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EDITOR'S NOTE www.postmagazine.com 2 POST AUGUST 2016 ost's annual "Music Videos" feature (page 20) is one of my favorites. It's a great excuse to check out some new music as well as hear about the challenges that go into making these creative, soundtrack-driven short fi lms — more often than not, without much of a budget. This month we look at artists ranging from nu-metal veterans Korn to the radio-friendly Selena Gomez — their look and sound couldn't be further apart. And director Brian Cox details his work for Gemini Syndrome — a 360-degree VR project that presented all sorts of challenges. It was Cox's fi rst attempt at a virtual reality video and he shares his experience as well as tips he'll implement into future work. The 'music video' coverage continues on our Website, where recording artist Rachael Yamagata details her experience as a fi rst-time director. Yamagata just released Nobody, and took on a range of responsibilities for her new music video, including directing and editing. She used tools as simple as iMovie during pre-production to create shot lists, which she says proved invaluable when it came to the two-day shoot and its subsequent post production. All of the music videos can be found on postmagazine.com, so defi nitely give them a look. Also online, Steve 'Major' Giammaria looks back on his career path, which ultimately led him to become a supervising sound editor and re-recording mixer at Sound Lounge in New York City. Giammaria details his experiences and the early jobs that served as a foundation to securing his current position. Similarly, editor Suzie Moore of Utopic in Chicago provides insight into her career path, which made her a go-to editor for car commercials, including those for the likes of Nissan and Porsche. Moore looks back at her personal sacrifi ces, early internships and the big break that resulted in a steady stream of work for international automakers. It's all on the Post Website, so be sure to visit us online to take in this bonus content. hen director Paul Feig — known for such hit comedies as Bridesmaids, The Heat and Spy — decided to take on the Ghostbusters franchise with a 2016 reboot, one of the fi rst and most important questions his VFX supervisor on the fi lm, Peter G. Travers asked was, "What do you want the ghosts to look like?" When we recently spoke, Travers told me that Feig wanted the ghosts to glow and knowing that, at the pre-production stage, "really sent us down this path of what to do, how to do it, how to shoot it and how to do things in post." When reading the full interview (see page 16) with Travers and Sony Pictures Imageworks VFX super Daniel Kramer, the two go into great detail about how they relied on LED lights to help create ghosts that would cast natural glows and refl ections. LED lights were sewn into costumes, placed inside balloons for the ghost parade scene, attached to a drone that was fl own around a concert hall and used at the fronts of the ghostbusters' Proton Packs. "We had these LED gun caps on the tips of the guns for when [the ghostbusters] were fi ring them," explains Travers. "When one of the girls was fi ring the gun, it was like a cylinder of LEDs. Almost like a fl ashlight inside. It would show the girls where they were pointing the gun and they'd get a splash of red light. The LEDs around the perime- ter of the cylinder would also spill light onto their faces. So, when we added our beams in, we got lighting on the characters. And the girls were able to turn the guns on and off themselves — they could control the LEDs. Even though all the eff ects were going to get added later, we had all that light support right on-set. So [in the concert scene] we had the drone fl ying around, the 200 extras and all the girls fi ring the guns and you could look at the place and go, 'I could see what this is going to be." With more than 1,700 VFX shots completed for the fi lm, Post has complete coverage in print and online, also with a full interview with MPC's Dave Seager on his studio's 250 shots, the 500 shots from Iloura, Halon Entertainment's previz and Sony Pictures on audio. 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