Post Magazine

December 2012

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SERVING THE INDUSTRY FOR 27 YEARS VOL 27 �� NO. 12 THE HOBBIT departments 2 EDITOR���S LETTER After the storm By Randi Altman 2 A look at the industry���s 4 THE MILL/OLD SPICE along with an 8 ONE ON ONE Skywalker���s Gary Rydstrom By Marc Loftus 10 POST PARTY Photos from our 27th birthday bash 14 COVER STORY Weta���s Joe Letteri talks about The Hobbit���s VFX shots By Iain Blair EDIT THIS! The Hobbit editor Jabez Olssen By Christine Bunish 47 PEOPLE Keeping tabs of the industry���s movers & shakers 48 STRENGTHS, WEAKNESSES, OPPORTUNITIES AND THREATS, BITS & PIECES What���s new in post 16 14 POST SCRIPT Workflow: Dallas, Longmire By Marc Loftus REVIEW Tiffen Dfx V.3 Creative Editing Suite By Brady Betzel OUTLOOK for 2013 18 BUSINESS By Christine Bunish 18 DALLAS 22 DIRECTORS By Iain Blair 26 FILM OFFICES By Randi Altman 30 ON-SET DAILIES By Marc Loftus 34 VISUAL EFFECTS By Randi Altman 30 SOUND LOUNGE/FIAT 38 NEW MEDIA By Marc Loftus DAILY NEWS UPDATES 42 AUDIO By Jennifer Walden BUSINESS How small studios can compete By Gavin Greenwalt GOING PRO ��� Amanda Amalfi ON OUR COVER OPEN HOUSE ��� Copilot Music & Sound 42 Peter Jackson���s The Hobbit, which was shot in 3D on Red Epic 5K cameras at 48fps, features 2,000 visual shots supervised by Joe Letteri from Wellington, New Zealand���s Weta Digital (www. Their software is a mix of off-the-shelf and custom-made gear, with Maya as the main 3D platform, RenderMan for rendering and Nuke for compositing. The film, which has enhanced sound via the Dolby Atmos format, was edited on Avid Media Composer V.6 by Jabez Olssen. For details on The Hobbit���s visual effects, turn to page 14. And to learn more about the editing process, turn to page 16. SWOT Graphics By Drew Neujahr Branding By Josh Norton Find more on This Month In ��� CG brings characters to life in Life of Pi ��� Digital tools help Brazil go green for World Cup ��� VFX set the stage for Bond���s big return Post���������December���2012��� 1

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