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www.postmagazine.com 2 POST JULY/AUG 2025 EDITOR'S NOTE f you're a fan of the theatrical experience, the past few weeks have had a lot to offer. As much as I've tried to stay on top of seeing all the new films, it seems almost im- possible to keep up! I was fortunate enough to see an IMAX presentation of F1 The Movie a few weeks back in New York City, and the format really highlighted the spectacle that F1 offers as its race schedule moves from country to country. We're starting to get a taste for it here in the US with stops in Miami and Las Vegas, and its only equivalent here in the States is what we've seen with the Super Bowl. The IMAX format was the perfect way to bring attention to how big F1 is throughout the world. After checking out the film, I was able to speak with editor Stephen Mirrione, ACE, and visual effects supervisor Ryan Tudhope (see our online coverage) about the challenges faced by director Joseph Kosinski and the rest of his team. The film incorporates actual race footage from F1 events, some of which was enhanced through visual effects. Framestore, for example, helped re-skin some of the live action Formula 1 cars with different branding. In oth- er cases, totally-CG cars were added to the live action. It's all seamless, and audiences would have no idea that cars have been added to the original footage. Superman is another film that is wowing audiences with its theatrical release. Seeing the Man of Steel crash down into the Arctic snow, and then witnessing Krypto come to his rescue, dragging him to The Fortress of Solitude as it emerges from the earth — its ice crystals piercing the frozen surface — couldn't be truly appreciated on anything other than the big screen. VFX supervisors from Weta FX and Framestore share details on how they created so many of the film's effects — 600 and 500 respectively. And Picture Shop's senior colorist Mitch Paulson shares insight into how he worked on finding the 'blue' that audiences expect to see when watching the new Smurfs movie. Paulson graded the film in the studio's large theater, which is equipped with a new Barco Lightsteering HDR projector. The grade gave director Chris Miller and the team at Paramount Pictures their first opportunity to view the movie in HDR. Additional feature-film coverage includes my interview with Akiva Schaffer regarding his work on The Naked Gun, and director Jennifer Kaytin Robinson about her work on I Know What You Did Last Summer. Both films were inspired by previous releases and were able to connect with their predecessors through clever storylines. Turn to page 12 for our "Summer Movies" feature, and be sure to visit postmagazine.com, where our coverage continues. At press time, I had just connected with Academy Award-nominated actress and first-time director Kristin Scott Thomas, who recently completed work on My Mother's Wedding, starring Scarlett Johansson, Sienna Miller, Emily Beecham and Freida Pinto. Kristin also appears on-screen as a major character in the film. She shares her experience and what she learned in her new role as a filmmaker. BY MARC LOFTUS EDITOR-IN-CHIEF MLOFTUS@ POSTMAGAZINE.COM I HEAD TO THE MOVIES! 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 CONTRIBUTOR 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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