Issue link: https://digital.copcomm.com/i/65909
editor's note T By RANDI ALTMAN EDITOR-IN-CHIEF raltman@postmagazine.com Green initiatives his is the fourth year Post has tackled the topic of "greening the industry." Previously, we've spoken to big-time movie studios, big-time producer Lesley Chilcott (An Inconvenient Truth), and a handful of individuals who were mak- ing a difference on movie/television sets. This year, I am very happy to say we spoke to post studios only. There are now a good amount of post houses that have picked up the mantle. Matt Peterson runs the Website Veratique (http://vertatique.com), which focuses on green- ing tips and research regarding the post, broadcast and IT industries. He says, "Our analysis of national and global corporate sustainability rankings show that IT and communications companies typically outnumber media companies five to one in the top tiers. This is now changing, meaning more pressure is on media service operations to adopt sustainability specific to production and post workflows. Over 30 percent of facilities tell us that they already have such sustainability programs. These include requirements for hardware ven- dors, primarily focused on energy consumption and hazardous waste reduction." He says the easiest way for a post house to start is to "look at your workflow and identify where the energy consumption is, because that drives your carbon emissions, and a lot of other issues." POST SCRIPT Composing The Raven C omposer Lucas Vidal and his LA-based Music and Motion Productions (www. By MARC LOFTUS SENIOR EDITOR mloftus@postmagazine.com mumoproductions.com) completed work on The Raven, a 19th Century tale of Edgar Allan Poe and the influence his writings have on a serial murderer. The film stars John Cusack as the author, who teams up with a detective to keep his tales from becoming a reality. Poe's own interests are shaken when the woman he loves, herself, becomes a target. Vidal is only 28, but has built an solid founda- tion for creating original music. Originally from Spain, he moved to the US 10 years ago, and as a teenager, studied at the Berkelee College of Music for a summer. "That's where I found out they had a film scoring program," he recalls. "I was very fortunate to find out so young what I wanted to do. " He also studied at Julliard. His recent work on the film Cold Light of Day led to a meeting with Raven director James McTeigue, and the next thing he knew, he had two films in-house. "We had a fairly deep con- versation before even scoring anything," he says 2 Post • May 2012 about meeting McTeigue. "He wanted to make sure the music was modern and contemporary, even though the film happens in the 19th Cen- tury. It was something I wasn't expecting. You think it's going to be more period music, but I think he was very clever in the way of approaching music for the project." The film makes use of several themes, which create unity as well as allow for further devel- opment, he notes. The lead character's theme is electric and distorted, while the "love" theme between Poe and Emily Hamilton fea- tures strings. The theme for the detective is heroic, while the murderer's is dark and myste- rious, since his identity is unknown. In total, Vidal created as many as 55 cues representing 70 minutes of music. They range anywhere from :15 to six minutes in length. He writes much of his score with pencil and paper and then uses Digital Performer and Able- ton Live to record orchestral mock-ups. The Raven's score was recorded with a 70-piece orchestra at Air Studios in London. www.postmagazine.com Greg Milneck of Digital FX, one of the people we spoke to for this issue, is working his way to Gold LEED certification. And on page 20, he walks us through a lot of what his studio in Baton Rouge has done to achieve this standard. These are things that go beyond gear and plastic bottles. "We were looking into a cistern system, but bud- get and practicality wouldn't allow. With it you maintain all that water and use it in your building internally — you have pumps or a natural draining system using water accumulated from rainfalls. I do that at my house with wine barrels placed under the gutters. It has a drain at the bottom and we use it to feed our vegetable garden." Chop House Post's Stephen Hens just built a new space for his post studio in Santa Monica using reclaimed materials in the build and design. "We realized there is very little in a building that you can't reclaim these days, and it's very aestheti- cally pleasing. There are companies out there who work with reclaimed material. I would just dig through things and figure out how can I turn that into something to use at my facility. And if you walk through it, it doesn't look like a post facility, it looks like a someone's art space, and that's the experience I wanted people to have. Ironically, design drove embracing green and that drove even better design." EDITORIAL Senior Editor/Director of Web Content (516) 376-1087 raltman@postmagazine.com MARC LOFTUS RANDI ALTMAN Editor-in-Chief (516) 797-0884 mloftus@postmagazine.com CHRISTINE BUNISH Film& Video RON DICESARE Audio European Correspondent bob.pank@virgin.net BOB PANK DAN RESTUCCIO West Coast Bureau dansweb451@aol.com West Coast Blogger/Reporter BARRY GOCH IAIN BLAIR Film mviggiano@postmagazine.com MICHAEL VIGGIANO Art Director ADVERTISING NATASHA SWORDS VP, Marketing (818) 291-1112 nswords@copcomm.com (818) 291-1153 cell: (818) 472-1491 mkohn@postmagazine.com MARI KOHN Director of Sales Eastern & Intl Sales Manager (631) 274-9530 cell (516)410-8638 grhodes@copcomm.com GARY RHODES CHRIS SALCIDO Account Manager (818) 291-1144 csalcido@copprints.com opt 2 (publishing), opt 1 (subscriptions) 620 West Elk Ave, Glendale, CA 91204 csr@postmagazine.com (800) 280 6446 CUSTOMER SERVICE (781) 255-0625 • (818) 291-1153 REPRINTS Reprints LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 (800) 280-6446 WILLIAM R. 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