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was also the first movie I ever worked on where the ADs had iPads out on the field with edited footage, making sure they were matching." Green Lantern featured a media mogul–type character whose offices had a huge bank of TV monitors, and Tripi's job was to find news-type foot- age to play on dozens of them. "Depending on how many screens you need to fill for miscellaneous deep background footage, it's not realistic or cost effective to try to license news footage from the networks or cable stations. Since it's not the story point, you need to find manageable B-roll type options. In the case of Green Lan- tern we wound up needing to prepare nearly 40 minutes of footage and cut it into believable 'news stories' like disas- ters, politics, etc." For this project she reached out to FootageBank. "They are always super helpful," she says. "They were able to perfectly accommodate the mass amount we needed, both in content and quality of shots." Tripi's current project is Emperor, which is set in WWII Japan, with the same producer she worked with on The Soloist. She was brought in early and tasked with finding archival images of Japan before it was destroyed in the war, and images of emperor Hirohito, including a recording of his surrender speech. "This is the kind of movie where I will give them a bunch of stuff early on, and I don't hear from them until they've digested it, shot their movie and then are ready to start picking things." Tripi has a core of at least 10 stock footage vendors she reaches out to first, but keeps a long and ever-growing list of additional sources. For Emperor, she relied heavily on national and inter- national archives. In terms of format, mostly everything needs to be in high definition, because everyone is shooting in HD, she says. "That is a strength of Footage Bank — they embraced HD early on, and that made them stand out. I really have a philanthropist heart about all of this. I know it's a business, but I have such a love of footage and imagery, I feel we need to protect it and make it available. A lot of times when the bigger companies buy the smaller companies, some of the images can go to the wayside. I really like to use the smaller companies when I can. I want them all to thrive. " www.postmagazine.com Post • July 2012 35 Wherever you are on your creative path, start with Focal By Ray Zone $34.95 A must-have read for anyone looking to take their independently-produced film or video into the 3rd dimension. By Douglas Spotted Eagle $54.95 Go beyond the mechanics of Vegas 11 with award- winning Vegas guru Douglas Spotted Eagle as he guides you through an industry- tested professional editing workflow. By Bill Byrne $44.95 This lavishly illustrated book presents 2D artists with the essentials to building and compositing 3D elements into their 2D world of film and broadcast. Focal Press Books are available wherever fine books are sold or through your preferred online retailer. Creativity has an endless shelf life. focalpress.com