Issue link: http://digital.copcomm.com/i/7700
20 Post • March 2010 www.postmagazine.com Jamie King, and Arnold edited on Final Cut Pro in HD. "I have a Facilis 9TB Fibre Chan- nel ser ver with six systems that are all shared off of one media center," he notes. The show was then conformed and finished with Nucoda at Tunnel Post in Santa Monica by colorist Sebastian Perez-Burchard. Tunnel also provided some basic computer-screen compositing. All post sound and sound mix- ing was done at Sammy Sound. This kind of Web work is new to industry vet Arnold, whose work includes mostly fea- ture film and marketing projects. It was that background that helped during production. "We all looked at the editorial and shooting process like we were doing a feature film; I cut it in 14 reels of about five to seven min- utes a piece, but we always screened it as a feature. Then I would jump back and for th between sequences knowing the breaks were probably going to change. I did it so I could be reminded of how it was going to flow as a series." He says the fact that this was going to appear on the Web was an "al- most an after thought as far as editorial." Editing the 16 episodes was time consum- ing. Arnold and his co-editor Waldemar Centeno were cutting as the show was shooting, keeping up with dailies. "We deliv- ered first cut less than a week after shooting was over," he explains. The Bannen Way, like most Web-based se- ries, was budget challenged, so everybody in- volved took reduced rates. "We believed in the project and knew it would be much higher quality than the budget would reflect," says Arnold. "It's a crew of experi- enced people who are trying to break into that A-level of pro- ductions. I have been an editor for years, but it's always that last tier that you have to jump over to get on the A-list. We all thought this project might get us noticed, so we were willing to cut our rates. It might look like there was some money thrown at it, but the budget was well under a million dollars." Arnold is excited about how projects like Bannen will play in his company's future. "For Bannen, we not only did the series, but the trailer, sales reels, the international TV edit, scene packages for Mipcom and other stuff. Shows of this budget level and a little higher — projects that are in the $1- $2 million budget range — don't have high-end places to go to for post because these gigantic agencies will give them six-figure bids. I want to play the role of 'post production house light,' where they can get a lower reduced rate to get the same level of work." The Bannen Way — which in its first five weeks got over 8.4 million streams — is different from a lot of other Web shows because it's being released on multiple platforms. It lived first as a Web series from Januar y through March — it can cur- rently be purchased digitally on iTunes and Amazon Digital — but it is also being sold internationally and domestically as a TV movie, and it will also release on DVD. "This is a new and emerging model in new media that definitely separates this pro- ject from most projects that are just a 'Web series,''' says Arnold. C L I C K F I R E M E D I A Peter Corbett, founder of visual effects and design studio Click 3x in New York City, was one of our industr y's earliest adopters of new media. He opened inter- active studio Media Circus back in 1995, when interactive was more about CD- ROMs than the Internet. ClickFire Media's Peter Corbett: "We want to be the architect of the entire experience and not just creating the assets." continued on page 43 This interactive project for Dunkin' Donuts, via ClickFire Media, allowed users to create a chocolate-dunked version of themselves and send it to friends via Facebook. New Media