Post Magazine

September 2017

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Page 3 of 43 2 POST SEPTEMBER 2017 EDITOR'S NOTE ach year, we dedicate much of the summer to covering Hollywood's blockbusters, and conclude this month with a number of online reports. Editor Elísabet Ronaldsdóttir took some time to answer a few questions regarding her work on Atomic Blonde, the David Leitch-directed film starring Charlize Theron as a top-level agent. Ronaldsdóttir provides insight into her decision making as an editor, includ- ing her thought process while cutting individual scenes, yet still keeping the bigger picture in mind. Check it out on I also spoke with FotoKem colorist John Daro, who worked on one of August's top movies, the horror film Annabelle: Creation. Daro collaborated with cinematographer Maxime Alexandre to create the look for the feature, as well as several deliverable formats, including an HDR release using Dolby Vision. On our Website, you can read all about Daro's work and how the team tried to keep film's color palette similar to that of films from the late 1950s and '60s. Keeping with our online exclusive content, Erik Pounds of SwiftStack authored a blog titled, "How to Move a Petabyte of Data to the Cloud in Four Steps." The piece offers tips for easier data migration and management. While the business value of cloud storage is desirable, large data volumes can present challenges for migration. See if his tips make sense for your facility. And FilmLight's James Milne, who served as lead developer on the company's new Prelight product, provides insight into their BLG format. The 'Baselight Linked Grade' operates on the basis of cumulative metadata, whereby nothing is baked into the raw footage until the point of rendering the final deliverables. As such, any decision can be altered at any time. Prelight employs BLG and is designed for on-set use, applying a look to camera output in realtime. Head on over to to learn more. hile Post often covers big Hollywood blockbusters (Wonder Woman, Jurassic Park, Beauty and the Beast) and small screen hits (Game of Thrones, This is Us, Outlander), this month we continue our report on streaming series (page 12), and how some of these new shows from providers such as Netflix, Hulu and Amazon Prime are simply exploding with both viewers and critics alike. And while we are speaking with some of the video and audio post pros behind The Crown, The Handmaid's Tale, Ozark and GLOW (this month's cover), we're also acknowledging how they are giving traditional network TV a run for its money. They offer viewers more options than ever before and the post commu- nity another avenue for creativity. In the same vein, Post's Christine Bunish spoke with industry pros delivering some poignant and noteworthy independent films (page 18) that are making the festival circuit and receiv- ing their fair share of critical praise. Here, Chris (as well as Iain Blair in "Director's Chair," page 10) speaks with the Safdie Brothers on their critically acclaimed new film, Good Time (Robert Pattinson and Jennifer Jason Leigh). She also reports on Battle of the Sexes (Emma Stone and Steve Carell), directed by Jonathan Dayton and Valerie Faris, that's based on the historical 1973 tennis match between Bobby Riggs and Billie Jean King. The feature documentary, The Eagle Huntress, is a stunning film executive produced by documentary filmmaker Morgan Spurlock, whose New York-based company, Warrior Poets, handled all the post production. The 10-min- ute Audible Static was written, directed and edited by Sai Selvarajan of Dallas' Lucky Post. Let's see what Oscar has to say when the nominations come out early next year. Speaking of indie projects, I had a conversation with Mark Edward Lewis just prior to closing this issue, who is doing something interesting for this very community. His new Cinema Sound is a hub for independent filmmakers and media creators to provide them with the knowledge they need to create Hollywood-level audio results for their projects. He says his goal is to educate, educate and educate. According to Lewis, "I'm committed to insuring that the independent filmmaker gets everything they need so that their media can be considered a viable choice next to Hollywood media." You'll hear more from Cinema Sound in upcoming issues of Post. 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