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Agencies & Post
Published: January 4, 2012
While most agencies have established and comfortable relationships with post houses, they do keep their eyes open for new talent. Sometimes it’s word of mouth. Sometimes it’s a spot that impresses on air. Sometimes it during a showing at the agency itself. Where things do differ a bit is in relation to VFX houses. That’s when agencies rely on directors, (who also have favorite editors) to lead the way. |
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Editor's Letter: New Year's resolutions
Published: December 29, 2011
I hope everyone had a lovely holiday season, and while you are about to dig into 2012, I wanted to send you very hearty New Year’s wishes from everyone here at Post Magazine. As I have been known to do over the years, I will use this space to highlight some New Year’s resolutions from those around the industry.
And I will kick it off with my own. I once again resolve to eat less, take more vitamins and mentally train for the New York City Marathon — this is my year! I also intend to judge people less, starting now. This goes out to the lady who I saw merging onto the highway holding a cell phone in one hand and cigarette in the other and, I can only imagine, steering with her knee caps. The old Randi might have cursed you under her breath, but the new 2012 Randi says, “Kudos, talented lady. Kudos.” Oh, and “please don’t kill anyone.” |
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Clint Eastwood's 'J. Edgar'
Published: December 2, 2011
LOS ANGELES — The Clint Eastwood-directed J. Edgar, which stars Leonardo DiCaprio as the enigmatic lawman who started the Federal Bureau of Investigation, jumps back and forth in time — from a fresh-faced young Hoover up to the older man recording his memoirs.
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In the Mix: AMC's Hell on Wheels
Published: November 15, 2011
HOLLYWOOD — AMC, the network that hosts the critically acclaimed Mad Men and Breaking Bad, has a new series determined to wow viewers and critics alike: Hell on Wheels, which premieres this month. |
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Editor's Letter: Getting a leg up
Published: November 9, 2011
Things are tough out there for young people looking to find a job after college, and our industry is no exception. There are tons of talented students currently studying away at schools with a special focus on the production and post world; competition is fierce and expectations are high. |
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Editor's Letter: IBC 2011
Published: October 12, 2011
IBC 2011 in Amsterdam last month was by all accounts a success — the post halls were buzzing, exhibitors had smiles on their faces, and according to IBC itself, more than 50,000 people attended the show, making it the biggest one on record. |
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Cover Story: 'Puss In Boots'
Published: October 12, 2011
GLENDALE, CA — DreamWorks Animation (www.dreamworksanimation.com) has taken one of the most beloved characters from its Shrek franchise and chosen him to star in his own film. No… not you Donkey; it’s the Antonio Banderas-voiced
Puss in Boots. |
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Editor's Letter: The evolving world of VFX studios
Published: September 7, 2011
With 30 years industry experience under her belt, VFX producer Jenny Fulle has seen a lot of changes in the industry. A few years ago, she looked at the world of visual effects and began to see a changing landscape. That is when she decided to leave her long-time job as executive VP of production/executive producer at Sony Pictures Imageworks, to start her own company, The Creative-Cartel, based in Culver City, CA. That was about three years ago. |
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Cover Story: Shooting USA Network's 'White Collar'
Published: August 30, 2011
NEW YORK — Thanks to some competitive tax incentives, the streets of New York are becoming flush with TV and film productions, many of them capturing footage digitally. USA Network’s White Collar, which was shooting its Season Three finale at press time, is one of them. |
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Compositing Trends
Published: August 16, 2011
The work is becoming more sophisticated, and increasingly that sophistication is being required for 3D stereoscopic projects. Sometimes artists start a job not knowing that they will be asked to go stereo halfway through. Other times they know it’s coming but still have to prepare intricate stereo workflows so there are no surprises during the process. All of this keeps a visual effects team on its toes and ready for anything. |