Post Magazine

February 2018

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Page 3 of 43 2 POST FEBRUARY 2018 EDITOR'S NOTE number of studios have expanded over the past few weeks, and I'd like to take a mo- ment to call attention to some of the latest news from throughout the industry. First up, Technicolor recently announced the launch of Mill Film, a new visual ef- fects studio that will cater to the theatrical/film production market. Mill Film's initial produc- tion hub will be located in Adelaide, Australia, though the company plans further expansion. In fact, Technicolor projects that within five years, that facility alone will accommodate 500 artists and technologists. Technicolor says the new Mill Film business will service clients not currently addressed by its MPC or Mr. X facilities. Their initial focus will be on film visual effects, but the studio will also look at opportunities in the areas of immersive media, such as virtual and augmented reality. Technicolor was able to open the new Adelaide studio thanks, in part, to the government of South Australia's newly-expanded Post Production, Digital and Visual Effects (PDV) rebate. In Los Angeles, content studio/ad agency/commercial production company Stun complet- ed a significant expansion, moving into a new, larger headquarters. More than 100 employ- ees now work at the 22,000-square-foot space, which spans two floors at 6420 Wilshire Boulevard. In addition, Stun has acquired a 5,000-square-foot soundstage in Culver City, ad- jacent to Sony Pictures Studios. The new stage will be used by Stun for live action and key art productions on behalf of the agency's entertainment and consumer brand clients. In addition, Stun plans on producing its own, original digital online series from the new studio. And in New York City, a new, boutique post production studio has launched called The Underground. Led by creative director Nic Seresin and executive producer Yvonne Apollonio, the studio specializes in 2D and 3D visual effects, color grading, on-set supervision, editorial and design for commercials and branded content. Turn to page 7 for more details. As always, we invite you to visit for more industry news and exclu- sives that you won't find in our print pages. very February, Post takes an in-depth look at what's going on behind the scenes of some of TV's most popular reality series. And every February, we have plenty to choose from. This month, Post features one of TV's most well-liked unscript- ed shows, Trading Spaces, celebrating its return to TV after 10 years. Post's Marc Loftus speaks with Will Pisnieski, head of post production and chief technology officer at Authentic Entertainment in Burbank, CA, which is responsible for producing and posting the new iteration of the show. Here, Pisnieski discusses the overall post workflow on the series, as well as some of the newest production and post technology. After all, a lot in the technology world has changed over the past 10 years. Also in the same feature, I had an opportunity to speak with editor Jason Stewart, who has been cutting NBC's top-rated and Emmy Award-winning reality competition show, The Voice, for the past six and a half years. Stewart was a wealth of information on the topic, since he has worked on a number of hit shows within' the genre, including Masterchef, America's Got Talent and The Amazing Race. In discussing The Voice's editing style, he also points out that there's a misperception about the folks who work in reality TV. "I think that maybe, because of some of the shows that have come before that were slapped together and had low quality standards, that it's easier for people to take a broad brush and go, 'They don't really have an eye for detail' or 'They don't really know how to craft a story — it's just interviews and footage.' I think there's a misperception that someone like myself, or my colleagues that have been doing this 20-plus years, wouldn't be able to take on a challenge like a feature film or scripted show or commercial. I think time after time, that's proven wrong when people get out there and do really good work on that side of the business." The genre has simply exploded over the years, and the post and production pros and studios are making a good living producing and posting unscripted television. Check out both stories, beginning on page 18. Enjoy! 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