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September/October 2022

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Page 5 of 39 4 POST SEPT/OCT 2022 BITS & PIECES MOLINARE MAKES MAJOR EXPANSION TO PICTURE DEPARTMENT LONDON — Molinare ( has greatly expanded its picture department. In the past year, the post house's online department has dou- bled the size of its Flame capacity, from five to ten. They've also partnered with Pixitmedia, installing the Pixstore software defined storage solution to help centralize all storage. The solution will also streamline the connection to Molinare's grading and QC services, resulting in improvements across render, copy and delivery timelines. In addition to the department's strengthened infrastructure, the studio re- cently welcomed three new senior editors, who will work across the company's roster of unscripted and scripted content. Ben North joins Molinare from Lipsync Post, where he spent the past eight years working on projects such as BBC's Ghosts and Steve McQueen's Small Axe. He brings a meticulous eye and experience in Flame. Joining North is fellow senior online editor Scott Hinchcliffe, who bringing over 30 years of experience to the role. Hinchcliffe has enjoyed long stints at Halo Post Production, Blue 2.0 and Pepper Post. His credits include British classics Sherlock and Spooks, and more recently The World According to Jeff Goldblum and Rogue Agent. The third senior editor to join the team is Dan Preston, who comes to the studio from Clear-Cut Pictures. There, he served as head of online since 2013, and as head of picture in his last year. Preston has focused on factual projects in recent years, working on 1000 Years a Slave, The Queen's Guards: A Year in Service and New Elizabethans with Andrew Marr. Molinare has also made further investment in its color department, which recently opened a new grading suite. The studio's capacity now stands at seven rooms. In conjunction with the expansion, the department completed an overhaul of its Baselight systems, upgrading all grading suites to the latest edition, Baselight 5.3. Joining the color team is senior colorist Lee Clappison, who brings experi- ence across feature films, factual documentaries and drama projects. Having spent time at a Lipsync Post, Goldcrest Films and Suite, Clappison's credits include Kate & Koji, Two Doors Down, Toast of Tinsel Town and Blithe Spirit. Tom Emptage comes onboard as head of picture finishing, a new role at the company. He will use his experience from working at Envy Post Production, The Mill and Channel 4 to implement and ensure streamlined and consistent HDR workflows between the company's grading and online departments. Alongside this, Emptage will be working with the newly-acquired hardware to deliver high framerate HDR content to global platforms and channels. Working closely with Emptage is the recently appointed head of picture op- erations, Hannah Mason, who joined the studio from Clear-Cut Pictures, where she held the position of technical services manager. She brings an in-depth technical knowledge of the factual post process, having worked on the ground managing large, multi-skilled teams in previous roles. The final addition to the team is QC and mastering supervisor Diogo Oliveira, who joins Molinare from Picture Shop Post. Reporting to Mason, Oliveira will oversee the QC team and be responsible for the mastering and QC on Molinare's internal projects, as well as all external QC work. STONE DOGS LAUNCHES COLOR OPERATION LONDON — Boutique VFX and finishing house Stone Dogs (https://stonedogs. has launched its new color operation following the expansion of its stu- dio earlier this year. The Stone Dogs space has evolved from an open plan to three client-focused rooms alongside a central production and quality control area. This includes a dedicated Flame suite, a multi-purpose Flame/Flame assist/grading/MGFX suite, and a grading suite equipped with Blackmagic Design's DaVinci Resolve software. In addition to the Resolve software, the suite features a new 31-inch Eizo Prominence monitor and a DaVinci Resolve Advanced Panel. The studio also has a Mac M1 Ultra workstation to run it all. Stone Dogs acquired Flanders Scientific reference monitors for the Flame systems, and had a color scientist calibrate all of the screens for continuity from grade to online. The new studio has been fully operational since August 1st, and has already completed grading and full post on three projects. "We are looking to offer a friendly, relaxed, and above all, creative space, where directors and agencies can collaborate with like-minded people to produce the content they had imagined when crafting the creative," says Brian Carbin, co-founder and Flame artist at Stone Dogs. "We can't wait to work on the new and different projects this expansion will bring in, spanning commer- cials, episodic programming, TV promos and sponsorship idents." "We'd always planned to introduce grading at Stone Dogs, having even set out to incorporate it into our offering at the start of 2020 — but we were struck back by the pandemic," adds Dave Kiddie, co-founder and VFX artist. "Following the full lifting of restrictions and the premises' move to Lincoln House earlier this year, the pieces have finally fallen into place to see our ambi- tion come to life, and we are delighted for its long-anticipated debut!" (L-R) Hinchcliffe, Preston, Clappison, Mason and Oliveira

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