Post Magazine

March 2011

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Interactive Interest to shoot at night, especially with our very low budget.We don’t have the kind of lights we need to make it look the way we wanted. It’s also hard to ring someone’s bell and say, ‘You have the ugliest house we’ve ever seen. Can we film here?’” So the solution was to shoot it green- Web series Prettywrapped its second season; if funding comes through, there will be a third. screen.“We hung one up in the living room of our main set and we lit it. I had the ac- tors play out the scene in front of it repeat- edly, and shot from several angles. I then asked our graphic artist, Tara Devlin, to make the haunted house background look cheesy, like ‘After School Special’ cheesy. She built me this beautiful drop-in graphic and Nicole spent hours matching it up. In the end, it came out looking better than I had imagined.” Even though this show Powering High-Performance Audio & Video Workflows airs online, the post team made a conscious effort to set up the post workflow for Pretty in the same way they would a broadcast TV show. “The turnaround on a Web series is really quick, and there are far fewer hands to do the work, so organization is key,” explains Opyr. “We established a schedule of rough cut, fine cut, locked cut and onlined master. The only difference is that this cuts and notes process was all done in a week per episode.” From capture through distribution, ATTO powers high-performance audio & video workflows. Leading industry solutions rely on ATTO to provide reliable connectivity that is trusted by top audio & video professionals. You can now have the same technology that drives their success. AURYN Umesh Shukla, founder/ chief creative officer at Auryn (, a maker of apps for the iPad, has had a life-long interest in telling stories with motion. This led him to a career in visual effects and animation, working at such studios as Disney Feature Animation, DreamWorks Animation South Hall, Lower Level, Booth SL2510 26 Post • March 2011 and Digital Domain, where he was part of the Oscar- winning VFX team that worked on Titanic. Working on films was rewarding for Shukla, but he still wanted to take visual storytelling to another level, and that led him to Auryn, which uses its own propri- etary technology to create applications such as digital storybooks and a tool that creates the authentic simulation of watercolor painting. “I come from a graphic design and com- animation puter background,” explains Shukla.“With that in mind, I thought there was a need for creating technology to allow storytellers to use any and all mediums, just like painters do.” He offers up illustrators of children’s books as an example,“They’ll paint in water- color for one story, the next could be in pencil or oil paints, etc. So I wanted to bring the same visual styling flexibility to moving images.With that we launched Auryn.” The first two iPad apps are digital story- books that target children four to eight years old — What Does My Teddy Do All Day? and Teddy’s Night.“When we started to make these apps, we knew it was going to be a children’s book application,” explains Shukla. “We are not creating a game or episodic television app; it’s a book app that has all these elements. At one time books were passive entertainment. Now apps are NYC’s Pop UP Digital (www.popupdigital. com), the interactive division of audio post house AudioEngine, is offering an iPhone app called Goo Goo Eyes, created by Karl Kotas, creative director at PUD.Goo Goo Eyesis a sliding tile puzzle game where you match the challenge shape with the eyeballs. “I’ve always believed that the most effective interactive advertising is immersive. You should immerse the viewer in a virtual world, and that will create a bond with your brand,” says Kotas.

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