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September/October 2019

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www.postmagazine.com 40 POST SEPT/OCT 2019 PEOPLE TG HERRINGTON Dallas-based Threaded Pictures recently signed director TG Herrington, a multi-faceted filmmaker with a diverse body of work. His feature documen- tary, A Tuba to Cuba, at SXSW last year, captures the deep roots musicians in his hometown of New Orleans share with musicians across the Gulf in Cuba. He recently finished concepting, shooting and directing Paul McCartney's Come On To Me, and currently has several projects in development. Herrington began his career at Red Car in Hollywood, editing commercials and music videos for such noted directors as David Fincher, Michael Bay and Michel Gondry. His post production experience parlayed a move into the director's chair, filming commercials for Nike, Budweiser, Toyota and other global brands. In 2011, Herrington signed on to edit the action film The Mechanic. JOE SOLO New York City-based record producer and song- writer Joe Solo, who specializes in developing cus- tom signature sounds for artists and film/TV com- poser for major studio productions, has announced plans to launch a new career-building endeavor this October. The program, Make It Big In A Box, aims to motivate and inspire artists and musicians by giving them insider tips and secrets through live and pre-recorded videos, written anecdotes and podcasts. Solo has worked with Macy Gray, Fergie, Will.i.am, Michael Jackson, MTV, Epic, HBO, Paramount, NBC, Universal, Sony and Apple. The paid service will include pre-recorded and live speaking videos, as well as video snippets of live tips, interviews, insider anecdotes, Q&A's and live, one-on-one coaching sessions. JULIA TRAINOR Alibi Music Library has tapped Julia Trainor as music supervisor. Trainor, who brings a successful, 14-year track record in entertainment advertising to her new role, will serve Alibi's US-based clients from the company's LA studio. Alibi, which works closely with movie studios, trailer houses, promo depart- ments, video game companies and ad agencies around the world, helps promote projects through its music and sound design services. Trainor has music supervised over 200 productions throughout her career, encompassing network promos, theatrical trailers, ad campaigns, independent shorts, sizzle reels, upfront presentations and digital spots. JESPER KJÖLSRUD Cinesite welcomes Jesper Kjölsrud to its London office as VFX supervisor. The 20-year industry veteran has successfully led teams both as a VFX and CG supervisor on many projects, including Tom Clancy's Jack Ryan, Outlander, The Lone Survivor, The Thing, Alice Through The Looking Glass and District 9, among others. Prior to joining Cinesite, Kjölsrud held such roles as 3D artist for MPC and was an original member of Dneg, where he supervised CG and VFX on such projects as Enemy At The Gates, The Chronicles Of Riddick, Doom, The Da Vinci Code and 10,000BC. CHARLES PAEK, FRANK SUN Bicoastal content creation studio Cvlt Production has added creative director/VFX supervisor Charles Paek (top) and executive producer/creative produc- er Frank Sun (bottom) to its talent pool. Both will oversee production and post production for client projects based out of New York and Los Angeles. Paek has worked on creative projects for clients such as Lexus, Target, Acura, Infiniti, Marvel, Paramount and Tanqueray, while at CBS Broadcasting, HER3SY, Digital Domain and Artifact Studios, among others. Over the years, he has worked as a director, art director and visual effects supervisor. Sun, whose career began as a camerman on Survivor, brings extensive experience shooting commercials, music videos, feature films and pho- tography for Red Antler and his own production company XY Content. POST MAGAZINE (ISSN 0891-5628) is published monthly by Post,LLC, a COP Communications company, 620 West Elk Avenue, Glendale, California 91204. Subscription rates: $63 for one year in the United States & Possessions; $94 for one year in Canada and Mexico; all other countries $133 for one year. For air-expedited service, include an additional $75 per order annually. Single copies (prepaid only): $16 in the United States; $32 in Canada and Mexico; $47 all other countries. Back issues, if available, are $32 for the U.S. & Possessions; $63 for Canada and Mexico; $94 for all other countries. Include $8.00 per order plus $3 per additional copy for U.S. postage and handling. If shipping outside the U.S., include an additional $14 per order plus $5 per ad- ditional copy. 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For those not registered with the CCC, send permission request in writing to Permissions Dept. POST, LLC 620 West Elk Avenue, Glendale, California 91204. www.postmagazine.com 47 POST OCTOBER 2014 3.0 or FireWire 800, but eSATA requires a power source (included). For those interested, I was testing these drives using a pretty powerful Windows 8.1 Intel i7-based system with an SSD boot drive and 16GBs of memory. In terms of benchmarks, I used AJA's System Test software. It's easy to use to get basic results, and free. The Studio Mini had an average read/write speed of 127MB/s in the read/write test with the 1GB file size at 1920x1080, 8-bit. I tested other frame sizes and file sizes, but for the most part, it all averaged out to the same transfer rate, so that is why I stuck with the 1GB, 1920x1080 test. The second drive I tested was the 1TB StudioRAID Mini. The StudioRAID Mini is about double the height of the Studio Mini but packs one knockout benefit: RAID configuration. In RAID 0 both drives are formatted to look like one, while in RAID 1 one drive is mirrored on the other drive for safety. It comes in three sizes: 1TB and 2TB with 7,200rpm drives, as well as 4TB with 5,400rpm drives. On the back it has eSATA, two Firewire 800s, and a USB 3.0 connection like the Studio Mini, and since it has two drives inside, it stands about .7 of an inch taller than the one-inch tall Mini. I performed the AJA System Test again. In a RAID 1 configuration it ran at about 106MB/s. While cutting the storage from 1TB to 500GB and adding the safety of a mirrored data set inher- ent in RAID 1, it was not as slow as I had imagined it would be. However, in RAID 0 it ran at around 221MB/s (same 1GB read/ write at 1920x1080, 8-bit test). To configure the RAID, Glyph made a smart decision to go with a hardware RAID as opposed to software-controlled. While it's simple to use, it's not so simple that you will accidentally erase your drive by changing from RAID 0 to 1. Here is how to set your RAID: plug in your drive with the power switch off, select either RAID 0 or 1, push the "set" switch on back, power on the drive, wait :05, release the "set" switch, and you're ready. Finally, the third drive is the 500GB BlackBox. On the outside it looks quite a bit different than other Glyph drives. It's a glossy black box — go figure? Its only connection is USB 3.0, which also serves as the bus power with a 5,400rpm drive under the hood. Because it uses a 5,400rpm hard drive, it performed a little slow- er than the Studio Mini at about 100MB/s when performing the read/write test with a 1GB file at 1920x1080, 8-bit. This drive would be a great as a backup, as it is quite a bit cheaper ($99 for the 500GB version) and a little thin- ner, but still holds Glyph's impres- sive warranty. In the end, I love all three of these Glyph mobile external hard drives and I can't emphasize enough how valuable a great war- ranty is. Dealing with a hard drive manufacturer that has a bad warranty is one of the worst things you can go through — on top of losing all of your data too. If someone were to ask for my recommendation on a portable, rock-solid drive for all types of multimedia content creation, the Glyph StudioRAID Mini, with its hardware RAID, is definitely one that I would not hesitate to recommend. REVIEW 46 Post • November 2012 www.postmagazine.com 19,109.....................22,030 17,438.....................20,732 0...............................0 0..............................0 19,374.....................22,279 0...............................0 0...............................0 0...............................0 4,800.......................1,500 4,800.......................1,500 22,503.....................22,503 265..........................265 22,768.....................22,746 77% ........................93% Publication required. Will be printed in the October 2019 issue of this publication. Name and Title of Editor, Publishers, Business Manager, or Owner: William Rittwage - Owner Date: 10/10/19. I certify that the statements made by me above are correct and complete. Average No. Copies Each Issue During Preceding 12 Months No. Copies of Single Issue Published Nearest to Filing Date mances, a third boom operator used a Neumann RSM 191 stereo shotgun mic to record the cho- ruses from a wider angle, adding width and balance to the sound. In addition to the boom mics, Hayes also used DPA 4017 lavalier mics with Lectrosonics SMV Digital Hybrid radio transmitters. When Hayes did a test of the DPAs at Abbey Road for the engi- neers on Les Miserables, they were impressed. While the lav mics aren't as full range as a studio mic, they definitely could produce high-quality vocals. "One of the outstanding features of these mics is their ability handle very high SPL levels from vocals without sounding harsh," he reports. "As they approach their max SPL, they continue to sound sweet. I have never heard a vocal make them square off.Yet, they are also sensi- tive enough to faithfully reproduce the smallest 'breathed' vocal." Recording the vocals as cleanly as possible was the biggest challenge for Hayes and his team. To capture pristine, high-quality vocals, they created what they termed 'silent wind' and even fitted the horses on set with rubber shoes.To give the actors the freedom to perform the songs naturally, without a set tempo or pre-recorded track to act to, a live pianist on the set accompanied the sing- ing via an induction loop. The actors sang along to the piano, which they could hear through a tiny earpiece. This allowed the sound team to record only the vocals. Later, a full orchestral score would be added to the clean vocal tracks."It is the first movie musical to my knowledge that has not only been recorded live from beginning to end, but has given the actors creative freedom to set the musical tempo rather than being driven within the strict confines of a musical backing track. The result was inspiring on a daily basis as we watched their performances on the set." Les Miserables is being mixed at Goldcrest Post London (www.gold- crestfilms.com/post_london) by re- recording mixers Mark Paterson and Andy Nelson. They were still in the pre-mix phase at press time. Paterson and Nelson have worked on several projects in the past, including Pirates! Band of Misfits. "Nelson has been such a huge influence in my career," says Paterson. "Some of the films he has worked on are par t of the reason I fell for film mixing. It's great that we hit it off straight away and are continuing to work together." Paterson is handling the effects, Foley and crowd elements in the mix. "Since the actors were free to perform at their own pace, without a metronome, this presented many challenges in post pro- duction, especially for music editorial. Though, in my opinion, this resulted in some amazing performances. Having said that, it means that the whole post production team is treading new ground with the way all the material is pre- sented and prepared for mixing." For Paterson, getting the effects and Foley to balance with the music is a vital task. He feels that, with a musical, there is more creative flexibility when it comes to adding in the effects. "It's about get- ting the fine balance and not distracting from the song performances, while at the same time keeping you right there with the characters." Les Miserables, produced by Work- ing Title Films and distributed by Uni- versal Pictures, will be in theaters on Christmas Day. M I C ' D U P [ Cont.from 39] Flashpoint's actors wear a lot of gear. Technicolor replaces muffled dialogue with ADR. takes care of. "Banga- lore is not a city I feel comfor table having our employees driving in. It's very chaotic," she explains. While employee packages are typi- cally a set offering, DreamWorks Anima- tion will shrink, contract or expand as needed. "We try to tailor these packag- es to the person and what their needs are," she describes. "If there are children, they typically go to international schools, which are private, so we will assist with tuition as well." Berens admits that while many employees decide to go to India for the adventure of it — and are given flexible hours and vacation time to take full advantage — homesickness is a reality. And they combat this in a variety of ways, including plane tickets so they can come home when needed, frequent business trips back to the US and regu- lar meetings via video conferencing, allowing them to stay close to the US- based studios on a regular basis. "Cultural settling-in ser vices" is another way. DreamWorks Animation has people in India who accompany the newly landed expats around the city, show them where to shop, visit local sites, and just generally get them acclimated to their new environment. Those with children are given a "set- tling-in coach," who works with the family and takes them through a series of conversations about what they can expect to encounter in India. Berens says this particularly important for those with adolescents. "We have an expat with two high-school-age daughters in India now, and we've had others going through the high school years, and the socialization aspect is important. We try to coach them through the challenges." For those who make the move alone, the key is making sure they keep in touch with their personal support sys- tem. "We have a much higher chance of success with the folks who do." In terms of Oriental DreamWorks, at the moment employees there are work- ing within a small studio in Shangai, mostly producing animation for the gaming industry. Berens expects Orien- tal DreamWorks will get its own studio in about three to four years."Our expe- rience with Shanghai right now is brand new… six weeks new." In reverse, DreamWorks Animation places many international artists in the US-based offices, and they currently have about 35 countries represented, between Glendale and Redwood City. "Everything that we do for folks that go abroad, we do in reverse for those we bring into the US. All of our artists who are foreign need visas and need to be relocated. So the same team that is handling our expats, handle those com- ing to the US." H A V E T A L E N T W I L L T R A V E L [ Cont.from 29] 265..........................249 17,703.....................20,981 Total Number of Copies Outside County Paid/Requested Mail Subscriptions Stated on PS Form 3541 In County Paid/Requested Mail Subscriptions Stated on PS Form 3541 Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Paid or Requested Distribution Outside USPS® Requested Copies Distributed by Other Mail Classes Through the USPS Total Paid and/or Requested Circulation Outside County Nonrequested Copies Stated on PS Form 3541 In County Nonrequested Copies Stated on PS Form 3541 Nonrequested Copies Distributed Through the USPS by Other Classes of Mail Nonrequested Copies Distibuted Outside the Mail Total Nonrequested Distribution Requested and Paid Electronic Copies Total Distribution Copies Not Distributed Total Percent Paid and/or Requested Circulation 3,021.......................3,123 STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION (Required by 39 USC 3685) Publication Title: Post Magazine Publication Number: 000-297 Filing Date: 10/10/2019 Issue Frequency: Number of Issues Published Annually: 12 Annual Subscription Price: $78.00 Complete Mailing Address of Known Office of Publication: 620 W. Elk Ave., Glendale, CA 91204 Contact Person: William Rittwage Telephone: (818) 291-1111 Complete Mailing Address of Headquarters or General Business Office of Publisher: 620 W. Elk Ave., Glendale, CA 91204 Full Names and Com-plete Mailing Addresses of Publisher: Post LLC, 620 W. Elk Ave., Glendale, CA 91204 Managing Editor: Linda Romanello Senior Editor/Web and Mobile Content Mark Loftus Circulation Manager Junior Lopez 620 W Elk Ave., Glendale, CA 91204 This publication is owned by Post, LLC - William Rittwage Publication Title: Post Magazine Issue Date for Circulation Data Below: 10/10/19.

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