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EDITOR'S NOTE www.postmagazine.com 2 POST MARCH 2016 arch marks the beginning of the lead up to NAB, and many manufacturers have already revealed their plans for next month's show in Las Vegas. You can check out a number of pre-show announcements in our Products section on page 44, and on the Post Website as the show approaches in the weeks to come. We'll also be posting news during the show, so keep postmagazine.com bookmarked for all the new product announcements that will be affecting and improving post workflows. Also online this month is my interview with Toni Myers, the director of the upcoming IMAX film, A Beautiful Planet, which opens in IMAX and IMAX 3D on April 29 th . The feature presents a breathtaking portrait of Earth from space, and features narration by Jennifer Lawrence. Myers is no rookie when it comes to IMAX or space, as she's also created the documentaries Blue Planet, Hubble 3D and Space Station 3D in the large-screen format. She tells Post all about her experience as a filmmaker in this unique niche. And on the smaller screen, I had a chance to talk with director Brian Cox of Flarelight Films, who recently completed work on two music videos for the metal band, All Hail the Yeti. The videos follow a story arc that connects the band's new album, Screams From A Black Wilderness, with their self-titled debut from 2012. After The Great Fire is considered the 'Part 2,' of the video series. It's a track from the 2012 album, but was released as a music video only a few weeks ago. The video visualizes the 2012 song about an orphanage run by evil nuns who abuse children. The band's new album contains the song "Before the Flames," which reflects the events leading up to the fire. Consider it a prequel. Cox had just a single day to shoot both videos, which feature lots of flames, children and the band too. He talks to Post about the produc- tion and its obvious challenges, as well as his camera packages and Adobe workflow. It's a lesson in both efficiency and resourcefulness. Both HD videos are included along with my conversation with Cox, so definitely check them out. vividly remember a conversation I had with The Third Floor's previs/postvis su- pervisor Gerardo Ramirez early last summer, just before the blockbuster opening of Marvel's Avengers: Age of Ultron. Post was working on a feature about the film's visual effects, as well as the role previs and postvis played in almost every stage of the filmmaking process. "We knew early on, this was going to be a big film with lots of visual effects and a need to figure out how the story would develop or how we were going to shoot certain scenes," Ramirez had said. "[Director] Joss [Whedon] wanted to utilize all the previs tools we had — mocap, virtual production, and a lot of technical information — so we knew we were going to touch multiple aspects of this film and help multiple departments." Ramirez had explained that the director, as well as other departments such as stunts, second unit production, visual effects, etc., relied on previs to help realize Whedon's vision. The studio was involved in so many areas of the film — previs helped create a virtual set for one of the locations where they had planned to shoot. The film's second unit director John Mahaffie relied so much on that virtual set, that once he was on-location, "he knew that set like the back of his hand," said Ramirez. Now, almost a full year later, Post revisits the topic (starting on page 32), and looks at how studios like The Third Floor, who completed work on the Robert Zemeckis 2015 adven- ture/drama The Walk, as well as Proof on the Lionsgate feature Gods of Egypt, Blur Studio on Marvel's latest Deadpool, and Animated Storyboards are relying on previs and postvis to complete a range of projects. We even have a few comments on the topic from The Third Floor CEO/creative director, Chris Edwards, as well as a contribution from Nvidia on how previs helped Blur Studio create the opening title sequence for Deadpool in our Bits & Pieces section, starting on page 4. When it was still new to production and post, previs may have been a tough sell, as several studio heads have told us over the years, but its advantages are clear now — and for many filmmakers, it's become an essential part of the production and post process. THE ONLINE BY MARC LOFTUS SENIOR EDITOR/ DIRECTOR OF WEB CONTENT MLOFTUS@POSTMAGAZINE.COM BY LINDA ROMANELLO MANAGING EDITOR LROMANELLO@ POSTMAGAZINE.COM SEE US ON EDITORIAL LINDA ROMANELLO Managing Editor 516.931.0730 lromanello@postmagazine.com MARC LOFTUS Senior Editor/Director of Web Content 516.376.1087 mloftus@postmagazine.com CHRISTINE BUNISH Film & Video IAIN BLAIR Film JENNIFER WALDEN Audio ANGELA AKERS Art Director angela@moontidemedia.com ADVERTISING 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 LISA NEELY Corporate Sales Executive, Events, Custom and Integrated Print/Publishing Services lneely@copcomm.com 818.660.5828 SUBSCRIPTIONS 818.291.1158 CUSTOMER SERVICE 620 West Elk Ave, Glendale, CA 91204 csr@postmagazine.com 800.280.6446 DALE ESCEN Account Manager 818.291.1122 descen@copprints.com 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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