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www.postmagazine.com 2 POST MAR/APR 2024 EDITOR'S NOTE his issue debuts just as Post heads to Las Vegas for the annual National Association of Broadcasters conference. Every April — myself for nearly 30 years — we head to NAB to check out the latest production and post production tools that are designed to empower content creators, improve workflows and increase quality. This year should be no exception, and I am excited to see the latest advancements in virtual production, as well as how manufacturers are implementing artificial intelligence into their next round of tools. The virtual production space is something we've been keeping a close eye on, and in this issue, we share some of our latest findings. On page 24, for example, you can learn more about Digikore and how they have created a virtual production marketplace from which pro- ductions can rent any of their 250 ready-made digital sets. The idea is to immediately em- power small and medium-sized productions that are considering shooting on an LED stage. Miami University (in Ohio), joins a growing list of educational institutions that have invested in virtual production technology. Their new LED stage will give students an opportunity to gain the expertise needed to work in range of sectors within the entertainment industry. Our cover story on Apple TV+'s Masters of the Air series (pictured below) has a virtual production component too. The nine-episode World War II series tells the story of a B-17 bomber group and their missions to defeat Hitler's Third Reich. Much of the story takes place in the skies above Western Europe, and those air battle sequences were actually shot on an LED volume, where actors inside set pieces, designed to look like B-17 bombers and P-51 Mustangs, could visualize what was taking place in the skies around them, thanks to previs imagery that was displayed on a large LED volume. The series' VFX supervisor Stephen Rosenbaum shares insight into the challenges of pulling off the VFX sequences, which equate to five hours of screen time across the series, and how he assembled a team of leading studios to complete the mission. Turn to page 10 to hear from Stephen, as well as creatives from Dneg, Whiskeytree and Rodeo FX. Iain Blair caught up with director Wes Ball to discuss his work on the new feature, Kingdom of the Planet of the Apes. The 20 th Century Studios film was shot over 73 days and features 1,500 visual effects shots created by Weta Digital. Ball, who was still deep in post production when interviewed, details the film's challenges. And SmallHD's Wes Donahue and Flanders Scientific's Bram Desmet partnered to author a piece on a new display technology that's well suited for post workflows, including color grading. Quantum dot OLED was developed by Samsung Display Corporation and combines the best characteristics of OLED, including fast pixel response, excellent contrast and low power consumption, with quantum dot semiconductor nanoparticles. Turn to page 20 to find out more about the technology and the QD-OLED monitors available from SmallHD and Flanders Scientific. BY MARC LOFTUS EDITOR-IN-CHIEF MLOFTUS@ POSTMAGAZINE.COM T MASTERS OF VIRTUAL PRODUCTION SEE US ON EDITORIAL MARC LOFTUS Editor-In-Chief Post Publishing, LLC 516.376.1087 mloftus@postmagazine.com KENDRA RUCZAK Managing Editor Post Publishing, LLC/CGW kruczak@cgw.com CONTRIBUTOR IAIN BLAIR Film & TV DESIGN MICHELLE VILLAS Senior Art Director michelle@moontidemedia.com ADVERTISING MARI KOHN Director of Sales Print, Digital and Awards 818.291.1153 cell 818.472.1491 mkohn@postmagazine.com WILLIAM R. 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