Issue link: http://digital.copcomm.com/i/100015
Bits & Pieces Butcher���contributes���to��� Climate���Reality���Project What Post Readers Are Up To: right now S ANTA MONICA ��� The Climate Reality Project, founded and chaired by former Vice President Al Gore, enlisted Butcher Editorial (www. butcheredit.com) to edit, design graphics and finish its newest campaign, ���24 Hours of Reality: The Dirty Weather Report.��� The second annual multimedia event took place in mid-November and engaged the public in a global conversation about the realities of ���dirty weather.��� The movement and viral videos were created to push climate leaders toward urgent action. Directed by Clay Williams of MJZ Productions, the non-traditional spots gravely portray what scientists are calling the new normal in extreme weather. The spots were edited in Final Cut by Butcher���s Teddy Gersten and Chris Scheer. The team used a combination of bleeped-out words, real-life parallels and extreme weather to underscore the necessary call to action. Adobe���s Creative Suite was used throughout. ���When it came to creating graphics for the spots, realism was key,��� says David Henegar, partner/editor at Butcher. ���It was important the viewer be immediately engaged in the reality of the broadcast so that they could fully digest the urgency of the weather crisis the Climate Reality Project is dealing with.��� Mock news broadcasts from around the world report uncharacteristic heat, affected crops, and rising grocery prices. The campaign has both broadcast and viral elements. Steven Williams was assistant editor for the project. Zac Dych was Autodesk Smoke artist. International News RenderLife���launches���3D���marketplace RenderLife���launches���3D���marketplace 6 MUSIC: ���Well, it has finally happened. I have officially crossed over to Spotify. As someone who loves collecting music in digital and physical formats, it���s been a leap. I still purchase albums I really love, not only to support the artist, but to ���have��� it in my collection permanently. Call me old fashioned, but I still don���t equate cloud with ownership, and I think files are a better platform for curation. However, the access to music Spotify provides is astonishing. Lately I���ve listened to M83, Fela Kudi, Gozales, Father John Misty, and Black Mountain.��� Josh Norton President/Executive CD Big Star, NYC T ORONTO ��� RenderLife Inc. (www.renderlife.com) is a new 3D marketplace that allows artists to sell their creations to those looking for 3D content. Company CEO Chris Cawston says they spent the better part of a year studying the global market for 3D, interviewing both artists who create the models and businesses that purchase them. RenderLife founder Jeff Mann says he recognized a need for a marketplace when his design studio ran into issues with purchasing 3D models. ���Our creative team was frustrated,��� he says. ���Too many of the models they purchased from stock sites simply didn���t work, forcing us to invest time and money to fix what we���d already paid for. This problem often caused us to run late and over budget resulting in missed deadlines.��� Renderlife���s assets are available in Maya, 3DS Max and Cinema 4D. When a user purchases a RenderLife asset, their download package delivers all three files with one central texture directory. Most textures are high res, with exceptions being made for small detail textures that do not necessarily need to be high resolution (i.e.: the rivets on an airframe). They can, however, supply other file types upon request. Says Mann, ���These three platforms have continued to grow in popularity, capturing the majority of the market. Our experience and research showed that users of secondary platforms like Mudbox, Zbrush or Softimage are also using Maya, Max or 4D, even if they are not a user���s primary system. We guarantee that the native file format of every model on RenderLife is production ready.��� Post���������December���2012��� www.postmagazine.com Jump (www.jumpny.tv), with offices in LA and NYC, cut The Rolling Stones��� new music video Doom and Gloom. Produced by Black Dog Films and directed by Jonas ��kerlund, the video pairs the band���s performance with scenes of Swedish actress Noomi Rapace. The video was shot using Arri���s Alexa and several GoPro cameras. Jump���s Luis Moreno edited the video in Final Cut Pro, with David Johnston assisting. ProRes 4444 files were used for the color correct and online. Poetica handled Flame work and VFX. Pana at Uncle Berlin handled color treatment. The music video features sound design by Chimney Pot. Mattias Eklund handled the mix.