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BITS & PIECES www.postmagazine.com 12 POST NOV/DEC 2019 FILMSUPPLY EDIT FEST ANNOUNCES WINNERS FORT WORTH, TX — The winners of Filmsupply Edit Fest were recently announced, marking the end of the 30-day editing competition. The contest encouraged editors to submit work created using footage from Filmsupply.com. Participants had a month to submit a video in any of three categories: Advertisement, Movie Trailer or Title Sequence. Beyond the unrestricted ac- cess to the Filmsupply library of footage, participants also had the ability to use music from Musicbed and sound effects from the Boom Library. At least 50 per- cent of each submission needed to include material from the Filmsupply library. Filmsupply Edit Fest garnered more than 1,300 submissions: 443 advertisements, 672 movie trailers and 260 title sequences. Ultimately, the panel of judg- es chose three winners who impressed them based on concept, rhythm, emotion and sound. Best Advertisement Award: Push the Limits, by William Forslund, is a :38 spot that's all about the setup. The piece builds anticipation through the use of ex- treme sports footage, only to surprise the viewer with a disastrous ending. Forslund was able to cue up the punchline perfectly, and ultimately reveal the product - Relieve - which is designed to relieve the damage done to a body after pushing oneself to the extreme. Best Movie Trailer Award: Polaris, by Dillon Droke, introduces audiences to an upcoming film about a rocket launch and the humans that the mission affects. The astronaut provides an ominous voiceover, hinting at his own personal struggles, while imagery shows life at home, the launch and unexpected finds on the yet-explored planet. Visual effects give the :60 trailer a big-budget feel. Best Title Sequence Award: Jonestown, by Pete Ward, opens a feature about the mass suicide in Africa. Vintage imagery and sound bites of Jim Jones set the tone, contrasting imagery of death with trop- ical beauty. Strategic title placement introduces A-list talent, including Anna Paquin, Gabourey Sidibe and Mahershala Ali. Each winning editor takes home a prize package that includes $5,000 in cash, written feedback from the panel of judges, a $2000 Filmsupply licensing credit and $2,000 Defacto Sound Credit (design/mix xervice). They also receive a one-year BorisFX sub- scription to Continuum, Mocha and Sapphire; a one-year Boom Library subscription (Complete Boom Ultimate); a one-year Musicbed subscription (Business License); a one-year Mzed Pro membership and a membership to The Go-To Editor. Simply The Best! ROYALTY FREE MUSIC • Unlimited Uses in Unlimited Productions • 1 Low Buy-Out Price • Used by Major Hollywood Film & TV Studios • FREE Music for personal YOUTUBE Videos CSSMusic.com 800•468•6874 Post-CSS-3-2019.qrk_Layout 1 3/1/19 12:26 PM Page 1 INSIDE THE TOOLBOX PRODUCER/MIXER ALVIN WEE ON NUGEN AUDIO'S PRODUCER BUNDLE AND HALO UPMIX LOS ANGELES – For as long as he could remember, producer/mixer Alvin Wee loved music and film; and he was fortunate enough to cut his teeth working with com- posers and record producers in Los Angeles on film projects such as Kung Fu Panda, Kingsman and Eddie the Eagle. Having such a strong background in the industry, Wee takes pride in knowing that when someone hands a project off to him, it will be done correctly, and well. In order to achieve those results, Wee relies on Nugen Audio's (www.nugenaudio. com) Producer bundle and Halo Upmix solutions. Wee's introduction to Nugen began as it often does, by word of mouth. "I was talking with industry friends and colleagues. I mentioned that I was looking for a specific product for a project I was working on, and one of them recommend- ed Nugen," he says. "Then, I was at a GRAMMY party and an engineer who is a monster in the business told me that Nugen's meters are incredible, so I decided to check them out. I started using the Nugen plug-ins and, right off the bat, they did exactly what I needed. So, I just kept using them." Ideally suited for both mixing and mastering situations, Nugen's Producer software provides Wee with a collection of flexible, cross-platform plug-ins. "The Producer software has been incredibly useful for me," he adds. "I love the Stereoizer; it's my go-to plug-in that I use on all my mixes and checks. It allows me to control all the low-end and make sure that a recording doesn't get too wobbly or crazy. I can even make the high-end feel wider and more exciting. It works really well and is very intuitive. The Visualizer tool included in the bundle is also excellent as its meters are tremendous in helping me see what I'm doing." Additionally, NUGEN's Halo Upmix allows Wee to fine-tune his surround mixes. "When it comes to mixing for film, Halo Upmix is the single most helpful tool I have in my arsenal," he explains. "Composers and directors may not always have the ability, time or resources to capture in surround when they write or shoot, but Halo Upmix helps me add the breadth and width that's expected of a big cinematic production. It allows me to match recorded and sample tracks to make sure they fit in the same physical space." Wee (left) with composer Rendra Zawawi Polaris Push the Limits Jonestown