Issue link: http://digital.copcomm.com/i/426326
www.postmagazine.com 12 POST NOVEMBER 2014 BRAZIL FACILITY COMMITS TO 80 DAVINCI RESOLVE LICENSES SAO PAULO, BRAZIL — O2 Post, one of Brazil's largest post houses, is install- ing 80 DaVinci Resolve licenses and three DaVinci Resolve suites. Resolve has become a central part of O2 Post's entire production and post production workflow. O2 colorists, editors, VFX artists, producers, directors and clients will be able to view and collaboratively work with Resolve files from anywhere in the facility. O2 Post is part of the larger O2 family of film, television and commercial companies. It originally launched to serve O2 Filmes subsidiaries, and now handles projects for all types of Brazilian and international productions. The company has more than 100 professionals on staff and 8,500 square meters of creative space located in São Paulo. The installation will ultimately include three DaVinci Resolve color correction suites and 77 DaVinci Resolve 11 licenses running on Mac and Windows systems. All will be connected via a facility-wide SAN, with unique databases set up for differ- ent projects and with up to 40 people able to share a single project simultaneously. O2 Post's GM Paulo Barcellos designed and managed the building of the new infrastructure. "O2 was a pioneer in shooting digital, but our post facility housed large-scale solutions that were not a natural fit with digital, and this complicated the workflow," he notes. "It was a bottleneck that left very little room to expand. You could not see color grading unless you were the art- ist working on the project, you were in the color grading room or someone rendered out a file and sent it to you. Turning Resolve into the center of our post production workflow and basing everything around Macs offer us better features, collaboration and performance that is actually three times faster than our previous system." To date, 14 Resolve seats have been installed, along with the three color cor- rection suites. All 80 systems should be in place by the end of 2015. BITS & PIECES BIGSTAR, HEARD CITY, TRIXTER ALL EXPAND NEW YORK & TORONTO — Motion graphics and design company Big- star (http://studio.bgstr.com) has launched Bigstar Studio (pictured), a new content creation company in New York City that specializes in integrated marketing and advertising campaigns. While it is housed under the same roof as the motion graphics company, Studio is a differ- ent entity than Bigstar, and is being overseeing by executive producer Carson Hood, who comes from a sales, VFX and commercial produc- tion background. Bigstar Studio has already lined up a number of projects, including a 360-degree campaign for DirecTV, original content for a partnership between Just for Men and Men's Health, and an online video campaign for State Farm with Gawker. Also in New York, boutique audio post production company Heard City (http://heardcity.com) recently announced plans to open a second office, this one in Brooklyn's DUMBO neighborhood. Like its Manhattan location, Heard City Brooklyn will service the advertising, motion picture and televi- sion industries, and will include a lineup of mixers and producers. Heard City anticipates the new studio at 20 Jay Street to be open around Thanksgiving. The 4,000-square-foot space is being designed by Murdock Solon Architects. Once finished, the facility will be home to two mix rooms, a live room and music control room. Employees from the Manhattan and DUMBO offices will be free to work from either location, furthering Heard City's collaborative way of working. VFX studio Trixter (www.trixter.de), which worked on Iron Man 3, Captain America: The Winter Solider, The Avengers and the upcoming sequel, Avengers: Age of Ultron, is launching a new studio in Toronto. Trixter already has facilities in Santa Monica, Berlin and Munich, and now brings its 16 years of experience in international animation and VFX to Canada via the new location. DEAR WHITE PEOPLE SCORE MIXES GENRES LOS ANGELES — Composer Kathryn Bostic scored the new feature Dear White People, which was recently released by Lionsgate and Roadside Attractions. The film received the Special Jury Award for Breakthrough Talent at the 2014 Sundance Film Festival and plays as a provocative satire of race relations in the age of Obama. Justin Simien wrote and directed the film, which follows a group of African Amer- ican students as they navigate campus life and racial politics at the predominantly white Winchester University. "We hear classical, hip hop, electronic, jazz, etc., and it all makes sense and really serves the storytelling," says Bostic of the score. "I got to play around with many different textures alongside orchestral instrumentation. And of course, as a pianist, I loved being able to add this to the score, particularly in the 'love theme' I created." Lakeshore Records released the original motion picture score digitally on November 11. "Justin has a great instinct for music, not only carrying a scene but being its own character playing off the actual characters in the scene," explains Bostic. "He want- ed the music to be able to stand on its own and not have a presence that was exclu- sively tangential and in the background. At first, I thought this would get in the way of the dialogue and emotional momentum already there through the characters, but the way he places the music really helped to further define these moments."