Post Magazine

July 2018

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www.postmagazine.com 2 POST JULY 2018 EDITOR'S NOTE his issue continues our 'Summer Movies' coverage, with insight into many of the sea- son's top films. Not surprisingly, many of them center on the superhero genre. The genre is also quite popular on TV, so on the Post Website we've got a look at a number of shows that rely on visual effects to keep audiences engaged and entertained. Encore VFX, headquartered in Hollywood, has been providing visual effects for Supergirl (CBS), The Flash (CW) and Legends and Tomorrow (CW), all of which recently wrapped up their latest season. The studio is now sharing breakdown videos of its work, which can be viewed on the Post site. In addition, FuseFX recently wrapped up what amounted to a five-year relationship with Marvel in which the studio created visual effects for the ABC show, Agents of SHIELD. On our Website, you can view a breakdown video of FuseFX's work on the series. The post production industry has many superheroes of its own, and online you'll also be able to read about the careers of a number of successful pros, including VFX artist Vicki Lau, who left Singapore for the United States in 2011 at the age of just 20 with only $1,500 in her pocket. She has since gone on to collaborate with more than 20 studios, including Stargate Studios, where she contributed to the hugely popular AMC series, The Walking Dead. Christina Rzewucki is a texture and look development artist at Rising Sun Pictures in Adelaide, South Australia. A graduate of the Academy of Interactive Entertainment in Adelaide, she began her career with the game company Monkeystack. Since joining RSP in 2017, she has applied her technical and creative skills to projects that include Thor: Ragnarok and Tomb Raider. This summer, she'll be teaching the texturing component of "Look Development and Lighting," a new elective course associated with the University of Southern Australia's media arts degree. She explains the benefits of learning the discipline online. And colorist/finishing editor Mike Nuget, who was previously with the Technicolor- PostWorks team and has credits that include the FX series The Americans, Netflix's Rotten, ABC's Quantico and the Academy Award-nominated short Edith & Eddie, discusses his recent decision to branch out on his own. Head over to postmagazine.com for all of their inspiring stories! ver the past few issues, we've been making an even greater effort to bring the very valuable voices from the post community into the pages of Post magazine. We've had more articles written by those who are working in post houses, as well as from vendors who are bringing artists the tools they need to create great work. For instance, in our Remote Collaboration feature, which begins on page 26, we're hearing directly from James Hattin, founder of VFX Legion, a visual effects studio in Burbank, CA, on how his studio is navigating its way through the "puzzle of remote work." In the same article, James Varndell, product manager at UK-based IPV, speaks directly to readers about his company's Curator system, a media and workflow management tool that allows content creators to take more control of their content. Remote collaboration represents a massive industry shift on a global basis — why not have those who are in the trenches speak directly to readers? Post is also featuring a Special Section on 4K/HDR this month, beginning on page 31, which includes an authored piece from Lenny Mastrandrea, senior colorist at New York's Nice Shoes, who sets out to clear up any confusion there may still be surrounding the HDR format. In addition, Wes Donahue, an industry veteran in the professional display systems market, takes a closer look at the latest display options. Also in this issue (page 10), studio visualization supervisors Barry Howell, Albert Cheng and Faraz Hameed of the Third Floor, known for its outstanding efforts in previs, postvis, techvis and more on many high-profile blockbusters such as Gravity, Wonder Woman, Fantastic Beasts and Where to Find Them and Doctor Strange, speak in detail about the studio's work on Solo: A Star Wars Story. The studio worked closely with the film's VFX supervisor and newly named ILM head Rob Bredow on such key sequences as the kessel run sequence, the car chase and the train heist. Going forward, look for more bylined articles, Q&A formats and profile pieces in the pages of Post. We're working hard to bring you even closer to those who are paving the way for greater creativity and technology advancements. THE ONLINE BY MARC LOFTUS SENIOR EDITOR/ DIRECTOR OF WEB CONTENT MLOFTUS@ POSTMAGAZINE.COM BY LINDA ROMANELLO EDITOR-IN-CHIEF LROMANELLO@ POSTMAGAZINE.COM AGENTS OF POST O T VOICES OF THE COMMUNITY SEE US ON EDITORIAL LINDA ROMANELLO Editor-in-Chief 631-257-5038 lromanello@postmagazine.com MARC LOFTUS Senior Editor/Director of Web Content 516.376.1087 mloftus@postmagazine.com CHRISTINE BUNISH Film & Video IAIN BLAIR Film JENNIFER WALDEN Audio MICHELLE VILLAS Art Director michelle@moontidemedia.com KELSEY ELLIOTT Senior Graphic Designer CHRISTINE GEORGIADES Senior Graphic Designer ADVERTISING MARI KOHN Director of Sales 818.291.1153 cell 818.472.1491 mkohn@postmagazine.com LISA NEELY Corporate Sales Executive, Events, Custom and Integrated Print/Publishing Services lneely@copcomm.com 818.660.5828 SUBSCRIPTIONS 818.291.1158 CUSTOMER SERVICE 620 West Elk Ave, Glendale, CA 91204 csr@postmagazine.com 800.280.6446 DALE ESCEN Account Manager 818.291.1122 descen@copprints.com REPRINTS 781.255.0625 • 818.291.1153 LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 800.280.6446 WILLIAM R. 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