Issue link: http://digital.copcomm.com/i/121914
I N S T A N T G R AT I F I C AT I O N DaVinci [ Cont.from 27 ] with Resolve, then applying it when I produce the offline files." Gursky recently worked on a shoot with director Oscar Boyson for H&M's new apparel collection with Brick Lane Bikes featuring cyclesavvy men tracing their bike routes in New York City and LA. For this shoot he did dailies and first-light color through Resolve with source footage from Red Scarlet, Canon 5D3 and GoPro 3 Hero Silver cameras, then he also did the final grade through Resolve using all of the first DIT Samuel Gursky worked on this H&M campaign, handling dailies and light color grading work he had first-light color using Resolve. The project shot multiple camera formats. done. The outcome was a two-minute Web piece and a 30-second taxi spot. The portability and compact size of the ThunderboltOn a shoot in Italy producing promotional content enabled Rogue system are key advantages for the DIT. with DP Dylan Steinberg for a walking-tour company, "It has revolutionized the way I get to work, and it takes Gursky spent nine days with his Rogue, offloading cam- up less space on-set — space is a hot commodity era cards from the Red Scarlet at night and creating around these parts," he says of New York City. "I can editorial files on the go while storing and backing up hop in a cab with Rogue and have more than enough with two G-drives and his internal RAID. power with a small footprint." V F X F O R [ Cont.from 33 ] shows that go away and come back again, and others that pop up," says McGrail. "We always get very busy during pilot season, which is now. You have to try to balance things as best you can, and there are some very long days. It's par t of the industry." As VFX producer, McGrail's role includes coordinating with the associate producer and all of the post coordinators on everything that is going to be happening with the visual effects. "Everything from arranging travel to making sure the supervisor is a good match for the show," she notes. "I also coordinate everything coming into the facility and make sure everyone knows what specs we are using, and how it's going to get there." Once elements arrive, it's her job to make sure they get to the different artists. She also manages internal resources, picks leaders for the overall project or scene, and manages QC and the deliverables. Encore generally serves as the sole VFX house on the shows it works on, but will collaborate with other studios should an effects-heavy show demand additional resources. Their work on pilots often leads to regular work on shows if they are picked up. "The hope is always that if you do your very best on the pilot, and everything is working great, that things will continue that way," she says. "But, the people heading up the show during a pilot may change and they may have a favorite effects house, which drives that decision to go elsewhere. That may have nothing to do with you. You do your best and hope the show will come to your facility. It doesn't always happen, but most of the time it will." Pilots, she says, often have a slightly higher budget than a typical episode. "More and more, we are seeing feature directors come in and do pilots," she notes. "A lot of times, going in, they will know we are going to 52 Post • April 2013 Post0413_052-Jump.indd 52 T V S E R I E S have really big effects sequences and are going to need a budget for those things." Unexpected problems that pop up on-set are also corrected in post. And visual effects can be used to help tell the story. "Usually that happens more often in a pilot than in a series that is produced week to week because by then, everybody has it down," she explains. "But when you are on a pilot, it's the first time telling a story for everyone, so there are going to be more of those unknown things that crop up." Encore's work on Magic City helps define the show's 1960's Miami setting. Magic City centers around Ike Evans and his Miramar Playa Hotel. While Evans' family see him as an honorable man, he in fact owes much to the mob. The hotel seems family friendly during the day, but at night becomes much seedier, with escorts and undesirables. The studio creates the hero hotel shots, which provide a backdrop for the program. Necessary Roughness focuses on psychotherapist Dani Santino, who by chance, has found success working with pro athletes. "They are frequently in the dome, playing football games, so there is crowd replication," notes McGrail. "We have elements set up for those things, and dedicated teams who know those models in and out, and can get things together pretty rapidly. On a television schedule, it's not like a feature, where you have months and months. You may have a matter of a week or two." Whether Encore is working on visual effects for Game of Thrones or Drop Dead Diva, McGrail says each is given the same amount of attention. A monitor burnin, she says, "may not be as creatively challenging, but it has to be technically perfect." Encore uses Nuke for compositing, and also taps After Effects and Photoshop. 3DS Max is used for modeling and animation, along with Maya. Classifieds HELP WANTED ADVERTISING SALES REP. Ad Sales Rep needed for advertising sales in Post Magazine and Computer Graphics World. 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Preferably a College Graduate. • At least 2 years of experience in a customer service or call-center environment. • Excellent written and verbal communication skills. • Strong data entry/typing skills. • The ability to multi-task and prioritize multiple assignments. Send cover letter and resume to: ksafaryan@copcomm.com. For Advertising Rates & Schedules: POST Magazine, 620 West Elk Ave., Glendale, CA 91204; Western Region 818-291-1153, Fax: 818-547-4607; Eastern Region 781-255-0625 Fax: 781-255-0431 www.postmagazine.com 3/27/13 4:17 PM