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www.postmagazine.com 2 POST JULY 2014 EDITOR'S NOTE SEE US ON EDITORIAL MARC LOFTUS Senior Editor/Director of Web Content (516) 376-1087 mloftus@postmagazine.com LINDA ROMANELLO Managing Editor (516) 931-0730 lromanello@postmagazine.com CHRISTINE BUNISH Film& Video IAIN BLAIR Film JENNIFER WALDEN Audio BARRY GOCH West Coast Blogger/Reporter MICHELLE VILLAS Art Director michelle@moontidemedia.com ADVERTISING MARI KOHN Director of Sales (818) 291-1153 cell (818) 472-1491 mkohn@postmagazine.com GARY RHODES Eastern & Intl Sales Manager (631) 274-9530 cell (516)410-8638 grhodes@copcomm.com LISA BLACK Corporate Sales Executive, Events, Custom and Integrated Print/ Publishing Services lblack@copcomm.com (818) 660-5828 SUBSCRIPTIONS (818) 291-1158 CUSTOMER SERVICE 620 West Elk Ave, Glendale, CA 91204 csr@postmagazine.com (800) 280 6446 DALE ESCEN Account Manager 818-291-1122 descen@copprints.com REPRINTS Reprints (781) 255-0625 (818) 291-1153 LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 (800) 280-6446 WILLIAM R. RITTWAGE President / CEO ACQUISITIONS & MERGERS POST TUNES IN TO TV he news that Post reports on from month to month can vary, but in the past few weeks, we've taken note of a number of partnerships that are worth highlighting. Prime Focus World merged with Double Negative, creating one of the world's larg- est independent VFX, stereo conversion and animation companies. In addition to its Dneg's London and Singapore facilities, the company will open Double Negative Van- couver in the autumn, and have complete access to PFW's production and technolo- gy infrastructure in India. PFW is known for its stereo 3D conversion services. In Los Angeles, The Sim Group, a sup- plier of production equipment and post services, agreed to merge with Hollywood's Chainsaw, the independent post facility that services shows such as The Academy Awards and American Idol. The Sim Group is comprised of Sim Digital, Bling Digital and PS Production Services, and has offices in LA, Toronto, Vancouver, Atlanta, Halifax and Beijing. It services the shows Fargo, Suits, Pacific Rim and The Vampire Diaries. Chainsaw is home to Emmy-winning editors and provides creative editorial, finishing, grading, VFX and other services through integrated digital facilities in Hollywood. It also features a DI theater for feature film finishing and satellite facility with editorial systems and space available on a rental basis. The merger allows Sim to expand its post resources and extend its reach into unscripted and live-event TV. SMPTE (www.smpte.org), which is a leader in motion-imaging standards and education, has entered into a partnership with the Hollywood Post Alliance, which serves pros that provide expertise, support, tools and infrastructure for the creation and finishing of media. The partnership be- gins with SMPTE providing administrative support to the HPA, and will culminate in a merger by May of 2015. And Autodesk signed an agreement to acquire Shotgun Software, a developer of scalable, cloud-based production tracking, review and asset management software. Shotgun's tools tightly integrate with Au- todesk 3DS Max and Maya software. raditionally, when we think of out- standing achievements in visual ef- fects, editing, color correction or audio mix- ing, we think of Hollywood and big-budget films. And for more than 28 years, Post has been covering the very best in movies, and other mediums, by speaking with the post pros themselves to learn more about the techniques and tools they use on an array of projects. But it can't go unnoticed that television has really stepped up its game. Television itself was an innovation, when in 1928, New York station WGY broadcast the first drama The Queen's Messenger, and by 1947 NBC was broadcasting Howdy Doody and Meet the Press. And there have been milestones every step of the way. In 1951, I Love Lucy was the first show to be filmed rather than broadcast live, and instant reply made its NFL debut in 1964. Today, there are more delivery methods than ever before, with the ever-expanding cable TV and its assortment of shows, as well as a host of streamed content from Netflix and Hulu. We have moved way be- yond the big three networks and their pro- gramming. Viewers have more choices than ever before — and as a result, the quality of TV shows has reached an all-new high. And Post has noticed. We, too, have stepped up our coverage of television even more with our monthly "Primetime" column that debuted in May with NBC's Grimm, where Refuge VFX is transforming some of the show's main characters from "human" to "beasts" in sec- onds, TNT's Falling Skies relies on Masters FX and its proprietary "digital makeup" technique to create some of the show's aliens (see next month's issue), and Synap- tic VFX has been creeping out viewers with a "living/breathing" headless horseman for Fox's Sleepy Hollow (see page 23). Netflix has been breaking ground with shows like House of Cards, streaming in 4K, while BBC America is having viewers seeing double with its Orphan Black series and its outstanding editing for the "clone scenes" (see page 22). With the Primetime Creative Arts Emmy Awards right around the corner, Post editors took a look at some of the best that TV has to offer in our "Emmy Contenders" section on page 22. And we'll continue to feature these artists in each and every issue. Post is noticing these outstanding achievements in TV; and we hope you are, too! Post Magazine is published by Post, LLC, a COP communications company. Post does not verify any claims or other information appearing in any of the advertisements contained in the publication, and cannot take any responsi- bility for any losses or other damages incurred by readers in reliance on such content. Post cannot be held responsible for the safekeeping or return of unsolicited articles, manuscripts, photographs, illustrations or other materials. Subscriptions: Address all subscription correspondence to Post Magazine, 620 West Elk Ave, Glendale, CA 91204. Subscribers may also contact cus- tomer service at 818-291-1158, or send an email to csr@postmagazine.com For change of address please include the old and new address information, and if possible, include an address label from a recent issue. 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