Post Magazine

January 2014

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postings PemberlEy Online Parchment Paper L ONDON — LipSync Post ( provided grading, online editing, sound, VFX and titles for BBC One's three-part drama Death Comes To Pemberley, which is based on PD James' acclaimed sequel to the Jane Austen classic "Pride and Prejudice." The drama was produced by Origin Pictures for BBC One, and aired in late December. The photography had to rely on a lot of natural light due to rigging restrictions in period locations and stately homes. Selective grading by senior colorist Stu- C HICAGO — Sonixphere ( partnered with Havas Worldwide Chicago to create an exciting-yetcharming :30 holiday spot for Reynolds Parchment Paper. The studio recorded a live orchestra for the spot in which an animated heroine, made out of parchment paper, comes to the rescue of holiday cookies. Pepper, the all-white origami character, sees cookies about to be baked without the non-stick paper. She climbs the refrigerator and springs off a toasted to arrive in time to save the cookies before they go into the oven — sliding a piece of Reynolds Parchment Paper between them and the cooking tray. The score for Pepper Parchment uses carefully plotted cues to heighten the action. Real strings and horns add a layer of warmth and reality to the spot. The session required a large recording room, so the team tapped CRC in Chicago. Laika in Portland, OR, handled the animation. Michael Corrigan and Steve Miller cut the spot. Rex Carter handled Flame work. Todd Beee at Made in Chicago created the commercial's original sound design. Grudge Match L OS ANGELES — Look Effects ( recently produced visual effects for Grudge Match, the new Warner Bros. feature starring Robert De Niro and Sylvester Stallone. Directed by Peter Segal, Grudge Match tells the story of two aging boxing rivals who are coaxed out of retirement to fight one final bout, 30 years after their last match. Because the fight sequences were shot in an empty New Orleans arena, Look's primary job was to create the crowd of 10,000 boxing fans. VFX supervisor Everett Burrell says the team had just one day on-set to work with the 300 extras. The entire crowd was created using real people. There were no digital extras. Extras were repositioned throughout the arena, shot and composited to create the large crowd. How Cities Work L ONDON — BTV Post ( provided full post production for the TV series How Cities Work, which was commissioned by Discovery. Produced by Electric Sky Productions and filmed in Stereo 3D, How Cities Work visits London, New York, Barcelona, Las Vegas, Berlin, San Francisco and many other iconic cities. The program looks at the technological achievements, planning and engineering feats that make life in these cities possible and pleasurable for the masses. BTV Post colorists and online editors Ian Grey and George Dutton completed the picture post for the five-episode series. BTV Post's dubbing mixer Jon Gray handled sound for the show, which was mixed in 5.1. According to post supervisor Chris Gallani, rushes were couriered from location to the studio around-the-clock for immediate ingest. The series made use of a range of cameras, including the Sony TD-300. Media was transferred via BTV Post's fast data connection for online and mastering in Mistika and Avid editing suites. The deliverables were managed using Eclipse, BTV Post's digital media management platform. 36 Post • January 2014 art Fyvie helped enhance or shade parts of the image that would ordinarily have been lit on-set. The drama also features flashbacks of a previous incident, remembered from several characters' points of view. Fyvie added subtle nuances such as glows, highlights and desaturations that would help the audience know where they were in the story. Re-recording mixer Rob Hughes worked hard to bring a feeling of a working home to Pemberley, with details such as distantly-heard servants and passing conversations. Many Foley tracks were recorded on location, augmented by recordings shot in a 15th century music shop in Surrey. The VFX work also needed to maintain the reality of a period production. Key shots included the compositing of a period cottage into a riverside location, and bringing exterior shots of Pemberley to life by adding the glow from a single light source shining through windows.

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