Post Magazine

February 2013

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postings ROCKING SANTA FE H OLLYWOOD — Pictures In A Row, PICROW, ( was called on by Los Angeles-based GreenLight Media & Marketing to complete an assignment for Jimmy Kimmel Live! and the show's sponsor, Hyundai. The two :15 spots center around a custom Hyundai Santa Fe, which has been given a tougher, rock-and-roll theme, with matte black paint, dramatic flame stripes and custom wheels. The Santa Fe is large enough carry a band's gear — guitars, drums and amps — and look cool while doing it. Peter Lang was director/cinematographer on the project, which was edited in-house by Joseph Remerowski. Rock While You Roll: Capacity and Styling were shot in a single day on a stage at South Bay Studios in Long Beach, CA. Imagery was captured using an Arri Alexa camera system from Clairmont Camera and an Electra Crane from Chapman. Hunt led the PICROW team, which also included line producer Moira Michiels. Remerowski was able to start editing immediately after the shoot without the need to transcode media. Using Apple Final Cut Pro and the Adobe Creative Suite, he had a cut together just 24 hours after the shoot. Luca Visual FX was used to add a film look to the digital footage, and Twixtor was used to create the variable-speed effects. ArsenalFX in Santa Monica provided additional visual effects work. CLEANING UP CRIME S EVILLE, SPAIN — Director Alberto Rodríguez's latest film Grupo 7 centers around a police campaign against drug trafficking, and was nominated for 16 Spanish Academy Goya Awards, including "Best Visual Effects" and "Best Photography." Atípica Films, La Zanfoña and Sacromonte produced the project, which was shot using various high-end digital cameras. A majority of the footage was captured on two Red One Mysterium X cameras shooting 4K. Car interiors and car chases were shot using Canon's 5D and 7D cameras. The Optocopter shots used a Panasonic HD camera. The entire film was posted using an SGO Mistika system. La Zanfoña (www. colorist/VFX supervisor Juan Ventura says Mistika helped maintain a consistent look across the range of footage. Mistika was used for color grading, compositing, mastering and DCP creation. In some shots, Mistika was used to resolve problems in imagery where aliasing was occurring. VFX work included compositing, cleaning and stabilization. FURBY'S CUTE, MUSIC'S 'PURE EVIL' D ALLAS — Pure Evil Music and Sound Design (www., which launched four years ago to servicing local agencies, has since expanded its reach nationwide. They were recently called on by Hasbro's New Yorkbased agency Uproar! to create original promotional music for the company's Furby learning robot. Pure Evil senior composer Gary Parks says Uproar! was looking for a fun dance/pop sound that would stick in viewers' heads. The TV and Web spots had to reintroduce Furby to the world, so the music had to be memorable, contemporary and a little quirky. He went through an extensive demo process, working with storyboards for reference. The final :30 track was recorded using an Avid Pro Tools|HD 10 rig, Spectrasonics' Omnisphere virtual instruments and Waves plug-ins. Parks mixed the track in stereo using an Avid D-Command|24 console. LOCAL FLAVOR W EST HARTFORD, CT — College football fans that tuned in to watch the BCS National Championship game between Notre Dame and Alabama also got a look at some of host city Miami's local culture. Bluefoot Entertainment (, here, partnered with ESPN to help viewers get a feel for the area, including Little Havana, Calle Ocho, Versailles and Joe's Stone Crab. The production called on an Arri Alexa camera with a Zeiss Prime lens package and was shot at 120fps. Miami footage was shot using a mobile jib arm mounted on the flatbed of a truck. Avid DS Nitris was used for editing. Bluefoot founder Timothy Horgan directed and edited the Miami shoot. In total, the studio collaborated with ESPN on more than 20 Miami video essays that aired throughout the Championship Series. Bluefoot produced and edited Miami, the opening sequence for both ESPN's College GameDay show, and the championship game. Bluefoot also produced and edited the "#gametime" sequence featuring hip-hop artist Pitbull, which aired minutes before kickoff. Post0213_039-postingsMLV2finalREAD.indd 39 Post • February 2013 39 1/23/13 6:45 PM

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