Post Magazine

February 2011

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postings EW YORK — Post Millennium ( editor Nathan Byrne worked with director Evan Silver on a stylish new 2:30 Web film that promoted the US premiere of the MTV teen drama Skins. Reverse Partytakes viewers backward through a high school party with the stars of the American show, subtly hinting at storylines throughout. The US version of Skins, which is already a popular UK show, takes an unflinching look at the life of the modern teenager, touching on topics such as sex, drugs and eating disorders. Silver was challenged with delivering clean versions for air on ABC Family, Dis- ney Channel and the like, and mature versions for air after 10pm on MTV. To achieve the realistic-but-stylized feel, the primary location was lit with hidden ceil- ing lights and shot in long, 360-degree moving takes using a Steadicam and Arri’s Alexa. After a two-day shoot in Toronto, the footage was delivered to editor Byrne at Post Millennium, where he transcoded the footage in reverse motion before making his first edit. Final Cut Pro was used for the edit. The clean version was cut as a :30, while :30 and :45 versions were created for the later broadcasts on MTV. WEB SKINS N Music contributes to the tone and reverse narrative. The piece makes use of Sleigh Bells’ “Kids” track. Color correction was handled by Micah Kirz from Out of the Blue. Visual effects were performed by Alien Kung Fu in NYC. MTV on-air designer Oren Kaunfer created the titles. COMPLETE BEDLAM L AUTO RESURRECTION S ONDON — Rushes ( provided grading, compositing and visual effects services for a promo for the new Sky Living HD series Bedlam. The six-part series cen- ters around a former lunatic asylum that has been redevel- oped as an apartment block, and the characters who live there, all of whom have a dark side. Virgin Media-Living TV was the production company and James Debenham directed the project. Rushes VFX lead Richard White says the studio handled a slow-motion tracking shot in a large office, adding sheets of burning-paper that rain down into the room from the ceiling. In other shots, the studio built up layers of blood running down walls and splashing on the floors. Rushes also changed a girl’s eyes into empty black voids, playing up the promo’s dark feeling. Emma Watterson produced for Rushes. Simone Grattarola was colorist, working in a DaVinci Resolve suite. The studio used Autodesk Flame to complete the visual effects. PRINGFIELD, OR— The Division Produc- tions ( is producing a new reality show called Graveyard Carz, which debuted in November on The show centers around a garage that specializes in hot rod restorations, and according to exec- utive producer/visual designer Casey Faris, the program is being shot on a conservative bud- get using Canon EOS 7D and 5D cameras. Adobe After Effects is used for the supers, credits and logos. 3D graphics and crash simu- lations are created using Autodesk Maya, and additional particles and compositing is via After Effects. The show is assembled in Final Cut Pro and mixed using Soundtrack Pro. Apple Color is called on for color correction. Faris says the final edit of each episode is 46 minutes, and that’s culled from approxi- mately 25 hours of footage. At press time, the studio was working on episode four. A LOOK OF THEIR ‘OWN’ P HILADELPHIA — BigSmack ( created the on-air branding and promo toolkit for the launch of the new Oprah Winfrey Network, OWN. The studio had been working with OWN and Oprah for almost two years on the launch and created the upfront package as well as numerous other promo pieces. The on-air branding package includes IDs, bumpers, lower thirds and a graphic toolkit. BigSmack, led by creative director Andy Hann, worked off a logo designed by Bruce Mao Design in Chicago. The OWN on-air look conceptually takes viewers inside the ‘’O’’ of the logo. BigSmack’s came up with the idea of color-coding the on-air elements for specific times of the day. In the morning, the look has more of a palatte of orange and yellow hues, while a green tints mark the after- noon. Cool purple and burgundy shades represent the evening hours. According to Hann, BigSmack was given a 2D logo, but the OWN network wanted it to be interpreted into 3D, which involved a complicated model that made for long render times. Using a Canon 5D, the studio shot natural elements, including light reflected through a variety of objects, such as water, glitter and particle dust. The organic elements were composited with digital elements using Cinema 4D and After Effects. 42 Post • February 2011

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