Post Magazine

I BC '08 in Amsterdam was ver y busy but in a relaxed way; it's like NAB on Xanax, and I like it! Could have done without the fish sand- wiches being offered at the RAI convention cen- ter — head and all — but other than that, a countr y that ser ves cheese for breakfast and lunch is my kinda place. Companies getting into or enhancing stereo- scopic offerings were all the rage at the show. Quantel talked up its partnership with 3ality and its co-development of the SIP2100 stereo image processor. da Vinci unveiled a new version of its Re- solve R-series digital enhancement suite designed for stereo 3D processing. Spain's SGO was there showing how its Mistika product can color correct both eyes at the same time, and others, like Iridas, The Foundry and Autodesk also showed product and emphasized their commitment to stereo 3D. Eyeon was at the show with its new Genera- tion product and updates to its Fusion system. Imagineering was talking about its Mocha for After Effects, which is being bundled with CS4. Codex was showing its Lab, which they describe as digi- tal-film-lab-in-a-box. XDT discussed the new addi- tion to its Catapult family of products, called the Catapult Bridge, which allows NFS and CIFS client access to frame sequences stored on any Cata- pult system. Filmlight had the AatonK film recorder at its stand. FilmLight will handle sales, marketing, service and suppor t for AatonK, while Aaton will manufacture the system. Thomson's Spirit has two new additions, in- cluding the OptiPin optical pin registration, and an improved grain reducer. And now that the Red camera SDK is avail- able, companies being able to work with Red- Code were ubiquitous. Just a few include da Vinci, Quantel, Autodesk, Digital Vision, Thomson Grass Valley, Avid and Adobe. "We screened 4k footage from Red-shot movies, commercials, TV shows and music videos on one of world's largest screens at the IBC Big Screen Theater," repor ts Red's Ted Schilowitz. "In addition there were many companies in the DI space demonstrating their first round of adoption of the Red SDK, allowing them to open up and work with RedCode footage in its native form. This is a big step for Red as so many projects are being shot now of all budget levels and those pro- ductions all have different requirements for dailies creation, editorial, color grading and finishing." Many companies were also talking about what Signiant's Tony Lapolito calls going "from tripod to iPod," including Adobe, which has been touting this kind of workflow for years. So IBC '08 was more about trends and enhanc- ing workflows than ground-breaking new technol- ogy. So many products…So little time. IBC in 500 words or less E D I T O R ' S N O T E 6 Post • October 2008 www.postmagazine.com By RANDI ALTMAN E D I T O R - I N - C H I E F raltman@postmagazine.com P O S T S C R I P T Hard work and competition W e've often heard about climbing the cor- porate ladder, and in the post industry a great example of a person who's achieved suc- cess through hard work is Bionic's new manag- ing director, Megan Sweeten. Sweeten got her start at Creative Bubble — initially serving as its receptionist — eight years ago, and over time and through much hard work, became the New York post house's managing director. Recently, she pulled a lateral move to com- peting facility Bionic, and knowing her Massachusetts roots and allegiance to the Boston Red Sox, she says some might see her as "a Johnny Damon." But, like the Yankee outfield- er's situation, it was "all about business." Bionic and Creative Bubble are essentially direct competitors, she notes, with broadcast and cable promos, along with spots, making up much of their work. Bionic is home to seven Avid Adrenaline and Symphony suites, three Digidesign Pro Tools rooms, and four Adobe After Effect stations, two equipped with Autodesk Maya for 3D work. "Every shop has the same stuff," says Sweeten. "They have the editors and the After Effects designers." So what's the difference? "Client service," she says."They come here because they know me and they know I am going to take care of them.When they were at 'The Bubble,' if something was wrong, Megan was on it and fixed it. Or Megan had the best support staff…I'm stressing the client service aspect of it," she continues."We have great talent, and what we did great at The Bubble, and what I'm trying to do here, is match the client experience." The studio is also helping to differentiate itself through a strategic alliance with Flying Machine and its owner, creative director Micha Riss. Riss and Bionic's president, Steve Beal, were introduced by Rick Cordero, president of staffing firm Pavement, a few years back when Bionic was looking to perform its own rebrand. Bionic benefits from Riss's creative skills, which will help attract more spot work. And Flying Machine gains introduction to the studio's broadcast clients, as well as access to a well- equipped post house that can execute its creative visions. 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