Current Issue
February 2016

Marc Loftus

Marc Loftus is the Senior Editor and Director of Web Content for Post Magazine. He has been with the monthly publication since 1992, reporting on new technologies and creative techniques relating to film, television and commercial post production. In that time, he has witnessed the transition from linear to nonlinear, analog to digital, stereo to surround, SD to HD, tape-based to file-based, and 2D to 3D. Marc is a graduate of The New York Institute of Technology.
Authored Articles
Stereo 3D
Published: May 18, 2011

While the broadcast industry is still debating how to bring the stereo 3D experience to home viewers — although ESPN and n3D both offer 3D channels — the film studios, and even the videogame industry, appear to have a jump on things. Just about every week, a new 3D film seems to be opening at the box office, so for those looking for an immersive experience, they need to look only as far as their local cinema.
Post Script: Workflow Troubleshooting
Published: May 16, 2011

Earlier this month, The Motion Picture Editors Guild teamed up with Sixteen19 ( in New York City to host a “file-based acquisition & post” seminar designed to help production and post pros recognize and avoid potential problems that can arise on-set and later in the post chain.
Bandito Brothers goes on-set
Published: April 5, 2011

I had a chance to speak with a half dozen post pros that are working on-set this month. But they’re not supervising VFX shots or troubleshooting greenscreen shoots. These professionals are overseeing the acquisition of footage in a tapeless workflow.
Sixteen19 looks at on-set post
Published: April 5, 2011

NEW YORK — Sixteen19 ( recently celebrated its first anniversary of providing DI, color correction, editing, finishing and on-/near-set services. The company has space at 1619 Broadway, including two DI theaters and 17 Avid editing rooms, as well as divisions in New Orleans, Los Angeles and London. They can also provide mobile rigs for work on location or in production offices.
Post Script: Reality TV
Published: March 4, 2011

When I do find time to sit in front of the TV set, I find myself gravitating toward unscripted programming. Not the Kardashians or the Real Housewives, but the shows you’d find on History, Discovery and A&E. Sons of Guns is pretty cool, but I think it’s probably a guy thing. Hoarders and Confessions: Animal Hoarding are just downright disturbing.
Reality TV
Published: March 4, 2011

Admit it. You watch them — those unscripted television programs, where unpredictability and drama equal big ratings. The networks know it too and are constantly refining concepts and challenges to keep audiences interested.
Commercial Workflows
Published: February 3, 2011

Whether you are a DP, DIT, editor, colorist or effects pro working on a commercial project, the way footage is shot, stored and moved affects you — and the next person down the line. Newer digital film cameras, such as the Red, Epic, Alexa, Phantom and F23, and even lesser quality HD cameras like the 5D and 7D, are all being used to create spots these days, and all require special handling as media is moved throughout the production and post chain.
Post Script: Commercial Workflows
Published: February 1, 2011

This month, Post looks at workflows for commercial productions, following footage as it is acquired, transcoded (or not), edited and conformed. At each stage of production and post, pros need to be able to handle, process and store footage that is increasingly being captured with newer cameras from Red, Arri, Sony and Canon.
VFX: 'The Fighter'
Published: January 4, 2011

SANTA MONICA - Comen VFX ( served as the sole visual effects house for the feature film The Fighter, directed by David O. Russell. The film stars Mark Wahlberg as boxer “Irish” Micky Ward, who is trained by his half brother, played by Christian Bale, in the years leading up to him turning pro. Here, Post speaks with Comen VFX producer Josh Comen and VFX supervisor Tim Carras about the studio’s work on the film, which included handling the effects for more than 380 shots, many of them invisible.
Post Script: SeamBi creates new ad opportunities
Published: January 3, 2011

SeamBi has developed technology that enables brands to seamlessly integrate their product or message into finished television content. The technology is DVR-proof, and, unlike traditional spots, cannot be skipped since it is a part of the show itself.
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