Post Magazine

December 2012

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editor���s note After���the���storm hen Superstorm Sandy finally rolled off the East Coast, it left devastation behind. For those affected by the storm, these questions became part of the vernacular: Do you have power yet? How much damage? You found gas? How long were the lines? W By RANDI ALTMAN EDITOR-IN-CHIEF The power is back and gas stations are enjoying their normal flow of business again, news stories about the devastation are less frequent, but the storm���s effects still linger. Local parks still act as donation sites and people are still displaced, looking for new homes, new cars, and that ever-important insurance adjustor. Lower Manhattan, rich with its post houses and creative studios, took quite a hit. ���We were closed for a week due to Sandy,��� reports Shellac NYC owner Max Nova. ���Our office is in Soho, and we had no power until the Saturday after the hurricane.��� As of press time (November 30!), there was no heat there. ���It���s a little surprising and somewhat silly. We huddle in edit suites wearing scarves and hats, warming ourselves by computers and decks humming.��� He calls the experience surreal, ���like some comic book version of post-apocalyptic post. But we���re all safe and dry and back to work. Our hearts go out to all of the less fortunate still dealing with Sandy���s wrath.��� Goldcrest NY was also in the storm���s path. ���Although Hurricane Sandy left our Greenwich Village area without power for a week, the Goldcrest EDITORIAL team brought in four generators to allow clients to offload time-sensitive assets to meet their post deadlines,��� reports managing director Tim Spitzer. ���Our engineering team was in throughout the week, both to help our clients and our neighbors. It was amazing to watch the teamwork of the Goldcrest staff.��� But he says every cloud has its silver lining. ���We were able to use this break in our usual hectic schedule to continue work on our new DI and mix theaters.��� Technicolor - PostWorks was lucky. Domenic Rom, executive VP, says, ���Our facilities were back online quickly. By the Monday following the storm, it was virtually business as usual. All of our facilities were operating at 100 percent capacity and we shifted into hyper-drive with everyone working feverishly to catch up. We experienced some small failures, primarily due to the fact that we were down for a week, but compared to what might have happened, and what did happen to a lot of people and businesses, we were very fortunate. Some of our employees experienced significant personal losses to their homes and properties, but ultimately we are glad we���re all alive.��� There are many places to donate. Here are two:, and from the New York Film Office site: online at or by mail to the Mayors Fund to Advance New Yorl City; 253 Broadway, 8th Floor; NY, NY 10007. RANDI ALTMAN Editor-in-Chief (516) 797-0884 MARC LOFTUS Senior Editor/Director of Web Content (516) 376-1087 CHRISTINE BUNISH Film& Video JENNIFER WALDEN Audio BOB PANK European Correspondent DANIEL RESTUCCIO West Coast Bureau BARRY GOCH West Coast Blogger/Reporter IAIN BLAIR Film MICHAEL VIGGIANO Art Director A DV E RT I S I N G NATASHA SWORDS VP, Marketing (818) 291-1112 MARI KOHN Director of Sales (818) 291-1153 cell: (818) 472-1491 GARY RHODES Eastern & Intl Sales Manager (631) 274-9530 cell (516)410-8638 SUBSCRIPTIONS (818) 291-1158 P O S T S C R I P T Worklow:���Dallas, Longmire or Banyan Tree Productions��� Bryan J. Raber, who is co-producer on both TNT���s Dallas and A&E���s Longmire, the dailies process has been designed to give the editing team as much time as possible, as well as to leave as much latitude in adjusting the imagery later on in the workflow. Both shows are in their second season and take different approaches to production. They do however benefit from the expertise at MTI Film, which serves as the post house for both programs. Dallas is shot in Dallas using Arri���s Alexa, while Longmire is shot in Santa Fe to resemble Wyoming. The show draws on Red���s Epic and Scarlet cameras. Both series are edited using Apple���s Final Cut Pro 7. Dallas is shot in Log C, giving it a flat look out of the camera, says Raber. Rather than apply a look on-set, the DIT instead checks the footage and makes sure they have everything they need. He can alert them immediately if they need to shoot a pick-up. The near-set team will then pick up a drive with the camera F By MARC LOFTUS SENIOR EDITOR 2 Post���������December���2012��� masters and create smaller ProRes proxy files that are pushed to MTI Film in LA. ���We then color the proxies with the dailies colorist, so everything looks pretty and perfect,��� he says of the overnight process. ���We don���t have much time on-set. With the ambient lighting, it���s hard to get things that are going to be ready for editorial.��� For the Red-shot Longmire, the team also creates ProRes proxies for editorial and then ships a drive with the original raw camera files to the post house via FedEx. ���You can shoot it the way it would look in the video village, but if we were to shoot it that way, it would bake in some of the color,��� he explains. ���And if they make a mistake on-set, we���d never be able to recover it perfectly.��� The overnight processing at MTI Film allows editorial to come to work in the morning and start cutting footage that will closely resemble the online. Color values from the offline are later dropped in and balanced by a final colorist. CUSTOMER SERVICE 620 West Elk Ave, Glendale, CA 91204 (800) 280 6446 MIKE TABIZON Account Manager (818) 291-1180 REPRINTS Reprints (781) 255-0625 �����(818) 291-1153 LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 (800) 280-6446 WILLIAM R. RITTWAGE President / CEO SEE US ON Post Magazine is published by Post, LLC, a COP communications company. Post does not verify any claims or other information appearing in any of the advertisements contained in the publication, and cannot take any responsibility for any losses or other damages incurred by readers in reliance on such content. Post cannot be held responsible for the safekeeping or return of unsolicited articles, manuscripts, photographs, illustrations or other materials. Subscriptions: Address all subscription correspondence to Post Magazine, 620 West Elk Ave, Glendale, CA 91204. Subscribers may also contact customer service at 818-291-1158, or send an email to�� For change of address please include the old and new address information, and if possible, include an address label from a recent issue. Subscriptions are available free to qualified individuals within the United States. Non-qualified 1 year rates: USA $63.00. Canada & Mexico $94.00. 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