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March 2012

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editor's note The benefits of previs By RANDI ALTMAN EDITOR-IN-CHIEF raltman@postmagazine.com picking the best path to where we want to be. Post pros specializing in previsualization know better than most how much this process can help in the bigger scheme of things. This month, we take a look at the process and talk to some experts (page 16). We also reached out to others who don't necessarily specialize in the previs, but do reap the rewards. Dariush Derakhshani, supervisor, games, at LA's Zoic Studios is a fan. "Previs can be an indispensable tool for production; it shows us things ahead of the shoot that will help inform, among other things, how to shoot. This can go for simple shoots, as well as difficult situations, because we essentially use previs to get our heads around shoot requirements — basically, how to fit 15 pounds of sand in a 10-pound bag. If nothing else, previs helps figure out what not to do, and that is worth its weight in gold." Pixomondo's Ben Grossmann, Oscar-winner for W his VFX work on Hugo, says, "Without previs, we couldn't have possibly created some of the com- plex shots in Hugo. The freedom to experiment simply in complicated territory makes all the differ- ence for crafting beautiful sets and camera work. It was so important that we kept a previs team on a POST SCRIPT SuperExploder set to blow N orthern Lights (http://northernlightspost. com) in NYC is dramatically expanding By MARC LOFTUS SENIOR EDITOR mloftus@postmagazine.com the audio services side of its business with the recent launch of SuperExploder. Northern Lights initially added audio post to its list of offerings four years ago. SuperExploder will use that original John Storyk-designed 5.1 suite, and will add more this summer. The dedicated audio facility is located on the 7th floor, just below Northern Lights' existing space on W. 27 St. The company also has a production division — Bodega on the 5th floor. Its design division, Mr. Wonderful, has space on the 7th floor too, but there are sepa- rate entrances for it and the new audio divi- sion. All SuperExploder suites will center around Avid's new Pro Tools 10. According to David Gioiella, editor/owner/ partner in Northern Lights, the expansion is a response to two trends he's seen developing over the past few years. "The trend has been two-fold," he notes. "One, there are projects that want to go from start to finish, from pro- 2 Post • March 2012 duction through post —including audio, sound design, mixing, and music composition" under one roof. "Whether it's an agency producer or a network, they'd like to look to one group of people that are centrally located and have excellent talent so they can have an economy of scale with pricing." The second is a result of so many smaller creative shops sprouting up. "Whether it's pro- duction companies, freelance producers or freelance editors that are editing at a smaller post facility or editing at home, mixing is one of those things that requires really talented artists and dedicated infrastructure," he notes. "You can't pull off a mix room in your bed- room, but you might be able to edit or do After Effects. So, we've found that by making an investment like this, we can offer companies that aren't doing any part of the video process here, the top quality creative that they need to complete their projects." Northern Lights' Beth Cummins moves to the new audio division as EP. www.postmagazine.com e could all do with a little more plan- ning in our lives, right? Looking at something from multiple angles and portable cart while shooting, so they could follow the camera department around and be available for creative exploration and problem solving." For a large show, like Hugo, Pixomondo calls on a dedicated house. In this case NVizage. For smaller projects, or for more integrated work, they do previs in-house at Pixomondo. "Which- ever makes the most sense," he says. In NYC, Nice Shoes creative director Aron Baxter says, "It's the sketch of an idea. It's a time and money saver. It's an essential part of the pro- cess for us and a confirmation that one's vision is on the right track. It's not something we've really done as a separate service, but when doing big VFX jobs, it's always a part of the process." Ken Kresge, creative director at the NYC's Napoleon Group, talks about how previs helped on a recent spot. "We teamed up with our pro- duction partner Xenon and director Michael Weihart to produce a series of 3D-heavy New Jersey Powerball commercials for Brushfire. The previsualization stage allowed our team to work closely with our clients and quickly make creative alterations on the fly. We worked through any timing issues or animation snags before we locked into the look of the rendered images. Previsualiza- tion proved to be the crucial first step of this highly successful project." EDITORIAL RANDI ALTMAN Editor-in-Chief (516) 797-0884 raltman@postmagazine.com MARC LOFTUS Senior Editor/Director of Web Content (516) 376-1087 mloftus@postmagazine.com CHRISTINE BUNISH Film& Video RON DICESARE Audio BOB PANK European Correspondent bob.pank@virgin.net DAN RESTUCCIO West Coast Bureau dansweb451@aol.com BARRY GOCH West Coast Blogger/Reporter IAIN BLAIR Film MICHAEL VIGGIANO Art Director mviggiano@postmagazine.com ADVERTISING NATASHA SWORDS VP, Marketing (818) 291-1112 nswords@copcomm.com MARI KOHN Director of Sales (818) 291-1153 cell: (818) 472-1491 mkohn@postmagazine.com GARY RHODES Eastern & Intl Sales Manager (631) 274-9530 cell (516)410-8638 grhodes@copcomm.com CHRIS SALCIDO Account Manager (818) 291-1144 csalcido@copprints.com CUSTOMER SERVICE 620 West Elk Ave, Glendale, CA 91204 csr@postmagazine.com (800) 280 6446 opt 2 (publishing), opt 1 (subscriptions) REPRINTS Reprints (781) 255-0625 • (818) 291-1153 LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 (800) 280-6446 WILLIAM R. 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