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www.postmagazine.com 8 POST AUGUST 2014 ALMA MATER CLOSES 22 JUMP STREET LOS ANGELES — Alma Mater (http://am.tv) created the end credits for the Columbia Pictures and Metro-Goldwyn-Mayer Pictures fi lm, 22 Jump Street. The visual studio collaborated with 22 Jump Street directors Phil Lord and Christopher Miller on the closing credits for the R-rated action-comedy, which stars Jonah Hill and Channing Tatum. Alma Mater partner/CD Brian Mah worked closely with Lord and Miller to create the closing credits, which include an elaborate gag featur- ing a few dozen movie poster spoofs that reveal endless possibilities for continuing the Jump Street franchise, from 23 Jump Street: Medical School to 2121 Jump Street (in outer space) to Infi nity Jump Street. The project marked Mah's third collabora- tion with the directing duo, after previously serving as creative director for the main-on-end titles of The Lego Movie and 21 Jump Street, along with partners Kathy Kelehan, executive producer, and James Anderson, VFX & animation supervisor. "Having worked with Phil and Chris on back-to- back projects, we defi nitely feel there's a mutual respect and shorthand to our communication, which makes the creative process more effi cient and smooth," says Mah. The entire sequence was shot in just one day. Once the team agreed on the direction of the var- ious scenarios, Alma Mater spent a week prepping for the one-day shoot with the cast. "While Phil and Chris shot the live-action scenes, we shot hun- dreds of stills of the cast," says Mah. "The actors would bounce back and forth between our sets throughout the day, changing into new costumes for each sequel." After the shoot, Alma Mater designed and inte- grated the various elements that would make up the sequence. In four weeks, the studio produced 21 full-scale movie posters, a realistic-looking video game, and a cel-animated cartoon, as well as ac- tion fi gures, lunchboxes, and board games based on the fi lm. The studio used Adobe Illustrator for type design and Photoshop for poster design and 3D texture painting. ZBrush was used for sculpting the heads of the action fi gures, which were then 3D printed by Moddler in San Francisco. Autodesk Maya was used for the video game sequence and 3D type, and V-Ray was employed for 3D render- ing. Smoke simulations in the video game were created using FumeFX. After Eff ects was used for poster and type animation, 3D compositing and color correction. BRISTOL, CT — ESPN recently completed its coverage of the 2014 FIFA World Cup soccer tournament in Brazil. This year, the network didn't send its entire edit team to the host country. Instead, ESPN used some of its own facilities in Bristol, in addition to enlisting the help of two Connecticut-based production houses: Bluefoot Entertainment in West Hartford and Victory Pictures in Avon. All of the edits were done at ESPN daily and were then fed via fi ber to Brazil for playback within the net- work's telecasts. Content included match previews, video essays, tease opens, and long-form features, among other things. The studio's producers used Avid Media Composers for rough cuts, and content was then fi nished using Avid Symphony systems. Quan- tel edit systems were also used. Audio sweet- ening was performed using Avid Pro Tools. Bluefoot's segments included Brazil, Who Do You Love? and My Turn, which were each written and voiced by Wright Thompson. Victory Pictures produced Rhythm of the Game, which was voiced by actor Jeff rey Wright, and One Game to Move On, voiced by Kiefer Sutherland. LOVE CHILD MAKES HBO DEBUT NEW YORK — Director Valerie Veatch recently completed work on the documentary Love Child, which premiered on HBO in July. The fi lm looks at online gaming and socializing in Korea, and the addiction that caused one young couple to neglect their newborn child. Veatch says she started work on the fi lm in 2012, travelling to Korea and initially putting together a 20-minute version of the fi lm. HBO helped fi nance further development. Veatch she spent time working on how to represent this online reality that so many gamers take part in, while still maintaining a sense of privacy for the victim and the family that went through this experience. "Culturally, it's diff erent in Korea," she says of the criminal case. "There is a natural, cultural sense of privacy." Veatch made a creative choice, even before travelling to Korea, to not exploit the couple, but to include them as part of a larger picture focusing on online socializing. Footage was shot using Canon 60D cameras and Final Cut Pro 7 was used for the edit, which runs 75 minutes. Technicolor in LA handled sound design. — BY MARC LOFTUS ESPN WRAPS WORLD CUP COVERAGE BITS & PIECES