Issue link: https://digital.copcomm.com/i/1463
HD Check it out at toonboom.com 4OON"OOM(EADQUARTERSp4OON"OOM&RANCE Coming soon. O U T P U T The Laser "supercomputer" handles the online assembly, including traditional dis- solves, etc., and more challenging VFX take place in the DS Nitris, in 4:2:2, translating of- fline effects work done in Adrenaline. Matthew Weiner "will use ever y single tool at his disposal to enhance storytelling," McCormick says. That includes "small tweaks and adjustments in the color of a scene to enhance what's going on in the lives of our characters." Tim Vincent performs Mad Men's final color correction on Autodesk Lustre at Laser Pacific. McCormick describes Lustre's nonlinear color correction as "pretty re- markable. It's Photoshop on steroids; it has kind of unlimited window oppor tunities, un- limited layers. If you do make changes, you can take apar t those changes more readily. It's all the things you'd associate with the nonlinear workflow added to the color cor- rection process. What blows me away about the Lustre is its ability to kind of or- ganically manipulate light and images. It al- most looks as if someone went back in time and added a light on a set; it has such a di- mensionalized quality to it." McCormick adds that the most impor- tant aspect is who's driving the machine: "Tim Vincent does an extraordinar y job of taking advantage of that toolset and deliver- ing what we want." G O S S I P G I R L Trey Coscia, associate producer on Gossip Girl, now in its second season on the CW, has been with the series since the produc- tion of its pilot. Coscia's been working in television for over 10 years. His first show that was "shot purely HD" was Justice on Fox in the 2006-07 season. Justice was shot on a Genesis 24p camera; Gossip Girl is being shot on Sony's F-23 and airs in high def. "I think a lot of producers, directors and DPs are trying to get that film look," Coscia says, "and they're used to what it looks like being shot on film." If an HD shoot is not lit properly, it can "look a little video," he says. But when a DP gets it down, "it looks fan- tastic, and it can look just like film and you can fool people. A lot of people think Gos- sip Girl is a beautifully shot show and it looks great and I attribute that to Ron For- tunado, our DP." While Coscia and company are happy with the blacks they're getting, he is more H I G H D E F www.postmagazine.com October 2008 • Post 31 Gossip Girl is shot on Sony F-23s. Offline editing is in 16x9 on Adrenaline.