Issue link: https://digital.copcomm.com/i/559853
www.postmagazine.com 2 POST AUGUST 2015 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 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 NEELY Corporate Sales Executive, Events, Custom and Integrated Print/Publishing Services lneely@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 781.255.0625 • 818.291.1153 LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 800.280.6446 WILLIAM R. RITTWAGE President / CEO TURNING TO TELEVISION SPECIAL SECTIONS ith so many huge films appearing in theaters over the past several weeks, it's no surprise that we dedicated considerable space in the past two issues to features such as Avengers: Age of Ultron, Mission: Impossible — Rogue Nation, Ant- Man and Jurassic World. If you've missed any of it, I invite you to visit our Website, where you can catch up on all the details covering this summer's biggest hits. This month, we turn to the smaller screen, with lots of television coverage. The 67 th Emmy Awards nominees were recently announced and on page 18, Post takes a look at a number of shows and the facilities that helped contribute to their success. I had chance to talk with Erik Henry, the senior visual effect supervisor on Starz's Black Sails series, which has already taken home one Emmy for its VFX work, and is now nominated for Season 2. In our "Visual Effects" column on page 16, Henry talks about the show, its challenges and how the network has committed to achieving the highest level of quality on the series, which is shot in South Africa, but made to look like Nassau, the Bahamas. Keeping with our "nautical theme," Linda Romanello connected with Marc Kolbe, the VFX supervisor and co-producer of TNT's The Last Ship, which incorporates more than 100 effects shots in each episode. You can read all about it in our "Primetime" column on page 14. We also have a new sponsored sec- tion this month that looks at 4K and high dynamic range imagery. "Part I" begins on page 35 and looks at how this can influ- ence post workflows. We'll follow up with more on 4K and HDR in next month's issue too. And for further 4K news, check out Mark Foley's "Review" (p.46) of JVC's new GY-LS300CHU camcorder, which costs under…wait for it…$4K. Enjoy the issue, and visit us online for much more exclusive coverage. his month, Post launches the first of what will be an ongoing series of Special Sections, each looking at different technologies, trends, hot topics and solu- tions affecting the post community. With everything we've been seeing and hearing over the past year, we decided to start the series by taking a closer look at 4K and HDR — this month's focus. Not just the buzz at shows such as NAB, where a host of new gear and systems offered 4K features and solutions, but there's a variety of original programming, too, with shows like Netflix's House of Cards streaming in 4K. Late last month, Avid — along with spon- sors Blackmagic Design, HP and Nvidia — hosted a special NYC presentation, "4K & Resolution Independence Pro Video Event," which focused on how Avid Everywhere solutions help accelerate 4K workflows. This month, Red and FilmLight offer the Hollywood community a live "4K Color Grading Event" featuring Laura Jans-Fazio, colorist on House of Cards. Even music videos are taking the leap to 4K, with this month's cover man Pitbull and his Fun video shot in 4K on Red Dragon cameras. Director Gil Green told me that "filming in 4K while finishing in HD offers some flexibility in post by giving us the abil- ity to reframe shots or blow up particular frames without losing resolution. The more options the better." (See "Music Videos," page 22) Our Special Section opens up with a technical report from Chris Bone, CTO at Burbank, CA-based VTP (a hardware and media solutions company) on "The State Of The Art For 4K And High Dynamic Range," and offers contributions from sponsors ALT Systems speaking about the Colorfront on-set dailies and transcoding systems for motion pictures, high-end episodic TV and commercials, which presented its integrat- ed HDR toolset at SIGGRAPH 2015. Section sponsor Key Code Media, too, is hosting — along with Sony Professional, StorageDNA and Avid — an industry panel to discuss the future direction of post workflows and soft- ware/hardware tools and services vital for the growth of post in "HDR and 4K: Making The Right Post Decisions" panel and live Webcast. Finally, I had a chance to speak with Encore colorist Tony D'Amore who works on the Netflix series Daredevil, who says that 4K offers a higher level of contrast. "You're really getting the experience of that added depth." Check out our "Special Section" on page 35 and let us know what you think! 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. 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Elk Ave., Glendale, CA 91204 BY MARC LOFTUS SENIOR EDITOR/ DIRECTOR OF WEB CONTENT MLOFTUS@POSTMAGAZINE.COM BY LINDA ROMANELLO MANAGING EDITOR LROMANELLO@ POSTMAGAZINE.COM POST SCRIPT W T EDITOR'S NOTE