Issue link: https://digital.copcomm.com/i/1512899
www.postmagazine.com 2 POST NOV/DEC 2023 EDITOR'S NOTE nce again, Post's year-end issue takes on an "Outlook" theme, with pros from across the industry weighing in on trends that are influencing their respective businesses. Iain Blair kicks things oˆ with his Directors SWOT, in which top filmmakers address the challeng- es they are facing in getting projects to the big screen. Turn to page 14 to hear from Antoine Fuqua (The Equalizer franchise), Sam Hargrave—(Extraction franchise), Craig Gillespie (Dumb Money; I, Tonya) and Gareth Edwards (Godzilla, Rogue One: A Star Wars Story, The Creator), who all share insight into the hurdles they face as filmmakers, their appreciation of the post process, and whether AI will change the way films are made in the future. Artificial intelligence has been a talking point for much of 2023. At NAB Show in New York back in October, I had a chance to speak with a number of manufacturers about AI and how it was impacting their product development, if at all. Beginning on page 28, numerous representatives from companies that include Blackmagic Design, Dell, Digital Anarchy and Disguise, present their vision of AI as it relates to product development. Blackmagic's Bob Caniglia shares how the DaVinci Neural Engine is already powering AI-based tools in its Resolve editing/color grading software. Jim Tierney at Digital Anarchy sees AI as a tool with potential, noting that it still has considerable limitations, and is not likely to replace human cinematographers or editors anytime soon. There's a lot of interesting insight, so be sure to check them out, and visit postmagazine.com for many more contributions from pros sharing their vision for the year ahead. If you're a fan of feature films, this issue has a wealth of reporting on the latest releases. One of the great perks of working for Post is the opportunity to see so many films, often in advance of their oŸcial release. I was able to check out The Color Purple, Napoleon, Poor Things and Killers of the Flower Moon recently, and oˆer coverage of each in this month's issue. The cinematographer, VFX supervisor and editorial team for Napoleon (pictured below) reflect on their collaboration with director Ridley Scott on page 20, while director Blitz Bazawule shares his experience reimagining The Color Purple as a theatrical musical on page 24. Yorgos Lanthimos details his work bringing Alasdair Gray's novel to the big screen for Poor Things on page 21, and Oscar-winning editor Thelma Schoonmaker discusses her work- flow for Killers of the Flower Moon on page 34. In addition, Alexander Payne is featured in this month's "Director's Chair" column, where he talks about his latest feature, The Holdovers. Our film coverage continues online, where I speak with director Andrew Haigh about his new feature, All of Us Strangers, including some of the virtual production techniques he used for the apartment set, where much of the psychological drama takes place. The film is also heavily dependent on a licensed music track, and Haigh reflects on the importance of mak- ing sure he could secure it to realize his ultimate vision. Enjoy the issue and let's hope 2024 is a great year! BY MARC LOFTUS EDITOR-IN-CHIEF MLOFTUS@ POSTMAGAZINE.COM O LOOKING TOWARDS 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 WILLIAM R. 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