AMD 2.1

Talking with Franki Ashiruka of Nairobi’s Africa Post Office

By Randi Altman

After two decades of editing award-winning film and television projects for media companies throughout Kenya and around the world, Franki Ashiruka opened Africa Post Office, a standalone, post house in Nairobi, Kenya. The studio provides color grading, animation, visual effects, motion graphics, compositing and more. In addition, Continue reading

AMD 2.1

Behind the Title: Design director Liron Eldar-Ashkenazi

NAME: Liron Eldar-Ashkenazi  (@iamlirona)

WHAT’S YOUR JOB TITLE?
Design Director

WHAT DOES THAT ENTAIL?
I help companies execute on their creative hopes and dreams, both hands-on and as a consultant and director.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE? Continue reading


Directing bookend sequences for Portals, a horror anthology film

By Hasraf “HaZ” Dulull

Portals is a genre-bending feature film anthology focusing on a series of worldwide blackouts — after which millions of mysterious objects appear everywhere across the planet. While many flee from the sentient objects, some people are drawn toward and into them with horrifying consequences.

The film was in the final stages of post when writer/director Liam O’Donnell (Beyond Skyline and the upcoming Skylines film) called to see if I would like to get involved and direct some bookend sequences to add more scope and setup, Continue reading


Review: HP’s ZBook G6 mobile workstation

By Brady Betzel

In a year that’s seen AMD reveal an affordable 64-core processor with its Threadripper 3, it appears as though we are picking up steam toward next-level computing.

Apple finally released its much-anticipated Mac Pro (which comes with a hefty price tag for the 1.5TB upgrade), and custom-build workstation companies — like Boxx and Puget Systems — can customize good-looking systems to fit any need you can imagine. Continue reading


DP Chat: The Grudge’s Zachary Galler

By Randi Altman

Being on set is like coming home for New York-based cinematographer Zachary Galler, who as a child would tag along with his father while he directed television and film projects. The younger Galler started in the industry as a lighting technician and quickly worked his way up to shooting various features and series. Continue reading



Maryanne Brandon’s path, and editing Star Wars: The Rise of Skywalker

By Amy Leland

In the interest of full disclosure, I have been a fan of both the Star Wars world and the work of J.J. Abrams for a very long time. I saw Star Wars: Episode IV – A New Hope  in the theaters with my big brother when I was five years old, Continue reading


Uncut Gems directors Josh and Benny Safdie

By Iain Blair

Filmmakers Josh and Benny Safdie have been on the verge of the big time since they started making their own distinctive brand of cinema: one full of anxiety, brashness, untamed egos and sweaty palms. They’ve finally done it with A24’s Uncut Gems.

Following their cinema verité Heaven Knows What — with its look at the New York City heroin subculture — and the crime thriller Good Time, Continue reading

VFX pipeline trends for 2020

By Simon Robinson

A new year, more trends — some burgeoning, and others that have been dominating industry discussions for a while. Underpinning each is the common sentiment that 2020 seems especially geared toward streamlining artist workflows, more so than ever before.

There’s an increasing push for efficiency; not just through hardware but through better business practices and solutions to throughput problems. Continue reading

ILM’s Pablo Helman on The Irishman‘s visual effects

By Karen Moltenbrey

When a film stars Robert De Niro, Joe Pesci and Al Pacino, well, expectations are high. These are no ordinary actors, and Martin Scorsese is no ordinary director. These are movie legends. And their latest project, Netflix’s The Irishman, is no ordinary film. It features cutting-edge de-aging technology from visual effects studio Industrial Light & Continue reading

Talking work and trends with Wave Studios New York

By Jennifer Walden

The ad industry is highly competitive by nature. Advertisers compete for consumers, ad agencies compete for clients and post houses compete for ad agencies. Now put all that in the dog-eat-dog milieu of New York City, and the market becomes more intimidating.

When you factor in the saturation level of the audio post industry in New York City — where audio facilities are literally stacked on top of each other (occupying different floors of the same building or located just down the hall from each other) — then the odds of a new post sound house succeeding seem dismal. Continue reading

DP Chat: The Morning Show cinematographer Michael Grady

By Randi Altman

There have never been more options to stream content than right now. In addition to veterans Netflix, Amazon and Hulu, Disney+ and Apple TV+ have recently joined the fray.

In fact, not only did Apple TV+ just launch last month, its The Morning Show — about what goes on behind the scenes on, Continue reading

A Beautiful Day in the Neighborhood director Marielle Heller

By Iain Blair

If you are of a certain age, the red cardigan, the cozy living room and the comfy sneakers can only mean one thing — Mister Rogers! Sony Pictures’ new film, A Beautiful Day in the Neighborhood, is a story of kindness triumphing over cynicism. It stars Tom Hanks and is based on the real-life friendship between Fred Rogers and journalist Tom Junod. Continue reading

Behind the title: Cutters editor Steve Bell

“I’ve always done a fair amount of animation design, music rearranging and other things that aren’t strictly editing, but most editors are expected to play a role in aspects of the post process that aren’t strictly editing.”

Name: Steve Bell

What’s your job title?
Editor

Company: Cutters Editorial

Can you describe your company? Continue reading

Review: The Sensel Morph hardware interface

By Brady Betzel

As an online editor and colorist, I have tried a lot of hardware interfaces designed for apps like Adobe Premiere, Avid Media Composer, Blackmagic DaVinci Resolve and others. With the exception of professional color correction surfaces like the FilmLight Baselight, the Resolve Advanced Panel and Tangent’s Element color correction panels, Continue reading

Ford v Ferrari’s co-editors discuss the cut

By Oliver Peters

After a failed attempt to acquire European carmaker Ferrari, an outraged Henry Ford II sets out to trounce Enzo Ferrari on his own playing field — automobile endurance racing. That is the plot of 20th Century Fox’s Ford v Ferrari, directed by James Mangold. In the end, Continue reading

Storage for Visual Effects

By Karen Moltenbrey

When creating visual effects for a live-action film or television project, the artist digs right in. But not before the source files are received and backed up. Of course, during the process, storage again comes into play, as the artist’s work is saved and composited into the live-action file and then saved (and stored) yet again. Continue reading

Storage for Color and Post

By Karen Moltenbrey

At nearly every phase of the content creation process, storage is at the center. Here we look at two post facilities whose projects continually push boundaries in terms of data, but through it all, their storage solution remains fast and reliable. One, Light Iron, juggles an average of 20 to 40 data-intensive projects at a time and must have a robust storage solution to handle its ever-growing work. Continue reading

Storage Trends for M&E

By Tom Coughlin

Media and entertainment content is growing in size due to higher resolution, higher frame rates and more bits per pixel. In addition, the amount of digital content is growing as increasing numbers of creators provide unique content for online streaming channels and as the number of cameras used in a given project increases for applications such as sports 360-degree immersive video projects. Continue reading

Storage for UHD and 4K

By Peter Collins

Over the past few years, we have seen a huge audience uptake of UHD and 4K technologies. The increase in resolution offering more detailed imagery, and the adoption of HDR bringing bigger and brighter colors.

UHD technologies are a significant selling point, and are quickly becoming the “new normal ” Continue reading

Storage for Editors

By Karen Moltenbrey

Whether you are a small-, medium- or large-size facility, storage is at the heart of your workflow. Consider, for instance, the one-person shop Fin Film Company, which films and edits footage for branding and events, often on water. Then there’s Uppercut, a boutique creative/post studio where collaborative workflow is the key to pushing boundaries on commercials and other similar projects. Continue reading

Storage Roundtable

By Randi Altman

Every year in our special Storage Edition, we poll those who use storage and those who make storage. This year is no different. The users we’ve assembled for our latest offering weigh in on how they purchase gear, how they employ storage and cloud-based solutions. Storage makers talk about what’s to come from them, Continue reading

Behind the Title: Matter Films president Matt Moore

Part of his job is finding talent and production partners. “We want the most innovative and freshest directors, cinematographers and editors from all over the world.”

NAME: Matt Moore

COMPANY: Phoenix and Los Angeles’ Matter Films
and OH Partners

CAN YOU DESCRIBE YOUR COMPANY? Continue reading

Localization: Removing language barriers on global content

By Jennifer Walden

Foreign films aren’t just for cinephiles anymore. Streaming platforms are serving up international content to the masses. There are incredible series — like Netflix’s Spanish series Money Heist, Danish series The Rain and the German series Dark — that would have been otherwise unknown to American audiences. Continue reading

Quick Chat: The Rebel Fleet’s Michael Urban talks on-set workflows

When shooting major motion pictures and episodic television with multiple crews in multiple locations, production teams need a workflow that gives them fast access and complete control of the footage across the entire production, from the first day of the shoot to the last day of post. This is Wellington, New Zealand-based The Rebel Fleet’s reason for being. Continue reading

Video: The Irishman’s focused and intimate sound mixing

Martin Scorsese’s The Irishman, starring Robert De Niro, Al Pacino and Joe Pesci, tells the story of organized crime in post-war America as seen through the eyes of World War II veteran Frank Sheeran (DeNiro), a hustler and hitman who worked alongside some of the most notorious figures of the 20th century. In the film, Continue reading

The Irishman editor Thelma Schoonmaker

By Iain Blair

Editor Thelma Schoonmaker is a three-time Academy Award winner who has worked alongside filmmaker Martin Scorsese for almost 50 years. Simply put, Schoonmaker has been Scorsese’s go-to editor and key collaborator over the course of some 25 films, winning Oscars for Raging Bull, The Aviator and The Departed. Continue reading

Behind the Title: MPC’s CD Morten Vinther

This creative director/director still jumps on the Flame and also edits from time to time. “I love mixing it up and doing different things,” he says.

NAME: Morten Vinther

COMPANY: Moving Picture Company, Los Angeles

CAN YOU DESCRIBE YOUR COMPANY? Continue reading

Director Robert Eggers talks about his psychological thriller The Lighthouse

By Iain Blair

Writer/director Robert Eggers burst onto the scene when his feature film debut, The Witch, won the Directing Award in the US Dramatic category at the 2015 Sundance Film Festival. He followed up that success by co-writing and directing another supernatural, hallucinatory horror film, The Lighthouse, Continue reading

Behind the Title: Logan & Sons director Tom Schlagkamp

This director also loves editing, sound design and working with VFX long before and after the shoot.

Name: Tom Schlagkamp

Company: Logan & Sons, the live-action division of bicoastal content creation studio Logan, which is based in NYC and LA. Continue reading

2019 HPA Award winners announced

The industry came together on November 21 in Los Angeles to celebrate its own at the 14th annual HPA Awards. Awards were given to individuals and teams working in 12 creative craft categories, recognizing outstanding contributions to color grading, sound, editing and visual effects for commercials, television and feature film.

As was previously announced, Continue reading

Creating With Cloud: A VFX producer’s perspective

By Chris Del Conte

The ‘90s was an explosive era for visual effects, with films like Jurassic Park, Independence Day, Titanic and The Matrix shattering box office records and inspiring a generation of artists and filmmakers, myself included. I got my start in VFX working on seaQuest DSV, Continue reading

Blur Studio uses new AMD Threadripper for Terminator: Dark Fate VFX

By Dayna McCallum

AMD has announced new additions to its high-end desktop processor family. Built for demanding desktop and content creation workloads, the 24-core AMD Ryzen Threadripper 3960X and the 32-core AMD Ryzen Threadripper 3970X processors will be available worldwide November 25.

AMD states that the powerful new processors provide up to 90 percent more performance and up to 2.5 times more available storage bandwidth than competitive offerings, Continue reading

Julian Clarke on editing Terminator: Dark Fate

By Oliver Peters

Linda Hamilton’s Sarah Connor and Arnold Schwarzenegger T-800 are back to save humanity from a dystopian future in this latest installment of the Terminator franchise. James Cameron is also back and brings with him writing and producing credits, which is fitting — Terminator: Dark Fate is in essence Cameron’s sequel to Terminator 2: Judgment Day. Continue reading

Review: Nugen Audio’s VisLM2 loudness meter plugin

By Ron DiCesare

In 2010, President Obama signed the CALM Act (Commercial Advertisement Loudness Mitigation) regulating the audio levels of TV commercials. At that time, I had many “laypeople” complain to me how commercials were often so much louder than the TV programs. Over the past 10 years, I have seen the rise of audio meter plugins to meet the requirements of the CALM Act, Continue reading

Behind the Title: Compadre’s Jessica Garcia-Scharer

NAME: Jessica Garcia-Scharer

COMPANY: Culver City’s Compadre

CAN YOU DESCRIBE YOUR COMPANY?
We are a creative marketing agency. We make strategically informed branding and creative — and then help to get it out to the world in memorable ways. And we use strategy, Continue reading

Report: Apple intros 16-inch MacBook Pro, previews new Mac Pro, display

By Pat Birk

At a New York City press event, Apple announced that it will being shipping a new 16-inch MacBook Pro this week. This new offering will feature an updated 16-inch Retina display with a pixel density of 226ppi; 9th-generation Intel processors featuring up to 8 cores and up to 64GB of DDR4 memory; Continue reading

Todd Phillips talks directing Warner Bros.’ Joker

By Iain Blair

Filmmaker Todd Phillips began his career in comedy, most notably with the blockbuster franchise The Hangover, which racked up $1.4 billion at the box office globally. He then leveraged that clout and left his comedy comfort zone to make the genre-defying War Dogs.

Joker puts comedy even further in his rearview mirror. Continue reading

DP Chat: Good Boys cinematographer Jonathan Furmanski

By Randi Altman

Cinematographer Jonathan Furmanski is no stranger to comedy. His resume is long and includes such projects as the TV series Search Party and Inside Amy Schumer, as well as Judd Apatow’s documentary, The Zen Diaries of Garry Shandling.

So when it came time to collaborate with director Gene Stupnitsky on the Seth Rogen and Evan Goldberg-produced Good Boys feature, Continue reading

postPerspective’s ‘SMPTE 2019 Live’ interview coverage

postPerspective was the official production team for SMPTE during its most recent conference in downtown Los Angeles this year. Taking place once again at the Bonaventure Hotel, the conference featured events and sessions all week. (You can watch those interviews here.)

These sessions ranged from “Machine Learning & Continue reading

A post engineer’s thoughts on Adobe MAX, new offerings

By Mike McCarthy

Last week, I had the opportunity to attend Adobe’s MAX conference at the LA Convention Center. Adobe showed me, and 15,000 of my closest friends, the newest updates to pretty much all of its Creative Cloud applications, as well as a number of interesting upcoming developments. From a post production perspective, Continue reading

Review: iZotope’s Ozone 9 isn’t just for mastering

By Pat Birk

Izotope is back with its latest release, Ozone 9. And with it, iZotope hopes to provide a comprehensive package of tools to streamline the audio engineer’s workflow. The company has been on my radar for a number of years now, having used the RX suite extensively for clean up and restoration of production audio. Continue reading

SMPTE 2019 Live: Gala Award Winners

postPerspective was invited by SMPTE to host the exclusive coverage of their 2019 Awards Gala. (Watch here!)

The annual event was hosted by Kasha Patel (a digital storyteller at NASA Earth Observatory by day and a science comedian by night!), and presenters included Steve Wozniak. Among this year’s honorees — Netflix’s Anne Aaron, Continue reading

Behind the Title: Sarofsky EP Steven Anderson

This EP’s responsibilities range gamut “from managing our production staff to treating clients to an amazing dinner.”

Company: Chicago’s Sarofsky

Can you describe your company?
We like to describe ourselves as a design-driven production company. I like to think of us as that but so much more. Continue reading

Harbor crafts color and sound for The Lighthouse

By Jennifer Walden

Director Robert Eggers’ The Lighthouse tells the tale of two lighthouse keepers, Thomas Wake (Willem Dafoe) and Ephraim Winslow (Robert Pattinson), who lose their minds while isolated on a small rocky island, battered by storms, plagued by seagulls and haunted by supernatural forces/delusion-inducing conditions. It’s an A24 film that hit theaters in late October. Continue reading

Filmmaker Hasraf “HaZ” Dulull talks masterclass on sci-fi filmmaking

By Randi Altman

Hasraf “HaZ” Dulull is a producer/director and a hands-on VFX and post pro. His most recent credits include the features films 2036 Origin Unknown and The Beyond, the Disney TV series Fast Layne and the Disney Channel original movies Under the Sea — A Descendants Story, Continue reading

Terminator: Dark Fate director Tim Miller

By Iain Blair

He said he’d be back, and he meant it. Thirty-five years after he first arrived to menace the world in the 1984 classic The Terminator, Arnold Schwarzenegger has returned as the implacable killing machine in Terminator: Dark Fate, the latest installment of the long-running franchise. Continue reading

Color Chat: Light Iron’s Corinne Bogdanowicz

Corinne Bogdanowicz colorist at Light Iron, joined the post house in 2010 after working as a colorist and digital compositor for Post Logic/Prime Focus, Pacific Title and DreamWorks Animation.

Bogdanowicz, who comes from a family of colorists/color scientists (sister and father), has an impressive credit list, including the features 42, Flight, Hell or High Water, Continue reading

Review: Lenovo Yoga A940 all-in-one workstation

By Brady Betzel

While more and more creators are looking for alternatives to the iMac, iMac Pro and Mac Pro, there are few options with high-quality, built-in monitors: Microsoft Surface Studio, HP Envy, and Dell 7000 are a few. There are even fewer choices if you want touch and pen capabilities. It’s with that need in mind that I decided to review the Lenovo Yoga A940, Continue reading

Behind the Title: C&I Studios founder Joshua Miller

While he might run the company, founder/CEO Joshua Miller is happiest creating. He also says there is no job too small: “Nothing is beneath you.”

NAME: Joshua Otis Miller

COMPANY: C&I Studios

CAN YOU DESCRIBE YOUR COMPANY?
C&I Studios is a production company and advertising agency. Continue reading