ film and television clients on a day-to-day basis across the studio’s three facilities.

Duke Lim

Says Gilbert, “At all three of our locations, Kim has attracted award-winning creative talent who are sought out for Warner Bros. and third-party projects alike. Bringing in seasoned post executive Duke Lim will create an even stronger senior management team under Kim.”

Waugh most recently served as SVP, worldwide post production services, Warner Bros. Studio Facilities, a post he had held since 2007. In this position, he managed the post services senior management team, overseeing all talent, sales, facilities and operations on a day-to-day basis, with a primary focus on servicing all Warner Bros. Studios’ post sound clients. Prior to joining Warner Bros. as VP, post production services in 2004, Waugh worked at Ascent Media Creative Sound Services, where he served as SVP of sales and marketing, managing sales and marketing for the company’s worldwide divisional facilities. Prior to that, he spent more than 10 years at Soundelux, holding posts as president of Soundelux Vine Street Studios and Signet Soundelux Studios.

Lim has worked in the post production industry for more than 25 years, most recently posted at the Sony Sound Department, which he joined in 2014 to help expand the creative team and total number of mix stages. He began his career at Skywalker Sound South serving in various positions until their acquisition by Todd-AO in 1995, when Lim was given the opportunity to move into operations and began managing the mixing facilities for both its Hollywood location and the Todd-AO West studio in Santa Monica.

Behind the Title: ATK PLN Technical Supervisor Jon Speer

NAME: Jon Speer

COMPANY: ATK PLN (@atkpln_studio) in Dallas

CAN YOU DESCRIBE YOUR COMPANY?
We are a strategic creative group that specializes in design and animation for commercials and short-form video productions.

WHAT’S YOUR JOB TITLE?
Technical Supervisor

WHAT DOES THAT ENTAIL?
In general, a technical supervisor is responsible for leading the technical director team and making sure that the pipeline enables our artists’ effort of fulfilling the client’s vision.

Day-to-day responsibilities include:
– Reviewing upcoming jobs and making sure we have the necessary hardware resources to complete them
– Working with our producers and VFX supervisors to bid and plan future work
– Working with our CG/VFX supervisors to develop and implement new technologies that make our pipeline more efficient
– When problems arise in production, I am there to determine the cause, find a solution and help implement the fix
– Developing junior technical directors so they can be effective in mitigating pipeline issues that crop up during production

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I would say the most surprising thing that falls under the title is the amount of people and personality management that you need to employ.

As a technical supervisor, you have to represent every single person’s different perspectives and goals. Making everyone from artists, producers, management and, most importantly, clients happy is a tough balancing act. That balancing act needs to be constantly evaluated to make sure you have both the short-term and long-term interests of the company, clients and artists in mind.

WHAT TOOLS DO YOU USE?
Maya, Houdini and Nuke are the main tools we support for shot production. We have our own internal tracking software that we also integrate with.

From text editors for coding, to content creation programs and even budgeting programs, I typically use it all.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Starting the next project. Each new project offers the chance for us to try out a new or revamped pipeline tool that we hope will make things that much better for our team. I love efficiencies, so getting to try new tools, whether they are internally or externally developed, is always fun.

WHAT’S YOUR LEAST FAVORITE?
I know it sounds cliché, but I don’t really have one. My entire job is based on figuring out why things don’t work or how they could work better. So when things are breaking or getting technically difficult, that is why I am here. If I had to pick one thing, I suppose it would be looking at spreadsheets of any kind.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Early morning when no one else is in. This is the time of day that I get to see what new tools are out there and try them. This is when I get to come up with the crazy ideas and plans for what we do next from a pipeline standpoint. Most of the rest of my day usually includes dealing with issues that crop up during production, or being in meetings.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I think I would have to give teaching a try. Having studied architecture in school, I always thought it would be fun to teach architectural history.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We just wrapped on a set of Lego spots for the new Lego 2 movie.

Fallout 76

We also did an E3 piece for Fallout 76 this year that was a lot of fun. We are currently helping out with a spot for the big game this year that has been a blast.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I think I am most proud of our Lego spots we have created over the last three years. We have really experimented with pipeline on those spots. We saw a new technology out there — rendering in Octane — and decided to jump in head first. While it wasn’t the easiest thing to do, we forced ourselves to become even more efficient in all aspects of production.

NAME PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Houdini really makes the difficult things simple to do. I also love Nuke. It does what it does so well, and is amazingly fast and simple to program in.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Mainly I’ll listen to soundtracks when I am working, the lack of words is best when I am programming.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Golf is something I really enjoy on the weekends. However, like a lot of people, I find travel is easily the best way to for me to hit the reset button.

HPA Tech Retreat 2019: An engineer’s perspective

By John Ferder

Each year, I look forward to attending the Hollywood Professional Association’s Tech Retreat, better known as the HPA Tech Retreat. Apart from escaping the New York winter, it gives me new perspectives, a chance to exchange ideas with friends and colleagues and explore the latest technical and creative information. As a broadcast engineer, I get a renewed sense of excitement and purpose.

Also, as secretary/treasurer of SMPTE, the Board of Governors meetings as well as the Strategy Day held each year before the Tech Retreat energize me. This year, we invited a group of younger professionals to tell us what SMPTE could do to attract them to SMPTE and HPA, and what they needed from us as experienced professionals.

Their enthusiasm and honesty were refreshing and encouraging. We learned that while we have been trying to reach out to them, they have been looking for us to invite them into the Society. They have been looking for mentors and industry leaders to engage them one-on-one and introduce them to SMPTE and how it can be of value to them.

Presentations and Hot Topics
While it is true that the Hollywood motion picture community is behind producing this Tech Retreat, it is by no means limited to the film industry. There was plenty of content and information for those of us on the broadcast side to learn and incorporate into our workflows and future planning, including a presentation on the successor to SMPTE timecode. Peter Symes, formerly director of standards for SMPTE and a SMPTE Fellow, presented an update on the TLX Project and the development of what is to be SMPTE Standard ST2120, the Extensible Time Label.

This suite of standards will be built on the work already done in ST2059, which describes the use of the IEEE1588 Precision Time Protocol to synchronize video equipment over an IP network. This Extensible Time Label will succeed, not replace ST12, which is the analog timecode that we have used with great success for 50 years. As production moves increasingly toward using IP networks, this work will produce a digital time labeling system that will be as universal as ST12 timecode has been. Symes invited audience members to join the 32NF80 Technology Committee, which is developing and drafting the standard.

Phil Squyres

What were the hot topics this year? HDR, Wide Color Gamut, AI/machine learning, IMF and next-generation workflows had a large number of presentations. While this may seem to be the “same old, same old,” the amount of both technical and practical information presented this year was a real eye-opener to many of us.

Phil Squyres gave a talk on next generation versus broadcast production workflows that revealed that the amount of time and storage needed to complete a program episode for OTT distribution versus broadcast is 2.2X or greater. This echoed the observations of an earlier panel of colorists and post specialists for Netflix feature films, one of whom stated that instead of planning to complete post production two weeks prior to release, plan on completing five to six weeks prior in order to allow for the extra work needed for the extra QC of both HDR and SDR releases.

Artificial Intelligence and Machine Learning
Perhaps the most surprising presentation for me was given by Rival Theory, a company that generates AI personas based on real people’s memories, behaviors and mannerisms. They detailed the process by which they are creating a persona of Tony Robbins, famous motivational speaker and investor in Rival Theory. Robbins intends to have a life-like persona created to help people with life coaching and continue his mission to end suffering throughout the world, even after he dies. In addition to the demonstration of the multi-camera storing and rendering of his face while talking and displaying many emotions, they showed how Robbins’ speech was saved and synthesized for the persona. A rendering of the completed persona was presented and was very impressive.

Many presentations focused on applications of AI and machine learning in existing production and post workflows. I appreciated that a number of the presenters stressed that their solutions were meant not to replace the human element in these workflows, but to instead apply AI/ML to the redundant and tedious tasks, not the creative ones. Jason Brahms of Video Gorillas brought that point home in his presentation on “AI Film Restoration at 12 Million Frames per Second,” as did Tim Converse of Adobe in “Leveraging AI in Post Production.”

Broadcasters panel

Panels and Roundtables
Matthew Goldman of MediaKind chaired the annual Broadcasters Panel, which included Del Parks (Sinclair), Dave Siegler (Cox Media Group), Skip Pizzi (NAB) and Richard Friedel (Fox). They discussed the further development and implementation of the ATSC 3.0 broadcast standard, including the Pearl Consortium initiative in Phoenix and other locations, the outlook for ATSC 3.0 tuner chips in future television receivers and the applications of the standard beyond over-the-air broadcasting, with an emphasis on data-casting services.

All of the members of the panel are strong proponents of the implementation of the ATSC 3.0 standard, and more broadcasters are joining the evolution toward implementing it. I would have appreciated including on the panel someone of similar stature who is not quite so gung-ho on the standard to discuss some of the challenges and difficulties not addressed so that we could get a balanced presentation. For example, there is no government mandate nor sponsorship for the move to ATSC 3.0 as there was for the move to ATSC 1.0, so what really motivates broadcasters to make this move? Have the effects of the broadcast spectrum re-packing on available bandwidth negatively affected the ability of broadcasters in all markets to accommodate both ATSC 3.0 and ATSC 1.0 channels?

I really enjoyed “Adapting to a COTS Hardware World,” moderated by Stan Moote of the IABM. Paul Stechly, president of Applied Electronics, noted that more and more end users are building their own in-house solutions, assisted by manufacturers moving away from proprietary applications to open APIs. Another insight panelists shared was that COTS no longer applies to data hubs and switches only. Today, that term can be extended to desktop computers and consumer televisions and video displays as well. More and more, production and post suites are incorporating these into their workflows and environments to test their finished productions on the equipment on which their audience would be viewing them.

Breakfast roundtables

Breakfast Roundtables, which were held on Wednesday, Thursday and Friday mornings, are among my conference “must attends.” Over breakfast, manufacturers and industry experts are given a table to present a topic for discussion by all the participants. The exchange of ideas and approaches benefits everyone at the tables and is a great wake-up exercise leading into the presentations. My favorite, and one of the most popular of the Tech Retreat, is on Friday when S. Merrill Weiss of the Merrill Weiss Group, as he has for many years, presents us with a list of about 12 topics to discuss. This year, his co-host was Karl Paulsen, CTO of Diversified Systems, and the conversations were lively indeed. Some of the topics we discussed were the costs of building a facility based on ST2110, the future of coaxial cable in the broadcast plant, security in modern IP networks and PTP, and the many issues in the evolution from ATSC 1.0 to ATSC 3.0.

As usual, a few people were trying to fit in at or around the table, as it is always full. We didn’t address every topic, and we had to cut the discussions short or risk missing the first presentation of the day.

Final Thoughts
The HPA Tech Retreat’s presentations, panels and discussion forums are a continuing tool in my professional development. Attending this year reaffirmed and amplified my belief that this event is one that should be on each broadcasters’ and content creators’ calendar. The presentations showed that the line between the motion picture and television communities is further blurring and that the techniques embraced by the one community are also of benefit to the other.

The HPA Tech Retreat is still small enough for engaging conversations with speakers and industry professionals, sharing their industry, technical, and creative insights, issues and findings.


John Ferder is the principal engineer at John Ferder Engineer, currently Secretary/Treasurer of SMPTE, an SMPTE Fellow, and a member of IEEE. Contact him at john@johnferderengineer.com.

Review: HP’s double-hinged ZBook Studio x360 mobile workstation

By Mike McCarthy

I recently had the opportunity to test HP’s ZBook Studio x360 mobile workstation over the course of a few weeks. HP’s ZBook mobile workstation division has really been thinking outside the box lately, with the release of the ZBook X2 tablet, the HP Z-VR backpack-mounted system and now the ZBook Studio x360.

The ZBook Studio x360 is similar in design functionality to HP’s other x360 models — the Pavilion, Spectre, Envy, ProBook and Elitebook x360 — in that the display is double-hinged. The keyboard can be folded all the way behind the screen, allowing it to be used similarly to a tablet or placed in “tent” or “presentation” mode with the keyboard partially folded behind it. But the ZBook is clearly the top-end option of the systems available in that form factor. And it inherits all of the engineering from the rest of HP’s extensive product portfolio, in regards to security, serviceability, and interface.

Performance-wise, this Studio x360 model sits somewhere in the middle of HP’s extensive ZBook mobile workstation lineup. It is above the lightweight ZBook 14U and 15U and X2 tablet with their low-voltage U-Series CPUs and the value-oriented 15v. It is similar to the more traditional clamshell ultrabook ZBook Studio, and has less graphics power and RAM than the top-end ZBook 15 and 17.

It is distinguished from the ZBook Studio by its double-hinged 360 folding chassis, and its touch and pen inking capability. It is larger than the ZBook X2 with more powerful internal hardware. This model is packed with processing power in the form of a 6-core 8th generation Xeon processor, 32GB RAM and an Nvidia Quadro P1000 GPU. The 15-inch UHD screen boosts up to 400 nits at full brightness and, of course, supports touch and pen input.

Configuration Options
The unit has a number of interesting configuration options with two M.2 slots and a 2.5-inch bay allowing up to 6TB of internal storage, but most users will forgo the 2.5-inch SATA bay for an extended 96whr battery. There is the option of choosing between a 4G WWAN card or DreamColor display, giving users a wide selection of possible capabilities.

Because of the work I do, I am mostly interested in answering the question: “How small and light can I go, and still get my work done effectively?” In order to answer that question, I am reviewing a system with most of the top-end options. I started at a 17-inch Lenovo P71 last year, then tried a large 15-inch PNY PrevailPro and now am trying out this much lighter 15-inch book. There is no compromise with the 6-core CPU, as that is the same as in a 17-inch beast. So the biggest difference is in the GPU, with the mobile Quadro P1000 only having the 512 CUDA core, one third the power of the Quadro P4000 I last tested. So VR is not going to work, but besides heavy color grading, most video editing tasks should be supported. And 32GB of RAM should be enough for most users, but I installed a second NVMe drive, giving me a total of 2TB of storage.

Display
The 15.6-inch display is available in a number of different options, all supporting touch and digital pen input. The base-level full-HD screen can be upgraded to a Sure View screen, allowing the user to selectively narrow the viewing angle at the press of a key in order to increase their privacy. Next up is the beautiful 400-nit UHD screen that my unit came with. And the top option is a 600-nit DreamColor calibrated UHD panel. All of the options fully support touch and pen input.

Connectivity
The unit has dual-Thunderbolt 3 ports, supporting DisplayPort 1.3, as well as HDMI, dual-USB3.1 Type-A ports, an SDXC card slot and an audio jack. The main feature I am missing is an RJ-45 jack for Gigabit Ethernet. I get that there are trade-offs to be made in any configuration, but that is the item I am missing from this unit. On the flip side, with the release of affordable Thunderbolt-based 10GbE adapters, that is probably what I would pair with this unit if I was going to be using it to edit assets I have stored on my network. So that is a solvable problem.

Serviceability
Unlike the heavier ZBook 15 and 17 models, it does not have a tool-less chassis, but that is an understandable a compromise to reduce size and weight, and totally reasonable. I was able to remove the bottom cover with a single torx screwdriver, giving me access to the RAM, wireless cards, and M.2 slots I was populating with a second NVMe drive to test. The battery can also be replaced that way should the need arise, but the 96whr long-life battery is fully covered by the system warranty, be that three or five years depending on your service level.

Security
There are a number of unique features that this model shares with many others in HP’s lineup. The UEFI-based HP Sure Start BIOS and pre-boot environment provide a host of options for enterprise-level IT management, and make it less likely that the boot process will get corrupted. HP Sure Click is a security mechanism that isolates each Chromium browser tab in its own virtual machine, protecting the rest of your system from any malware that it might otherwise be exposed to. Sure Run and Sure Recover are designed to prevent and recover from security failures that render the system unusable.

The HP Client Security Manager brings the controls for all of this functionality into one place and uses the system’s integrated fingerprint reader. HP Workwise is a utility for integrating the laptop with one’s cell phone, allowing automatic system lock and unlock when the cell phone leaves or enters Bluetooth range and phone notifications from the other “Sure” security applications.

Thunderbolt Dock
HP also supplied me with their new Thunderbolt dock. The single most important feature on that unit from my perspective is the Gigabit Ethernet port, since there isn’t one built into the laptop. It also adds two DisplayPorts and one VGA output and includes five more USB ports. I was able to connect my 8K display to the DisplayPort output and it ran fine at 30Hz, as is to be expected from a single Thunderbolt connection. The dock should run anything smaller than that at 60Hz, including two 4K displays.

The dock also supports an optional audio module to facilitate better conference calls, with a built-in speaker, microphone and call buttons. It is a nice idea but a bit redundant since the laptop has a “world-facing” microphone for noise cancellation or group calling and even has “Collaboration Keys” for controlling calls built into the top of the keyboard. Apparently, HP sees this functionality totally replacing office phones.

I initially struggled to get the dock to work — besides the DisplayPorts — but this was because I connected it before boot-up. Unlike docking stations from back in the day, Thunderbolt is fully hot-swappable and actually needs to be powered on the first time it is connected in order to trigger the dialog box, which gives it low-level access to your computer for security reasons. Once I did that, it has worked seamlessly.

The two-part cable integrates a dedicated power port and Thunderbolt 3 connection, magnetically connected for simple usage while maintaining flexibility for future system compatibility. The system can receive power from the Thunderbolt port, but for maximum power and performance uses a 130W dedicated power plug as well, which appears to be standardized across much of HP’s line of business products.

Touchscreens and Pens
I had never seriously considered tablets or touchscreen solutions for my own work until one of HP’s reps showed me an early prototype of the ZBook X2 a few years ago. I initially dismissed it until he explained how much processing power they had packed into it. Only then did I recognize that HP had finally fulfilled two of my very different and long-standing requests in a way that I hadn’t envisioned. I had been asking the display team for a lightweight battery-powered DreamColor display, and I had been asking the mobile workstation team for a 12- or 14-inch Nvidia-powered model — this new device was both.

I didn’t end up reviewing the X2 during its initial release last year, although I plan to soon. But once the X2 shifted my thinking about tablet and touch-based tools, I saw this ZBook Studio x360 as an even more powerful implementation of that idea, in a slightly larger form factor. While I have used pens on other people’s systems in the past, usually when doing tech support for other editors, this is my first attempt to do real work with a pen instead of a mouse and keyboard.

One of the first obstacles I encountered was getting the pen to work at all. Unlike the EMR-based pens from Wacom tablets and the ZBook X2, the x360 uses an AES-based pen, which requires power and a Bluetooth connection to communicate with the system. I am not the only user to be confused by this solution, but I have been assured by HP that the lack of documentation and USB-C charging cable have been remedied in currently shipping systems.

It took me a while (and some online research) to figure out that there was a USB-C port hidden in the pen and that it needed to be charged and paired with the system. Once I did that, it has functioned fine for me. The pen itself works great, with high precision and 4K levels of pressure sensitivity and tilt support. I am not much of a sketcher or painter, but I do a lot of work in Photoshop, either cleaning images up or creating facial expressions for my Character Animator puppets. The pen is a huge step up from the mouse for creating smooth curves and natural lines. And the various buttons worked well for me once I got used to them. But I don’t do a lot of work that benefits from having the pen support, and trying to adapt other tasks to the pen-based input was more challenging than I anticipated.

The other challenge I encountered was with the pen holder, which fits into the SD card slot. The design is good and works better than I would have expected, but removing the original SD plug that protects the slot was far more difficult than it should be. I assume the plug is necessary for the system to pass the 13 MilSpec type tests that HP runs all of its ZBooks through, but I probably won’t be wedging it back in that slot as long as I have the system.

Inking
I am not much of a tablet user as of yet since this was my first foray into that form factor, but the system is a bit large and bulky when folded back into tablet mode. I have hit the power button by accident on multiple occasions, hibernating the system while I was trying to use it. This has primarily been an issue when I am using it in tablet mode and holding it with my left hand in that area by default. But the biggest limitation I encountered in tablet mode was recognizing just how frequently I use the keyboard during the course of my work. While Windows Inking does allow for an onscreen keyboard to be brought up for text entry, functions like holding Alt for anchor-based resizing are especially challenging. I am curious to see if some of these issues are alleviated on the X2 by the buttons they built into the edge of the display. As long as I have easy access to Shift, Ctrl, Alt, C, V and a couple others, I think I would be good to go, but it is one of those things that you can’t know for sure until you try it yourself. And different people with varying habits and preferences might prefer different solutions to the same tasks. In my case, I have not found the optimal touch and inking experience yet.

Performance
I was curious to see what level of performance I would get from the Quadro P1000, as I usually use systems with far more GPU power. But I was impressed with how well it was able to handle the animating and editing of the 5K assets for my Grounds of Freedom animated series. I was even able to dynamically link between the various Adobe apps with a reasonable degree of interactive feedback. That is where you start to see a difference between this mobile system and a massive desktop workstation.

eGPU
Always looking for more power, I hooked up Sonnet’s Breakaway Box 550 with a variety of different Nvidia GPUs to accelerate the graphics performance of the system. The Quadro P6000 was the best option, as it used the same Quadro driver and Pascal architecture as the integrated P1000 GPU but greatly increased performance.

It allowed me to use my Lenovo Explorer WMR headset to edit 360 video in VR with Premiere Pro, and I was able to playback 8K DNxHR files at full resolution in Premiere to my Dell 8K LCD display. I was also able to watch 8K HEVC files in Windows movie player smoothly. Pretty impressive for a 15-inch convertible laptop, but the 6-Core Xeon processor pairs well with the desktop GPU, making this an ideal system to harness the workflow possibilities offered by eGPU solutions.

Media Export Benchmarks
I did extensive benchmark testing, measuring the export times of various media at different settings with different internal and external GPU options. The basic conclusion was that currently simple transcodes and conversions are not much different with an eGPU, but that once color correction and other effects are brought into the equation, increasing GPU power makes processing two to five times faster.

I also tested DCP exports with Quvis’ Wraptor plugin for AME and found the laptop took less than twice as long as my top-end desktop to make DCPs, which I consider to be a good thing. You can kick out a 4K movie trailer in under 10 minutes. And if you want to export a full feature film, I would recommend a desktop, but this will do it in a couple of hours.

Final Observations
The ZBook Studio x360 is a powerful machine and an optimal host for eGPU workflows. While it exceeded my performance expectations, I did not find the touch and ink solution to be optimal for my needs as I am a heavy keyboard user, even when doing artistic tasks. (To be clear, I haven’t found a better solution. This just doesn’t suitably replace my traditional mouse and keyboard approach to work.) So if buying one for myself, I would personally opt for the non-touch ZBook Studio model. But for anyone to whom inking is a critical part of their artistic workflow, who needs a powerful system on the go, this is a very capable model that doesn’t appear to have too many similar alternatives. It blends the power of the ZBook Studio with the inking experience of HP’s other x360 products.


Mike McCarthy is an online editor/workflow consultant with over 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.

SGO’s Mistika Ultima integrates AJA’s Kona 5

SGO has integrated AJA‘s Kona 5 audio and video I/O cards into its full finishing and workflow solution Mistika Ultima, providing simplified and optimized 8K production for broadcast clients.

The new Mistika Ultima 8K System provides a realtime finishing workflow for 8K full UHD at 60p, even with uncompressed formats. It is comprised of an AJA Kona 5 card with 12G-SDI I/O connectivity, Mistika Ultima software, an HP Z8 workstation, a high-performance SGO storage solution, and other industry-standard hardware.

Kona 5 is a high-performance eight-lane PCIe 3.0 capture and output card featuring 12G-SDI I/O and HDMI 2.0 output. For OEM partners, the card is supported on AJA’s SDK for Mac OS, Windows and Linux, offering advanced features such as 8K and multi-channel 4K. Kona 5 is also compatible with creative tools such as Adobe Premiere Pro, Apple Final Cut Pro X and Avid Media Composer, via AJA’s proven Mac OS and Windows drivers and application plug-ins. Kona 5 enables simultaneous capture with signal passthrough when using 12G-SDI, and offers HDMI 2.0 output, as well as deep-color and multi-format HDR support.

Molinare hires Nigel Bennett as commercial director

Nigel Bennett will be joining London’s Molinare as commercial director. He was most recently at Pinewood Studios and starts in May. 

Bennett brings experience managing creative, technical and financial pressures within post production.

At Pinewood Studios, Bennett was the group director of creative services, a position he had held since 2014, where he oversaw the opening of Pinewood Digital in Atlanta. With a career in post, Nigel worked his way up from re-recording mixer, through operations management across film, TV and games, head of operations of digital content services, up to his most recent role.

As a re-recording mixer at Shepperton Studios, he worked on a range of titles such as Nanny McPhee, Troy, Love Actually, Gosford Park and Last Orders. 

The London facility looks to build on the success of award-winning dramas Killing Eve and Bodyguard, the Primetime Emmy award-nominated Patrick Melrose, the documentary Three Identical Strangers and feature Mission: Impossible – Fallout, all from last year.

Sound designer Ash Knowlton joins Silver Sound

Emmy Award-winning NYC sound studio Silver Sound has added sound engineer Ash Knowlton to its roster. Knowlton is both a location sound recordist and sound designer, and on rare and glorious occasions she is DJ Hazyl. Knowlton has worked on film, television, and branded content for clients such as NBC, Cosmopolitan and Vice, among others.

“I know it might sound weird but for me, remixing music and designing sound occupy the same part of my brain. I love music, I love sound design — they are what make me happy. I guess that’s why I’m here,” she says.

Knowlton moved to Brooklyn from Albany when she was 18 years old. To this day, she considers making the move to NYC and surviving as one of her biggest accomplishments. One day, by chance, she ran into filmmaker John Zhao on the street and was cast on the spot as the lead for his feature film Alexandria Leaving. The experience opened Knowlton’s eyes to the wonders and complexity of the filmmaking process. She particularly fell in love with sound mixing and design.

Ten years later, with over seven independent feature films now under her belt, Knowlton is ready for the next 10 years as an industry professional.

Her tools of choice at Silver Sound are Reaper, Reason and Kontakt.

Main Photo Credit: David Choy

Method Studios adds Bill Tlusty joins as global head of production

Method Studios has brought on veteran production executive and features VFX Producer Bill Tlusty on board in the new role of global head of production. Reporting to EVP of global features VFX, Erika Burton, Tlusty will oversee Method’s global feature film and episodics production operation, leading teams worldwide.

Tlusty’s career as both a VFX producer and executive spans two decades. Most recently, as an executive with Universal Pictures, he managed more than 30 features, including First Man and The Huntsman: Winter’s War. His new role marks a return to Method Studios, as he served as head of studio in Vancouver prior to his gig at Universal. Tlusty also spent eight years as a VFX producer and executive producer at Rhythm & Hues.

In this capacity he was lead executive on Snow White and the Huntsman and the VFX Oscar-winning Life of Pi. His other VFX producer credits include Night at the Museum: Battle of the Smithsonian, The Mummy: Tomb of the Emperor Dragon and Yogi Bear, and he served as production manager on Hulk and Peter Pan and coordinator on A.I Artificial Intelligence. Early in his career Tlusty worked as a production aAssistant at American Zoetrope, working for its iconic filmmaker founders, Francis Ford Coppola and George Lucas. His VFX career began at Industrial Light & Magic where he worked in several capacities on the Star Wars prequel trilogy, first as a VFX coordinator and later, production  manager on the series. He is a member of the Producers Guild of America.

“Method has pursued intelligent growth, leveraging the strength across all of its studios, gaining presence in key regions and building on that to deliver high quality work on a massive scale,” Tlusty. “Coming from the client side, I understand how important it is to have the flexibility to grow as needed for projects.”

Tlusty is based in Los Angeles and will travel extensively among Method’s global studios.

Updated Quantum Xcellis targets robust video workflows

Quantum has updated its Xcellis storage environment, which allow users to ingest, edit, share and store media content. These new appliances, which are powered by the company’s StorNext platform, are based on a next-generation server architecture that includes dual eight-core Intel Xeon CPUs, 64GB memory, SSD boot drives and dual 100Gb Ethernet or 32Gb Fibre Channel ports.

The enhanced CPU and 50% increase in RAM over the previous generation greatly improve StorNext metadata performance. These enhancements make tasks such as file auditing less time-intensive, support an even greater number of clients per node and enable the management of billions of files per node. Users operating in a dynamic application environment on storage nodes will also see performance improvements.

With the ability to provide cross-protocol locking for shared files across SAN, NFS and SMB, Xcellis targets organizations that have collaborative workflows and need to share content across both Fibre Channel and Ethernet.

Leveraging this next-generation hardware platform, StorNext will provide higher levels of streaming performance for video playback. Xcellis appliances provide a high-performance gateway for StorNext advanced data management software to integrate tiers of scalable on-premise and cloud-based storage. This end-to-end capability provides a cost-effective solution to retain massive amounts of data.

StorNext offers a variety of features that ensure data-protection of valuable content over its entire life-cycle. Users can easily copy files to off-site tiers and take advantage of versioning to roll back to an earlier point in time (prior to a malware attack, for example) as well as set up automated replication for disaster recovery purposes — all of which is designed to protect digital assets.

Quantum’s latest Xcellis appliances are available now.

AICE Awards rebranded to AICP Post Awards

AICP has announced the Call for Entries for the AICP Post Awards, its revamped and rebranded competition for excellence in the post production arts. Formerly the AICE Awards, its categories have been re-imagined with a focus on recognizing standout examples of various crafts and technique in editing, audio, design, visual effects artistry and finishing. The AICP Post Awards are a part of the AICP Awards suite of competitions, which also include The AICP Show: The Art & Technique of the American Commercial and the AICP Next Awards, both of which are also currently accepting entries.

Among the changes for the AICP Post Awards this year are the opening of the competition to any entity having involvement in the creation of a piece of content beyond the AICP membership —previously the AICE Awards was a “members only” competition.

For the full rundown on rules, categories, eligibility and fees, visit the AICP Post Awards entry portal. Deadline for entries is Thursday, February 8 at 11:59pm PST. Entrants can use the portal to cross-enter work between all three of the 2019 AICP competitions, including the AICP Show: The Art & Technique of the American Commercial and the AICP Next Awards.

Regarding categories, the competition has regrouped its existing categories, introduced a range of new sections, expanded others and added an entirely new category for vertical video.

Danny Rosenbloom

“While we’ll continue to recognize editorial across a wide range of product, genre and technique categories, we now have a wider range of subcategories in areas like audio, visual effects and design and color grading,” says Danny Rosenbloom, AICP’s VP, post and digital Production.

“We saw this as an opportunity to make the Post Awards more reflective of the varied artists working across the spectrum of post production disciplines,” noted Matt Miller, president/CEO of AICP.  “Now that we’ve brought all this post production expertise into AICP, we want the Post Awards to be a real celebration of creative talent and achievement.”

A full list of AICP Post Awards categories now includes the following:

Editorial Categories
Automotive
Cause Marketing
Comedy
Dialogue
Monologue/Spoken Word
Docu-Style
Fashion/Beauty
Montage
Music Video
Storytelling
National Campaign
Regional Campaign

Audio Categories
Audio Mix
Sound Design With Composed Music
Sound Design Without Composed Music

Color Categories
Color :60
Color :30
Color Other Lengths
Color Music Video

Design, Visual Effects & Finishing Categories
Character Design & Animation
Typography Design & Animation
Graphic Design & Animation
End Tag
CGI
Compositing & Visual Effects
Vertical

In addition to its category winners and Best of Show honoree, the AICP Post Awards will continue to recognize Best of Region winners that represent the best work emanating from companies submitting within each AICP Chapter. These now encompass East, Florida, Midwest, Minnesota, Southeast, Southwest and West.

Industry vets open editorial, post studio Made-SF

Made-SF, a creative studio offering editorial and other services, has been launched by executive producer Jon Ettinger, editor/director Doug Walker and editors Brian Lagerhausen and Connor McDonald, all formerly of Beast Editorial. Along with creative editorial (Adobe Premiere), the company will provide motion graphic design (After Effects, Mocha), color correction and editorial finishing (likely Flame and Resolve). Eventually, it plans to add concept development, directing and production to its mix.

“Clients today are looking for creative partners who can help them across the entire production chain,” says Ettinger. “They need to tell stories and they have limited budgets available to tell them. We know how to do both, and we are gathering the resources to do so under one roof.”

Made is currently set up in interim quarters while completing construction of permanent studio space. The latter will be housed in a century-old structure in San Francisco’s North Beach neighborhood and will feature five editorial suites, two motion graphics suites, and two post production finishing suites with room for further expansion.

The four Made partners bring deep experience in traditional advertising and branded content, working both with agencies and directly with clients. Ettinger and Walker have worked together for more than 20 years and originally teamed up to launch FilmCore, San Francisco. Both joined Beast Editorial in 2012. Similarly, Lagerhausen and McDonald have been editing in the Bay Area for more than two decades. Collectively, their credits include work for agencies in San Francisco and nationwide. They’ve also helped to create content directly for Google, Facebook, LinkedIn, Salesforce and other corporate clients.

Made is indicative of a trend where companies engaged in content development are adopting fluid business models to address a diversifying media landscapes and where individual talent is no longer confined to a single job title. Walker, for example, has recently served as director on several projects, including a series of short films for Kelly Services, conceived by agency Erich & Kallman and produced by Caruso Co.

“People used to go to great pains to make a distinction about what they do,” Ettinger observes. “You were a director or an editor or a colorist. Today, those lines have blurred. We are taking advantage of that flattening out to offer clients a better way to create content.”

Main Image Caption: (L-R) Doug Walker, Brian Lagerhausen, Jon Ettinger and Connor McDonald.

Company 3 to open Hollywood studio, adds Roma colorist Steve Scott

Company 3 has added Steve Scott as EVP/senior finishing artist. His long list of credits includes Alfonso Cuarón’s Oscar-nominated Roma and Gravity; 19 Marvel features, including The Avengers, Iron Man and Guardians of the Galaxy franchises; and many Academy-Award-winning films, including The Jungle Book, Birdman or The Unexpected Virtue of Ignorance and The Revenant (both took Oscars for director Alejandro Iñárritu and cinematographer Emmanuel Lubezki).

Roma

The addition of Scott comes at a time when Company 3 is completing work on a new location at 950 Lillian Way in Hollywood. This new space represents the first phase of a planned much larger footprint in that area of Los Angeles. This new space will enable the company to significantly expand its capacity while providing the level of artistry and personalized service the industry expects from Company 3. It will also enable them to service more East Side and Valley-based clients.

“Steve is someone I’ve always wanted to work with and I am beyond thrilled that he has agreed to work with us at Company 3,” says CEO Stefan Sonnenfeld. “As we continue the process of re-imagining the entire concept of what ‘post production’ means creatively and technically, it makes perfect sense to welcome a leading innovator and brilliant artist to our team.”

Sonnenfeld and Scott will oversee every facet of this new boutique-style space to ensure it offers the same flexible experience clients have come to expect when working at Company 3. Scott, a devoted student of art and architecture, with extensive professional experience as a painter and architectural illustrator, says, “The opportunity to help design a new cutting-edge facility in my Hollywood hometown was too great to pass up.”

Scott oversees a team of additional artists to offer filmmakers the significantly increased ability to augment and refine imagery as part of the finishing process.

“The industry is experiencing a renaissance of content,” says Sonnenfeld. “The old models of feature film vs. television, long- vs. short-form are changing rapidly. Workflows and delivery methods are undergoing revolutionary changes with more content, and innovative content, coming from a whole array of new sources. It’s a very exciting and challenging time and I think these major additions to our roster and infrastructure will go a long way towards our goal of continuing Company 3’s role as a major force in the industry.”

Main Image Credit: 2018 HPA Awards Ceremony/Ryan Miller/Capture Imaging