Post Magazine

September 2016

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EDITOR'S NOTE 2 POST SEPTEMBER 2016 ost spent much of the past few months reporting on the work that went into cre- ating some of the summer's biggest box-office titles. Summer movies tend to be action-packed and often showcase incredible visual effects, so don't be surprised if several of them end up on the list of VFX nominations come Oscars time. That said, there's also plenty of studio news going on throughout the industry, and I'd like to call attention to some of it here. At press time, FuseFX had just opened its new 27,000-square-foot facility in Sherman Oaks, CA, where it will continue its leading visual effects work. The studio won an Emmy for its contributions to American Horror Story, and also provides services for American Crime Story, Scorpion, Marvel's Agents of S.H.I.E.L.D., Empire, Criminal Minds and a number of other popular shows. The new space is home to 150 staffers and that number might grow in the future, but FuseFX has taken that into con- sideration and left room for further expansion. Also in LA, State Design recently moved into a new space, where the young company will continue providing directing, design and animation services. Since launching in 2014, State has produced work for Amazon, NFL Network, Nickelodeon, IFC, ESPN and FS1. And after eight years in Santa Monica, MPC LA recently moved to a 25,000-square-foot digital studio in Culver City, CA. The new space is twice the size of their old home and pro- vides increased resources dedicated to VFX, color and finishing. Here in New York, I recently took a tour of PepsiCo's in-house facility on Broadway, which it plans to use on projects across its line of brands, including Lay's, Mountain Dew, Gatorade, and of course, Pepsi. The 4,000-square-foot space was designed by WSDG's John Storyk and features a versatile production and recording studio, a dedicated control room and three editorial suites. PepsiCo regularly partners with some of the world's top athletes and entertainers, so the new studio will be a way to tell their unique stories and share them with audiences via any number of platforms. You can read more about all of these studios online at s always, Post keeps a close eye on what's trending in our industry — spending lots of time talking with manufacturers, studio creatives and keeping a close watch on the latest technologies and solutions that all help advance our work in one way or another. This month, we are featuring a Special Section on Virtual Reality (beginning on page 34), which had a big presence at this year's SIGGRAPH show. Karen Moltenbrey, chief editor of sister publication CGW, kicks things off with a report on the Mars 2030 VR experience, which gives participants a sample of life on Mars. I recently had a chance to speak with key principals at Jaunt, a company that launched in 2013, about some of the groundbreaking work they're doing in virtual reality, including the development of their 360-degree Jaunt One camera. Check out my conversation with Arthur Van Hoff, CTO, founder and interim CEO and Koji Gardiner, VP of hardware engi- neering on page 29. Speaking of trends, it's also fun keeping an eye on the various film festivals around the country — and the world — taking note of the films generating considerable buzz. Christine Bunish reports on several indie films, beginning on page 24, offering an interesting mix, in- cluding a conversation with Alex Bickel, founder of New York City's Color Collective and the colorist for Indignation, which is one of the surprise hits of the summer after its premiere at Sundance. It also marks the feature directorial debut of James Schamus. Another young director featured in this issue is The Office's John Krasinski, who just released his second directorial feature, The Hollars. This indie made its rounds at the Sundance, Los Angeles, Nantucket and Boston Independent Film Festivals, and recently opened in New York and LA. Read more about Krasinski's turn as director and connection to the story on page 14. On the opposite end of the spectrum, I had a chance to speak with veteran filmmaker Tim Burton about his latest project, the big-screen adaptation of Ransom Rigg's bestseller, Miss Peregrine's Home For Peculiar Children, for our cover story (page 20). Joined by VFX super Frazer Churchill, the two discuss some of the film's most complex sequences. Looking ahead, it's likely that some of these films could be recognized during Oscar season. Let's keep an eye on what develops! 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