Issue link: https://digital.copcomm.com/i/1505509
www.postmagazine.com 2 POST JULY/AUG 2023 EDITOR'S NOTE his issue's cover story looks at one of the summer's biggest action films. Tom Cruise returns as Ethan Hunt, along with his IMF team, in Mission: Impossible — Dead Reckoning Part One. The film was directed by Christopher McQuarrie and edited by Eddie Hamilton, both of whom have a history of working with the A-list actor. McQuarrie and Hamilton collaborated on 2018's Mission: Impossible — Fallout and 2015's Rogue Nation (2015), and Hamilton earned an Oscar nomination for his work on last summer's hit Top Gun: Maverick, for which 'McQ' served as a writer. Beginning on page 16, Hamilton shares his experience working on the latest release, in- cluding his Avid editing workflow and the painstaking process in which the film's countless action sequences came together. Hamilton is a self-admitted cinephile, and his passion to the filmmaking process was obvious when I caught up with him at his London loft via Zoom. He's already working on Part Two, which, depending on the current Hollywood strikes, could be in theaters next summer. Our "Bits & Pieces" section looks at a number of summer blockbusters that entertained audiences with their high-end visual effects. Turn to page 4 to read about Dneg's work on the car chases and explosions featured in the tenth Fast and Furious film, Fast X, as well as MPC's character work on Transformers: Rise of the Beasts. There's also coverage of One Of Us, which created a single :90 sequence featured in The Flash. Also in theaters recently was Pixar's latest animated feature Elemental. My colleague Kendra Ruczak spoke with director Peter Sohn, as well as the film's production designer, character supervisors, animators and VFX supervisors, who detailed the challenges the proj- ect presented. Elemental's characters are made of fire, water, earth and air, and required the studio to create simulations for every frame of the film. The extent of innovative effects work was unprecedented for a Pixar film, and required the team to essentially re-engineer their existing workflow. Turn to page 20 to learn all about it. Continuing our feature-film coverage, Iain Blair recently caught up with director Antoine Fuqua, who went to Italy to shoot The Equalizer 3, starring Denzel Washington. Washington has starred in all three Equalizer films, and has also collaborated Fuqua on the 2016's The Magnificent Seven, as well as on the 2001 crime thriller Training Day, for which the actor won an Oscar. Beginning on page 12, the director comments on why they work so well together, as well as on the challenges of shooting across 70-plus days in Italy. Beyond our film coverage, we have two technology pieces that should be of interest. On page 24, Post looks at some of the latest monitors that are well suited for HDR workflows. With sizes ranging from just 16-inches to more than 50, there's a good chance you'll find a solution that matches your budget and workflow needs. And on page 30, Signiant CTO Ian Hamilton explains the differences between file storage and object storage. The company's Signiant Platform abstracts the differences between the two and presents them to the user identically, regardless of whether they are stored in public cloud object storage, local object storage or file storage. Of course, there's plenty more to check out at postmagazine.com, so visit Post online too. 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