Post Magazine

December 2011

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EDIT THIS [ Cont.from 12 ] days for it to go through process and be shipped to location. "J. Edgar was shot in town, except the last week was done in Washington. When they were shooting on set he'd be here everyday and look at what we cut the day before. We were really right on top of the camera. When he finished shooting, Clint went home to Carmel, and we packed up the Media Com- poser and went as well to make his changes. We added some music and then returned to the studio to watch the film in a theatre. Then we started massaging and molding the final feeling of the film, adding more music at the same time. The music is sparse; Clint believes music should be a supporter of the film, not a character in the film." POST: Can you talk about going back and forth in time? COX: "Leo's make-up changed and you had narration that took you in and out of timeframes. A challenge was making sure the make-up was right, and the transitions are also hugely important when you are doing time change. You want it to flow. So the important part is the transition. "I thought they were uniquely done sev- eral times on this film. Where you are going down the elevator at one age and coming out a younger age, and when he was watch- ing the presidential parade on the porch and he steps back in and it goes from 1936 to 1973. Those were designed in the script but [ Cont.from 36 ] you still have to find the right place to make it work. Our films are very emotional and much more about timing and moments than action films. Here you are holding the emo- tions of the viewer and trying to take them along with the emotion of the characters. That is probably the hardest part, getting the right feel and right timing to a scene." POST: Is there one scene that was particu- larly challenging? COX: "The one where Hoover and Clyde Tolson are in an apartment after the races. They start talking about their feelings and Hoover starts telling Tolson he's thinking about getting a Mrs. Hoover. There is an explosion and a fight and kiss. That was like four films in itself. That is one of the few scenes that Gary and I split up. Gary took the first half and I took the second. We did that on several scenes." POST: Knowing each other so well, has to help in the process, right? COX: "The relationship between a director and editor is probably the closest relationship on a film, not to take anything away from any- one else, but you are there the whole shoot and then you spend months in an editing room, day after day, with the director. Our personalities work great together and we've had a lot of fun together. I probably have the greatest editing job in the field. Since 1984, I've worked with him every day." [ Cont.from 26 ] STEREO SWOT technical and creative advances to augment their artistic craft. Additionally, the effort by consumer electronics manufacturers, exhibitors, content studios and production studios to win market share is creating new competitive opportunities; effectively lowering the cost of 3D product while improving consumers' entertainment experiences. "Studios are considering alternative funding strategies to mitigate some of the risk in the conversion of their highest-earning catalog titles to 3D. Conversion of catalog titles will drive the home entertainment market and prime lucrative first run Blu-ray and streaming video releases. Next year Titanic, Star Wars: Episode 1 and the newly announced Paramount release of Top Gun will be released in 3D. These films promise to shift the pendu- lum toward conversion as a legitimate vehicle through which new and more valuable assets can be created from studios' library treasures, allow- ing content owners to unlock value from tens of thousands of hours of existing content." THREATS: "Threats to the adoption and ultimate ubiquity of the 3D industry appear in the creation of a cheap, inferior product from domestic and international conversion vendors, and in the complacency of some film- makers to accept this lower-quality product. With prices coming down among the major conversion players, there is no need for anyone to settle for an inferior product. To do so fuels the negative frenzy generated by some in the industry and perpetuates a lack of confidence in the 3D medium." OUTLOOK FOR 2012: "2012 will be a pivotal year for 3D. The number of 3D film productions will continue to increase, with some of our most talented directors entering the 3D arena. One of the two standards — active or passive 3D glasses — will likely win significant market share. Frame rates of 3DTVs will continue to increase, offering greater clarity in image quality. Streaming 3D content will become the prominent distribu- tion medium for 3D movies. 3D broadcast will become more accessible to the home. Movie-goers will pay the premium prices, provided we con- tinue to create superior entertainment experiences. Theaters will likely participate in the exhibition of special 3D sports, music performances and stage plays, transmitted via satellite. These special events will coincide with the installation of more luxury theaters." NEW MEDIA SWOT THREATS: "The biggest threat I see to this burgeoning area of the advertising and mar- keting industry is the global economy. We continue to see a slow recovery to the economy both here in the US and abroad. Many of these projects continue to be listed under discretionary budgets. So when budgets are tight, there is not additional funds available for what may be considered an experiment. But for those branders [ Cont.from 40 ] proficient in multiple applications in order to keep their skills current and marketable. Two, there have been a lot of new product releases, such as Adobe 5.5, Avid 6.0, and Apple's OSX Lion operating system. The release of FCP X has caused some confu- sion in the industry in terms of adaption as a profes- sional NLE. This is increasing the need for training as some have embraced it and others are attending migra- tion courses." WEAKNESSES: "Despite a definite need for train- ing, there are a few things working against companies in the classroom-education space. For one, instructor-led training is only one of many ways to learn. People also turn to the Internet, DVDs and peers for training — especially now, when everyone is still very cost-con- and marketers who are forward-thinking, they will real- ize in this coming year that projects that incorporate interactivity are the future." OUTLOOK FOR 2012: "My outlook for 2012 is extremely positive for this segment of the industry. For next year, I see integration as the key trend — integra- tion of several interactive video and social media techs together to create campaigns that are participatory TRAINING SWOT scious. Because of the weak economy, individual and corporate budgets remain tight, so instructor-led training is an option some can't afford. Also, manufacturers are offering fewer courses than they did even a year ago." OPPORTUNITIES: "With the number of tools available and an ever-increasing number of ways to use them, training is more important than ever. For exam- ple, many major corporations are adopting some sort of in-house production. At the same time, application development shows no sign of slowing. These are two areas for potential growth. Also, some organizations will switch to the new Apple OS X Lion operating system. All of these trends represent big opportunities for editors, Web designers, desktop publishers, anima- tors and IT pros — and the people who train them. Especially for those who wish to obtain certification on a particular application." THREATS: "There is the potential for the econo- my not to recover as fast as some have predicted and this could hamper instructor-led training in 2012 as corporate and individual budgets are curtailed." OUTLOOK FOR 2012: "Overall, the industry is strong and the potential is good for digital video and film editing, motion graphics, Web design and development, sound design, 3D animation, desktop publishing, architec- tural and mechanical design, Mac IT and mobile app devel- opment. It's a great time for the professionals in these industries to be upgrading their skills and adding to their repertoires to take advantage of opportunities and make themselves more valuable in the market." Post • December 2011 45 and multi-layered. As consumers continue to adopt consumption technology such as smart phones and tablets, the opportunities for this type of work is end- less. However, all three of these factors need to be working in tandem: a willingness to expand the reach of advertising, the tools for consumers to engage, and the distribution vehicles to get the messaging out to consumers."

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