Advertisement
Current Issue
November 2014

Randi Altman
Randi Altman is editor in chief of Post Magazine


raltman@postmagazine.com
Authored Articles
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.
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.
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.
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.
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.
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.
'Rise of the Planet of the Apes'
Published: August 8, 2011

LOS ANGELES — For director Rupert Wyatt’s Rise of the Planet of the Apes, the ability to create photorealistic chimps was key, and that challenge fell to Wellington, New Zealand-based Weta Digital under the leadership of visual effects supervisor Joe Letteri.
Editor's Letter: Technicolor Dreams
Published: August 8, 2011

The executives at Technicolor have been busy little beavers recently. Just prior to going to press for this issue, Technicolor announced the purchase of Hollywood’s LaserPacific from Telecorps, which also owns post production stalwart PostWorks. The move is meant to increase Technicolor’s presence in the television and theatrical digital post world even further.
Editor's Letter: The FCP X reaction
Published: July 12, 2011

I have been doing this job for more years than I care to admit, and in all that time I have never seen a reaction to a new product release like the one that has occurred with Apple’s Final Cut Pro X.
One show, many formats
Published: June 13, 2011

CBS’s NCIS: Los Angeles, which just completed its second season, has an ambitious way of capturing the show — they use a multitude of digital cameras, including the Arri Alexa, the Canon 5D and 7D, the Sony F-900s, JVC’s GY100 and even GoPro cameras.
167 results found. Viewing page 5 of 17. Go to page 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17   Next