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April 2014

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.



mloftus@postmagazine.com
Authored Articles
Sixteen19 looks at on-set post
Published: April 5, 2011

NEW YORK — Sixteen19 (www.sixteen19.com) 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 (www.comenvfx.com) 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.
Post Script: Sound Lounge expands
Published: December 6, 2010

While many studios have behaved cautiously during the shaky economy, NYC’s Sound Lounge is expanding its facility and services, hoping to become more of a full-service audio post house and further grow its long-form business.
SWOT: Gnomon on Education
Published: December 6, 2010

Gnomon is a brick & mortar institution that teaches approximately 350 students every term. The school specializes in visual effects and videogame design, and was founded in 1997. They also offer online and DVD-based training, and in January, will launch an initiative with the Stan Winston family to offer instruction in character and creature development. The school is also now offering an accredited three-year program that offers a year of entertainment design training and two years of digital production.
Prepping for a 3D stereo job
Published: October 29, 2010

For the team at Sway Studio in Culver City, stereo 3D is more than a business, it’s also a hobby that a number of their creatives are passionate about. Take for example VFX supervisor Aaron Powell: he shoots his own stereo 3D content and is working on a gallery showing of his work.
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