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October 2014

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Page 48 of 51 47 POST OCTOBER 2014 3.0 or FireWire 800, but eSATA requires a power source (included). For those interested, I was testing these drives using a pretty powerful Windows 8.1 Intel i7-based system with an SSD boot drive and 16GBs of memory. In terms of benchmarks, I used AJA's System Test software. It's easy to use to get basic results, and free. The Studio Mini had an average read/write speed of 127MB/s in the read/write test with the 1GB file size at 1920x1080, 8-bit. I tested other frame sizes and file sizes, but for the most part, it all averaged out to the same transfer rate, so that is why I stuck with the 1GB, 1920x1080 test. The second drive I tested was the 1TB StudioRAID Mini. The StudioRAID Mini is about double the height of the Studio Mini but packs one knockout benefit: RAID configuration. In RAID 0 both drives are formatted to look like one, while in RAID 1 one drive is mirrored on the other drive for safety. It comes in three sizes: 1TB and 2TB with 7,200rpm drives, as well as 4TB with 5,400rpm drives. On the back it has eSATA, two Firewire 800s, and a USB 3.0 connection like the Studio Mini, and since it has two drives inside, it stands about .7 of an inch taller than the one-inch tall Mini. I performed the AJA System Test again. In a RAID 1 configuration it ran at about 106MB/s. While cutting the storage from 1TB to 500GB and adding the safety of a mirrored data set inher- ent in RAID 1, it was not as slow as I had imagined it would be. However, in RAID 0 it ran at around 221MB/s (same 1GB read/ write at 1920x1080, 8-bit test). To configure the RAID, Glyph made a smart decision to go with a hardware RAID as opposed to software-controlled. While it's simple to use, it's not so simple that you will accidentally erase your drive by changing from RAID 0 to 1. Here is how to set your RAID: plug in your drive with the power switch off, select either RAID 0 or 1, push the "set" switch on back, power on the drive, wait :05, release the "set" switch, and you're ready. Finally, the third drive is the 500GB BlackBox. On the outside it looks quite a bit different than other Glyph drives. It's a glossy black box — go figure? Its only connection is USB 3.0, which also serves as the bus power with a 5,400rpm drive under the hood. Because it uses a 5,400rpm hard drive, it performed a little slow- er than the Studio Mini at about 100MB/s when performing the read/write test with a 1GB file at 1920x1080, 8-bit. This drive would be a great as a backup, as it is quite a bit cheaper ($99 for the 500GB version) and a little thin- ner, but still holds Glyph's impres- sive warranty. In the end, I love all three of these Glyph mobile external hard drives and I can't emphasize enough how valuable a great war- ranty is. Dealing with a hard drive manufacturer that has a bad warranty is one of the worst things you can go through — on top of losing all of your data too. If someone were to ask for my recommendation on a portable, rock-solid drive for all types of multimedia content creation, the Glyph StudioRAID Mini, with its hardware RAID, is definitely one that I would not hesitate to recommend. REVIEW 46 Post • November 2012 STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION (Required by 39 USC 3685) Publication Title: Post Magazine Publication Number: 000-297 Filing Date: 10/13/2014 Issue Frequency: monthly Number of Issues Published Annually: 12 Annual Subscription Price: $78.00 Complete Mailing Address of Known Office of Publication: 620 W. Elk Ave., Glendale, CA 91204 Contact Person: William Rittwage Telephone: (818) 291-1111 Complete Mailing Address of Headquarters or General Business Office of Publisher: 620 W. 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Elk Ave., Glendale, CA 91204 Managing Editor: Linda Romanello Senior Editor/Web and Mobile Content Mark Loftus Circulation Manager Junior Lopez 620 W Elk Ave., Glendale, CA 91204 This publication is owned by Post, LLC - William Rittwage Total Number of Copies 21,247.....................22,075 Outside County Paid/Requested Mail Subscriptions Stated on PS Form 3541 19,396.....................21,254 In County Paid/Requested Mail Subscriptions Stated on PS Form 3541 0..............................0 Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Paid or Requested Distribution Outside USPS® Requested Copies Distributed by Other Mail Classes Through the USPS 0..............................0 Total Paid and/or Requested Circulation 19,492.....................21,341 Outside County Nonrequested Copies Stated on PS Form 3541 0..............................0 In County Nonrequested Copies Stated on PS Form 3541 0..............................0 Nonrequested Copies Distributed Through the USPS by Other Classes of Mail 0..............................0 Nonrequested Copies Distibuted Outside the Mail 2,250.......................1,300 Total Nonrequested Distribution 2,250.......................1,300 Total Distribution 21,742.....................22,641 Copies Not Distributed 807..........................550 Total 22,549.....................23,191 Percent Paid and/or Requested Circulation 89% ........................94% Publication required. Will be printed in the November 2014 issue of this publication. Name and Title of Editor, Publishers, Business Manager, or Owner: William Rittwage - owner Date: 11/13/14. I certify that the statements made by me above are correct and complete. Average No. Copies Each Issue During Preceding 12 Months No. Copies of Single Issue Published Nearest to Filing Date mances, a third boom operator used a Neumann RSM 191 stereo shotgun mic to record the cho- ruses from a wider angle, adding width and balance to the sound. In addition to the boom mics, Hayes also used DPA 4017 lavalier mics with Lectrosonics SMV Digital Hybrid radio transmitters. When Hayes did a test of the DPAs at Abbey Road for the engi- neers on Les Miserables, they were impressed. While the lav mics aren't as full range as a studio mic, they definitely could produce high-quality vocals. "One of the outstanding features of these mics is their ability handle very high SPL levels from vocals without sounding harsh," he reports. "As they approach their max SPL, they continue to sound sweet. I have never heard a vocal make them square off. Yet, they are also sensi- tive enough to faithfully reproduce the smallest 'breathed' vocal." Recording the vocals as cleanly as possible was the biggest challenge for Hayes and his team. To capture pristine, high-quality vocals, they created what they termed 'silent wind' and even fitted the horses on set with rubber shoes. To give the actors the freedom to perform the songs naturally, without a set tempo or pre-recorded track to act to, a live pianist on the set accompanied the sing- ing via an induction loop. The actors sang along to the piano, which they could hear through a tiny earpiece. This allowed the sound team to record only the vocals. Later, a full orchestral score would be added to the clean vocal tracks. "It is the first movie musical to my knowledge that has not only been recorded live from beginning to end, but has given the actors creative freedom to set the musical tempo rather than being driven within the strict confines of a musical backing track. The result was inspiring on a daily basis as we watched their performances on the set." Les Miserables is being mixed at Goldcrest Post London ( by re- recording mixers Mark Paterson and Andy Nelson. They were still in the pre-mix phase at press time. Paterson and Nelson have worked on several projects in the past, including Pirates! Band of Misfits. "Nelson has been such a huge influence in my career," says Paterson. "Some of the films he has worked on are par t of the reason I fell for film mixing. It's great that we hit it off straight away and are continuing to work together." Paterson is handling the effects, Foley and crowd elements in the mix. "Since the actors were free to perform at their own pace, without a metronome, this presented many challenges in post pro- duction, especially for music editorial. Though, in my opinion, this resulted in some amazing performances. Having said that, it means that the whole post production team is treading new ground with the way all the material is pre- sented and prepared for mixing." For Paterson, getting the effects and Foley to balance with the music is a vital task. He feels that, with a musical, there is more creative flexibility when it comes to adding in the effects. "It's about get- ting the fine balance and not distracting from the song performances, while at the same time keeping you right there with the characters." Les Miserables, produced by Work- ing Title Films and distributed by Uni- versal Pictures, will be in theaters on Christmas Day. M I C ' D U P [ Cont.from 39] Flashpoint's actors wear a lot of gear. Technicolor replaces muffled dialogue with ADR. takes care of. "Banga- lore is not a city I feel comfor table having our employees driving in. It's very chaotic," she explains. While employee packages are typi- cally a set offering, DreamWorks Anima- tion will shrink, contract or expand as needed. "We try to tailor these packag- es to the person and what their needs are," she describes. "If there are children, they typically go to international schools, which are private, so we will assist with tuition as well." Berens admits that while many employees decide to go to India for the adventure of it — and are given flexible hours and vacation time to take full advantage — homesickness is a reality. And they combat this in a variety of ways, including plane tickets so they can come home when needed, frequent business trips back to the US and regu- lar meetings via video conferencing, allowing them to stay close to the US- based studios on a regular basis. "Cultural settling-in ser vices" is another way. DreamWorks Animation has people in India who accompany the newly landed expats around the city, show them where to shop, visit local sites, and just generally get them acclimated to their new environment. Those with children are given a "set- tling-in coach," who works with the family and takes them through a series of conversations about what they can expect to encounter in India. Berens says this particularly important for those with adolescents. "We have an expat with two high-school-age daughters in India now, and we've had others going through the high school years, and the socialization aspect is important. We try to coach them through the challenges." For those who make the move alone, the key is making sure they keep in touch with their personal support sys- tem. "We have a much higher chance of success with the folks who do." In terms of Oriental DreamWorks, at the moment employees there are work- ing within a small studio in Shangai, mostly producing animation for the gaming industry. Berens expects Orien- tal DreamWorks will get its own studio in about three to four years. "Our expe- rience with Shanghai right now is brand new… six weeks new." In reverse, DreamWorks Animation places many international artists in the US-based offices, and they currently have about 35 countries represented, between Glendale and Redwood City. "Everything that we do for folks that go abroad, we do in reverse for those we bring into the US. All of our artists who are foreign need visas and need to be relocated. So the same team that is handling our expats, handle those com- ing to the US." H A V E T A L E N T W I L L T R A V E L [ Cont.from 29] Publication Title: Post Magazine Issue Date for Circulation Data Below: 10/13/14. 96...........................87 20,500....................20,012 Requested and Paid Electronic Copies 3,021.......................3,123

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