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November/December 2022

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www.postmagazine.com 2 POST NOV/DEC 2022 EDITOR'S NOTE or 20 years now, Post's year-end issue has looked ahead to the next 12 months, with pros from around the industry weighing in on their respective businesses, and sharing predictions for the year ahead. It was 2002 (pic- tured, right) that we began our Outlook theme and first used the SWOT format to report on the "Strengths, Weaknesses, Opportunities and Threats" facing the industry. In our "Directors SWOT," four leading directors (Kasi Lemmons, James Gray, Todd Field and Gina Prince-Bythewood) share their thoughts on the post production-side of filmmaking. A com- mon concern is how the pandemic and stream- ing is affecting the movie-going experience, and whether or not audiences will continue to head to theaters in the future? "I'm pretty optimistic," says Gina Prince- Bythewood. "I love going to the theater and it's great to see people returning, as there's nothing like the collective experience of seeing a film on a big screen." James Gray, however, is less optimistic. "I think COVID has dealt a heavy blow to the the- atrical experience…I think the year ahead all depends on the virus and any new variant. I just hope that the audience is there with us." Turn to page 18 for more of their thoughts. Our "Outlook" feature, beginning on page 22, looks at trends influencing workflows throughout the industry. It's no surprise to see "Cloud" and "Virtual Production" as topics on so many professionals' minds, and our coverage looks at several issues in those segments. Mac Moore addresses how Conductor is helping to remove some of the complexities of migrating to the cloud, while Light Iron's Seth Hallen looks at set-to-cloud workflows and how companies, such as Panavision, may further develop their tools so that original camera files go straight to the cloud. As for Virtual Production, topics such as the promise of cluster rendering; next-gen hard- ware; and how to choose between using LED volumes or green-screens, are all addressed. There is a lot to take in, so turn to page 24 for more insight on the topic. Looking at our cover story, Kendra Ruczak, who heads up Post's sister publication CGW, reports on Academy Award-winning filmmaker Guillermo del Toro's latest project for Netflix. The familiar tale of Pinocchio (pictured, below), in this case, came together through a combi- nation of stop-motion animation and digital VFX. Beginning on page 14, you can learn about techniques used to create the puppets, and how VFX studio Mr. X stayed true to the film's stop-motion aesthetic. Lastly, I'd like to call attention to my interview with editor Rodrigo Brazao, who was part of a team that cut the Apple TV+ documentary Selena Gomez: My Mind & Me. The doc is being used by the actress/pop star as a vehicle to encourage those suffering from mental health issues to seek help, and was cut on Avid systems, drawing from more than 200 hours of material. You can check out our "Editing" column on page 12. There's lots more coverage on postmagazine.com. Here's to a great year ahead! BY MARC LOFTUS EDITOR-IN-CHIEF MLOFTUS@ POSTMAGAZINE.COM F POST TRENDS AND THE YEAR AHEAD SEE US ON EDITORIAL MARC LOFTUS Editor-In-Chief Post Publishing, LLC 516.376.1087 mloftus@postmagazine.com KENDRA RUCZAK Managing Editor Post Publishing, LLC/CGW kruczak@cgw.com CONTRIBUTORS IAIN BLAIR Film & TV DESIGN MICHELLE VILLAS Senior Art Director michelle@moontidemedia.com ADVERTISING MARI KOHN Director of Sales Print, Digital and Awards 818.291.1153 cell 818.472.1491 mkohn@postmagazine.com LISA NEELY Publisher's Assistant Sales Manager 818.660.5828 lneely@copcomm.com JUNIOR LOPEZ Customer Service, Circulation 818.291.1117 jlopez@copcomm.com TOMMY RITTWAGE Digital Marketing Social Media 818.291.1166 tommy@copcomm.com REPRINTS 781.255.0625 • 818.291.1153 WILLIAM R. RITTWAGE President/CEO Post Magazine is published by Post, LLC, a COP communications company. 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