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www.postmagazine.com 2 POST JUNE 2018 EDITOR'S NOTE e're pleased to announce that editor JJ Lask will be contributing to the Post Website in the months ahead via a new column titled 'Editing 101.' Lask is a creative editor with PS260 (www.ps260.com), which has studios in both New York City and Venice, CA. His list of credits includes work for M&Ms, NY Lottery, Yahoo, American Greetings and UPS, to name just a few. Beginning this month and running on postmagazine.com each month throughout 2018, Lask will deliver '5 Rules' that editors might consider for both practical purposes and inspi- ration. But 'Rule 1,' as Lask notes, is that there are no 'rules' in editing. The concept of rules, he adds, is "a hypocrisy to the sovereign state of creativity." We think you'll appreciate his insight, honesty and humor. Also in the editing space, Alex Trudeau Viriato took time to author a piece about his work on the new documentary Unbanded, which premiered recently at the Tribeca Film Festival. The project marks the Santa Monica, CA-based editor's first time serving as the sole editor on a long-form project, having worked his way up from short-form projects, commercials and having served in smaller roles on bigger movies. He shares his insight on editing the film and the steps he took to get it to Tribeca in time. "Usually, I approach editing to be invisible and seamless," says Viriato, "but with this doc, there [are] quite a few moments where I bring a lot of attention to the edit and, stylistically, took some leaps." Lastly, Adobe recently previewed 'Project Rush,' a new editing tool for online video creators that will be available later this year. The application offers the same experience across all devices — phone, tablet or desktop — and provides editing, motion graphic and soundtrack tools for creators that are looking to deliver to multiple social media outlets simultaneously. Rush provides users with four video and three audio tracks, and incorporates much of the technology developed in Adobe's Premiere Pro, Audition and After Effects software tools. For more details, visit Post online. une officially kicks off Post's Summer Movie coverage, by bringing readers into the Star Wars universe. Our cover story, Solo: A Star Wars Story, begins on page 12, fea- turing my conversation with Rob Bredow, the newly named head of Industrial Light and Magic and the VFX supervisor on the Disney/Lucasfilm release. Here, Bredow discusses working with a very collaborative director, Ron Howard, and how he and his team of artists created a retro look that brings us all back to a time when we were first introduced to the Star Wars story and characters. "This movie had a particular aesthetic that we were going for, which was inspired by the 1970s' way of making the film," he explains. "We leveraged a lot of the older original visual effects techniques and then updated them for modern technology." Post's Jennifer Walden continues the Star Wars coverage by looking at the audio techniques used on the film, based on her conversation with supervising sound editor Matthew Wood at Skywalker Sound (page 17). He stresses, "I absolutely feel that people should see these summer blockbuster movies in the theater. They are built for wide- screen and Atmos sound." Marvel Studios has enjoyed great success in the summer movie market. I recently caught up with Marvel producer and executive vice president of physical production Victoria Alonso, to discuss some of the studio's recent hits (see page 20). Superheroes and space characters only move aside for one thing: Dinosaurs! And this month, we have dinosaurs. Universal Pictures releases Jurassic World: Fallen Kingdom, which Post will cover in two consecutive issues. Page 18 has Jennifer Walden's in-depth interview with the audio team at Skywalker Sound. Next month, we'll look at the film's VFX. Marc Loftus finishes the section with his story on Drew Pearce's directorial debut on Hotel Artemis (page 22), staring Jodie Foster and Guardians of the Galaxy's Dave Bautista. This month and next, join us to learn more about some of the post community's biggest challenges and most innovative work. 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