Post Magazine

February 2013

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editor's note Building community via social S ocial Media… everyone's doing it. Well not everyone.There are some late "adopters," who aren't convinced of the role that social media platforms can play, especially when it comes to their professional life. By RANDI ALTMAN EDITOR-IN-CHIEF P O S T I know how important it's been for Post and for me as an editor, especially Twitter. When I have TweetDeck opened, it's like the world of post and production is out there having a conversation, and I get to listen in or take part. Alex MacLean of Colorflow explains it best on page 22: he calls it a "24/7 cocktail party," and he means that in the best way possible. Jesse Averna is a multi-Emmy-winning freelance editor who has been working on Sesame Street for the last three seasons. Some of you might know him better by his Twitter handle, @Dr0id. "Social media has allowed me to connect with filmmakers and other pros who I otherwise wouldn't have had access to. Twitter has forged friendships, gotten me several gigs, and has provided tech support." He offers this example. "I was cutting a feature in the Italian Alps, and I ran into some issues dealing with PAL. I asked the post community on Twitter, and within 10 minutes, I had the info I needed." For those of you who are active on Twitter, you will likely be familiar with #PostChat. "By using #postchat somewhere in your Tweet, Twitter aggregates all those comments together so it can be followed as a conversation," Averna explains. For an hour each Wednesday (9pm EST), post pros around the world discuss the technology and art of post. "We've covered a range of topics, from tech tips to how to get an internship to the art of cutting promos. Guests have included pros who specialize in specific areas of post, as well as post-related companies like Avid and Adobe, Red Giant, and others. #PostChat began after Averna was asked to be on a Twitter chat called #ScriptChat two years ago. "I had such a great time, I decided to start the same type of thing for post people. I asked Gordon Burkell (AOTG) and Tej Babra to help me run it." That was two years ago. Ian Karr, IKA Collective's founder/director says IKA (@IKACollective) has always been active on Facebook and Twitter, using it to keep in touch with clients and draw attention to work and company news. "But in the aftermath of Hurricane Sandy, IKA got involved in helping the communities hardest hit, and Facebook was our primary means of communication," he says. "We used it to offer our office space to those without power or water. More importantly, we used the platform to raise several truckloads of donated supplies and money for victims."  Visit Post on our social networks: Twitter (@ post_magazine), Facebook (post-magazine) and YouTube (PostMagazineTV). See you there! S C R I P T Resourceful filmmaking P By MARC LOFTUS SENIOR EDITOR 4 ost has long covered affordable technologies that can improve workflows, lower production costs and expand the user base. This month, we have a feature on Visual Effects PlugIns (page 26), which do much of the aforementioned. Companies like Digieffects and Red Giant see the industry expanding thanks to new digital cameras and apps like FCP, and are releasing plug-ins geared toward those very users. Director Kevin Arbouet (Last Day of Summer) is a good example of a filmmaker who is trying to get as much bang for his buck as possible. Arbouet was in New York recently shooting the independent feature Police State for The Vladar Company. He wrote the action/adventure, sci-fi/thriller, which stars actress Sean Young, and had an aggressive production schedule in place, shooting as many as 11 pages each day over the 16-day shoot. Post • February 2013 Post0213_004-editRAV6finalread.indd 4 The feature was being shot with just a single Sony F3 and many of the effects were being shot in-camera. The decision was driven in part by budget and by Arbouet's own dissatisfaction with the look of CG smoke, fire and water. "Those are the three things that look the worst," he feels. During a break from production, Arbouet told me about shooting spray-can fireballs in slow motion, using leaf blowers for explosion blasts, building miniatures for set destruction, and using lighting dimmers for flash effects. The film was being edited at the production company on Final Cut Pro. "Because of where technology is at, and it's so consumer friendly, they have an editing suite in their office." Arbouet (left, with Young and producers Vlad Yudin and Edwin Mejia) drew inspiration for Police State from films like Back to the Future, with its detail, great acting and a big score. He's hoping to get Police State in front of festival audiences and then into more widespread theatrical release. EDITORIAL RANDI ALTMAN Editor-in-Chief (516) 797-0884 MARC LOFTUS Senior Editor/Director of Web Content (516) 376-1087 CHRISTINE BUNISH Film& Video JENNIFER WALDEN Audio BOB PANK European Correspondent DANIEL RESTUCCIO West Coast Bureau BARRY GOCH West Coast Blogger/Reporter IAIN BLAIR Film MICHAEL VIGGIANO Art Director A DV E RT I S I N G MARI KOHN Director of Sales (818) 291-1153 cell: (818) 472-1491 GARY RHODES Eastern & Intl Sales Manager (631) 274-9530 cell (516)410-8638 SUBSCRIPTIONS (818) 291-1158 CUSTOMER SERVICE 620 West Elk Ave, Glendale, CA 91204 (800) 280 6446 MIKE TABIZON Account Manager (818) 291-1180 REPRINTS Reprints (781) 255-0625 • (818) 291-1153 LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 (800) 280-6446 WILLIAM R. RITTWAGE President / CEO SEE US ON Post Magazine is published by Post, LLC, a COP communications company. 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