Post Magazine

August 2018

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Page 3 of 43 2 POST AUGUST 2018 EDITOR'S NOTE ost's annual "Music Videos" feature is something I look forward to each summer. It gives me an excuse to check out new music and hear the stories behind the produc- tion and post of their respective videos from the filmmakers themselves. Once again, we've got coverage that spans all levels of success, from big names like Jay-Z, Beyonce, Selena Gomez and Rihanna, to a number of up-and-comers. Interestingly, one trend that we spotted across the board was that all of the videos — and the sampling was com- pletely random — were edited using Adobe's Premiere Pro software. Premiere Pro also had a strong presence in last year's feature, so this suggests more than just a coincidence? Music videos are notorious for their big aspirations and small budgets, though The Carters (Jay-Z and Beyonce) might challenge that notion, having booked one of the world's most famous museums — The Louvre in Paris — for their Apes**t shoot. Freelance editor Taylor Ward collaborated with editor Sam Ostrove on the final cut, which runs six minutes, has multiple MTV VMA nominations, and features the couple posing in front of some of the art world's most famous pieces. The two editors' cuts were merged together to create the final piece, and Ward says, "It came together pretty naturally." Ostrove and director Ricky Saiz cut a version that focused more on the museum's art, while Ward's centered more on The Carters' performances. "It was the epitome of a co-edit," says Ward, who cut it using Premiere Pro. For the smaller budgeted Uphill Battle video for digital platform Dance On and artist Rozzi, director Ryan Parma handled all aspects of production and post. Parma put his Sony a7S II camera and a Ronin M stabilizer to work on the shoot, and performed the edit in Premiere Pro, running on his new iMac Pro. "Those have basically been my 'bread & butter,'" he says of his gear. "Most of the time, you are having to wear multiple hats in order to be able to do the job with the budget that's given to you. I am a one-man band…I consider myself a director who happens to film and edit most of the things that I direct." You can read about all of them, starting on page 22, and can watch each of the videos on our Website, orrect me if I'm wrong, but it's been my long-standing opinion that while storage is an essential part of any post house, pros working within the post community do not necessarily find it the sexiest of topics? I mean, even when I stop by post houses and speak with them about all their glamorous new software tools for graphics, editing, sound, color grading and visual effects, I often get a moment's pause when I ask what they're doing in terms of storage. But I was recently correct- ed when I spoke with Tony Clark, managing director at Australia's Rising Sun Pictures, for our "Storage for VFX" feature (see page 26), who quickly shot back, "Who said storage isn't sexy? When you've watched the market move in the space of 20 years from a server delivering 10 megabytes per second (on a good day) to one where two filers are each delivering four to six gigabytes per second, all for a total cost of 4x the former server, I think that's pretty cool!" Clark wasn't the only one who got passionate over his storage solutions. Over the past few weeks, I had a chance to speak with a number of studio and department heads working in visual effects facilities about what their storage needs are and how they maintain the incredibly large amounts of assets their VFX work creates. At Santa Monica-based Timber, creative director/partner Jonah Hall beamed over his Qumulo QC-24 server, calling it "state of the art" and saying that it's "critical" for studios doing high-end VFX work have the prop- er storage solutions. Michael Garza, senior planetarium & production engineering manager at California Academy of Sciences, which recently completed a CG/photogrammetry mix for an immer- sive experience, enthusiastically sang the praises of his Panasas storage solution, saying, "We rely on it for its performance and reliability. It's the backbone of everything we do at the planetarium." Read more from these industry pros, as well as vendors and solution providers, and find out why storage is not only a critical part of a studio's workflow, but that it can maybe even be just a little bit sexy! THE ONLINE BY MARC LOFTUS SENIOR EDITOR/ DIRECTOR OF WEB CONTENT MLOFTUS@ POSTMAGAZINE.COM BY LINDA ROMANELLO EDITOR-IN-CHIEF LROMANELLO@ POSTMAGAZINE.COM MUSIC VIDEOS MAKE THEIR 'PREMIERE' C P STORAGE — DO YA' THINK IT'S SEXY? SEE US ON EDITORIAL LINDA ROMANELLO Editor-in-Chief 631-257-5038 MARC LOFTUS Senior Editor/Director of Web Content 516.376.1087 CHRISTINE BUNISH Film & Video IAIN BLAIR Film JENNIFER WALDEN Audio MICHELLE VILLAS Art Director KELSEY ELLIOTT Senior Graphic Designer CHRISTINE GEORGIADES Senior Graphic Designer ADVERTISING MARI KOHN Director of Sales 818.291.1153 cell 818.472.1491 LISA NEELY Corporate Sales Executive, Events, Custom and Integrated Print/Publishing Services 818.660.5828 SUBSCRIPTIONS 818.291.1158 CUSTOMER SERVICE 620 West Elk Ave, Glendale, CA 91204 800.280.6446 DALE ESCEN Account Manager 818.291.1122 REPRINTS 781.255.0625 • 818.291.1153 LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 800.280.6446 WILLIAM R. 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