Post Magazine

July 2013

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I N T H E [ Cont. from 14 ] job, along with Derek and Jim, cutting the sound for the motorcycle sequences. One of the biggest challenges was the opening tracking shot that follows Ryan Gosling's character, Luke, through a carnival, eventually ending up in a steel cage riding a motorcycle along side two other bikes. In the carnival section, I wanted the viewer to feel a sense of space and depth as the camera follows Luke. "I was very aggressive with panning, moving sounds around, creating that sense of movement. Once Luke finally enters the cage on his motorcycle, the challenge was to still make his bike sonically stand out from the other two bikes as they're whirling around the cage. I was able to achieve that separation from the other bikes by using dynamic EQ, sweeping through frequencies while matching the bike's movement, as well as panning specifically for Luke's bike."  POST: Are there any other scenes that stand out? VOLANTE: "The motorcycle chase through the cemetery leading up to the crash was particularly challenging because we needed to keep it 'real.' Derek wanted it to feel like you were right there in the police cars with the officers the whole time. We used a combination of production sound sweetened with sound design to achieve the final result. It's important to build dynamics in long chase scenes. This makes them feel more exciting and allows you to feel each twist and U S I N G Classifieds turn. Controlling those dynamics with compression and limiting is also crucial. Setting limiters properly can add overall loudness and clarity." POST: What about the overall sound of the film? VOLANTE: "Much of the soundscape is comprised of blending Mike Patton's score with subtle sound design tones created by Jim and Dan. The tones were used much like a typical room tone, but would gradually evolve into a more complex musical tone. These blended seamlessly with Mike's score and created the overall mood for the film."  POST: You started out mixing music. Does that influence the way you mix films and television? VOLANTE: "I approach my music mixes much differently now. I used to start with drums, bass and add guitars, keyboards, strings and eventually add the vocals last. In film you start with the dialogue and build things in around it. I use the same concept now in music mixing. As soon as I have the rhythm section in place I add the vocal as early as possible... finding the appropriate reverb and delay settings. Then I mix all the additional instruments in and around that. On the other hand, music mixing has influenced my approach to film mixing by applying the same techniques to achieve clarity in a music mix to a scene in a film using equalization to separate sounds or panning to give clarity and balance."  T H E [ Cont.from 27 ] automatically transcodes into a format that others can easily view in a browser. Sixteen19 has already put Aframe's solution to use on two independent features. Crossroads Films' A Birder's Guide to Everything debuted at the Tribeca Film Festival. The film was directed by Rob Meyer and stars Kodi Smit-McPhee and Ben Kingsley. In it, a 15-year-old bird watcher thinks that he's discovered something new, so, on the eve of his father's remarriage, he goes on an adventure with his best friends to pursue their hunch. "Immediately, it struck me as a product that was simple to use," says Baker of his introduction to Aframe. "No one needs to be trained to use YouTube or Vimeo or Facebook. I've used other online systems in the past where people just give up because of the interface design. Aframe had a very simple, easy-tounderstand interface that didn't require a lot of hand holding. That's what we really need. You are dealing with executives who are really busy and only have a two-minute window and need to get to the footage straight away, and not go through a lot of hoops, set up or plug-ins. The footage is there. People can use it and they understand the paradigm of the whole program because everyone uses YouTube." Baker says the production will buy Aframe seats. "The pricing is very good," he notes. "If I need five people to sign on to look at dailies, then they pay for five licenses. Sixteen19 has a seat itself, where we do more of the management of uploading." To date, Baker says the studio has been using Aframe for dailies review. A Birder's Guide to Everything M I X Help Wanted Advertising Sales Rep. Ad Sales Rep needed for advertising sales in Post Magazine and Computer Graphics World. The purpose of the position is to generate classified advertising sales for the publications CGW & Post Magazine in the areas of Rapid Prototyping (3D printing), Camera, Displays/monitors/projectors, Workstations (mobile, desktop), GPUs/CPUs, Input devices (mice, scanners, etc), Motion-capture, Storage, Service provider, Education/training, 2D modeling, 3D modeling, 3D animation, Compositing, Rendering, Lighting, Editing, CAD/CAM/CAE/CAA, AI/VR (including headmounted displays), Game engines, Middleware, Texturing, Simulation, Plug-ins, Web content tools, Music Libraries, Stock Footage, Large File Transfer companies , Studios. Full-time position. Operates from office when not traveling. Skills/Qualifications: Customer Service, Meeting Sales Goals, Closing Skills,Prospecting Skills, Negotiation, SelfConfidence, Product Knowledge, Presentation Skills, Client Relationships, Motivation for Sales. Send cover letter and resume to: C L O U D CSR - CUSTOMER SERVICE REP. was shot with Arri's Alexa. "We put it through one of our mobile dailies carts," he explains. "If we are at our mothership studio in New York, they send the camera material over to us and we'll process out all the editorial media, which goes directly to editorial. And we post the H.264 review files onto Aframe." While Sixteen19 makes DNx36 files specifically for editorial, the studio uses sneakernet to distribute them, since the cutting room is nearby. At press time, Sixteen19 was getting ready to begin post on the indie film, Rob the Mob. The film was just finishing up shooting and is expected to undergo 18 weeks of post. "It seems the indie films are about a 35-day shoot and then they have an 18-week post period," he notes. "That seems to be the standard." Rob the Mob is making use of Sixteen19's mobile services, where the studio sets up fully-transportable dailies and editorial systems, namely Avids. Post will be split between New York and Los Angeles, so the studio will have a system in LA for the five weeks that will be spent working there too. In addition to serving as executive producer, Baker is the post supervisor on Rob the Mob. He set up the camera department, the dailies department and editorial. He's also on-hand for the grading and final delivery, be it for HD, a film record or DCP. "Part of the job is setting up and making sure everything is fine, and following through and being a point of contact in case anything is amiss," he notes, adding the Aframe team has been very responsive to the studio's needs while employing the cloud solution on these long-form projects. Our local office in Glendale, CA is seeking a Customer Service Representative to be the first point of contact with our print customers. Our customer service representatives are passionate, customer-focused professionals with outstanding people skills and the desire to help us grow our business through hard work and innovative thinking! As a customer service professional, your responsibilities will include: • Responding to service requests. • Investigating and resolving customer questions and concerns efficiently and compassionately. • Preparing and distributing reports (utilizing various proprietary systems) on a regular and timely basis. • Assisting with various administrative duties, such as filing, data entry, and ensuring SOP compliance. • Participating in inside sales activities. Successful team members also possess the following qualifications: • A High School Diploma or equivalent. Preferably a College Graduate. • At least 2 years of experience in a customer service or call-center environment. • Excellent written and verbal communication skills. • Strong data entry/typing skills. • The ability to multi-task and prioritize multiple assignments. Send cover letter and resume to: For Advertising Rates & Schedules: POST Magazine, 620 West Elk Ave., Glendale, CA 91204; Western Region 818-291-1153, Fax: 818-547-4607; Eastern Region 781-255-0625 Fax: 781-255-0431 Post • July 2013 47

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