Overview

Post Magazine began over 25 years ago as a way for post professionals to learn from others in the field. And while the industry has changed and our coverage has evolved along with it, our founding premise has never wavered — sharing stories of profes- sionals, their tools and the projects they work on. What better endorsement for a piece of technology or way of working than to learn that a post pro is being successful with that tool in their workflow.

Post understands that our industry is made up of artists, and we cover the work from their perspective, and we speak a language they understand. User stories help others learn from their successes as well as their mistakes. Their stories help propel our in- dustry further.

Post is also more than just a magazine, it’s a community, and we continue to find ways to bring pros, tools and projects together in a way that spurs their creativity. 2012 About Post Magazine

Mari KoHn • Director of Sales • 818-291-1153 • [email protected]

Bits & Pieces Township takes its vitamins people Digital Domain creates for Jamieson ww. — Township & Company (w towering Bruticus. Trans- ORONTO cues from the com), based here, recently transform into the gh townshipco. ative on a spot xfor of Transformers teaser“We took a lot of cinematic T TH o’s movies — eyes lighting out of worked with agency Quiz - — Activision Publishing and Hi and Terminator s and smoke, using sfires big tamins. The piece features a mi JOHN MCGRA has joined Chicag ENICE, CA - formers Jamieson Vi ge and matte paint apped Digital Domain (www. piece, John McGrath as partner/lead facilitator, Moon Studios t d sister company Moth the dark, lots of atmosphericluminate characters versu CG animation, stock foota Post nt and growth. d lighting were so hip, which directed the Re:Think digitaldomain.com) an - on the battlefield to il o provide a a number of beautiful pent 20 years xley to create the , unexpectedwhich pre ings. Towns focused on business developme V light,” explains Huxley. “Camera an Burbank’s es on creating ership director Neil Hu show on a CG piece of this scopesive t robots. We designed and craftedthe scene for the narrative. O.D.WELCH , - Transformers: Fall Of Cybertron important in has joined Before joining Re:Think, McGrath s Post Magazine monthly sections teaser for th of field and locations that set igning storyboards and O.D. Welch (CPG) as COO efforts at automo 2011 Video Game Awards to help set as GM of Cutters. Re:Think focus rk filmic look designed sense of scale. Thesewere guysmindful are of mas dep le lenses “We started by des or leading the mercials, feature miered during the Cameron|Pace Group photoreal CGI and is aiming its used a lot of wide ang the spot,” explains VFX sing on strategic le content, events Spike TV. The :90 piece has a da opriate.” creating style frames in Photoshop where he will be responsible f tive work, pharmaceuticals, com where appr mote was client approval, to hook gamers. the look and feel of - company’s global expansion,, international focu business films, interactive content, mobi ns open a perma- Making the robots e director Andres Kirejew. “After perations of the e of the characters re used to createoses. an While ani planning and execution and more. The company alsoicago pla later this year. challenging, as non imation. “It - the storyboards we development, and worldwide o James Cameron nent headquarters in Ch had facial rigging for an matic in After Effects for timing purp g CPG, Welch was bout theatrics and perfor- e started building all the group, which is co-chaired by has becomes a through visu that took place, w . logies and Vince Pace. Prior toonsulting. joinin He has also held ROGER BECK Bright Techno man- mance; selling emotion matte paintings in Photoshop ica for Prime Focus MCGRATH he music heightening it and ne was happy with the flow of president of Evolve C Reno, NV-based from worldwide als, with t explains. Once everyo ut the all the shotsto Roger Beck sive roles as COO, North AmerputerCafe Group, and- promoted to CTO. He will establish creating mood,” Huxley the animation they blocked o Nuke’em script was used Group, CFO for the Studios. Com As production execu ager, technical services,nd ensure adherence for- Production began with exten in 3DS Max. “The data and FBX info into included lighting of nd president of 525 zen feature films, Welch’sn technical standards at; be responsible for manag previsualization that get the 3DS Max camera WELCH - lset allowed us intto webe re-linkedfast a tive on nearly three-doIron Man, Speed Racer, Spider-Ma product developmen committees, recruiting and cues, giving Activisionld actuallya clear idealook in Nuke, whose too igital credits include th and King Kong. ing Bright’s technicaloverall staff training and motiva how the piece wou flexible,” says Kirejew.in Nuke “At andthat didpo the final comp. 3, Pans Labyrin managing, and Bits & Pieces the end. Then, workingction in studio,D all the elements to do final grade and weg versee sales activities andrs and function resellers as nd a tive tion; and o Domain’s virtual produ After Effects was used pre-sales xtra animation elements by usin CAROL DUNN has been hired as execu d the primary contact for custome Huxley took previs elementse stage a and added some e reer with Bright in sets en After Effects and 3DS Max Carol Dunn ic and regarding technical questions in the virtual camera onto th the same camera ging director of LA-base - the live link betwe producer/mana , a commercial mus process. Beck began his ca gineer. Prior to his- g the day-to- directed the movementred actors of CG in real 2012. This allowed us torocess.” use The final client- Squeak E. Clean 2007 as senior systems en ed as the compa tory as if sing Flame. ears of music and motion captu throughout the whole p sound design company, overseein appointment as CTO, he. serv time — shooting the CG s attended session was finishedncluded u creative director rights experience ive action. Digital Greene and day operations. Dunn has over 15 y ny’s worldwide manager he were shooting l spot with The Township team i - s ranging from Baz TIM What’s New in Post Production - placement and music licensing . She has Domain artists finished the BECK n, lighting and composit Ron Gervais, animations Kirejew. director The David production com under her belt, on project to Boogie Nights STEPHEN VENNING,DERSON Axyz. Axyz’s team Romeo+Juliet new hires: final animatio ok the piece VFX director Andre Luhrman’s ds, Capitol Records - DAVIES, LARUE LA has ANmade three ing. A team of 15 to pany and finishing housearen wasHuybers and assistant worked for Interscope Recormber Music, and Asche The Mill o finish in eight weeks.in execu- Vapor Music. , who joins as EP/new busi from start t included producer K and Windswept Pacific, A ho has been with Stephen Venning 0 years as an EP at The Rich Flier, Digital Doma DUNN ng, notes, “People Davey Birrell. Audio post was via & Spencer. Zach Sinick, inception,w will continue ness and spent the past 1 Tim of trailer Brent Nich- ll head up the studio’s newly- tive producer, gami Squeak E. Clean from itsduction/EP. Mill London, wi are used to a certain type taken on the and creative direction arm; - his role as head of pro formed design pervisor/lead Flame- g and compositing. ision wanted to take it to a ING TO joins as a VFX su ols, another Squeak E. lifer, has Davies on io provided animation, lightin for a game like this. Activ give gamers something unex - ve director. nce in commercials and fea The VFX stud ould set a com WHAT POST READERS ARE LISTEN position of creati artist, with experie LaRue Anders different place — to of all projects piece that looked like-held we AVID TURNER tures, as well as design; and pected; more of a backstory In this thatpiece w you get more ired Roger aded up “We wanted to make and ashot it with real hand d you really feel fore, ROGER BECK, D joins as producer, telecine, producing s, cinematics director for pletely different tone. right in London has h as director went to Cybertron nd it Halo Post David Turner for the office’s new telecine division he the characters’ motivationuation. There’s an a little bit of hop s responsible cameras,” notes Dave “This Craven is an emotional story a now Beck as COO and by veteran colorist Adam Scott. them and their sit “I am currently one,’ f the new Noel High Moon Studios. ewer is right there.e shooting Digital MUSIC: of film post production. Beck, who i some redemption.” ake our experience orworking this piece on roup, has over has to feel like the vi s to listening to ‘Watchest the joint. Thr for managing the integration o ROB ALLEY ual production process was lik “We were able to t the luding stints at has added marketing and Director’s Chair ative approach allowed u movies to create a look f A Jay-Z/Kanye W & LA’s mOcean as the company’s new Domain’s virt ode to a Street facility into the larger Halo g the Transformers ith the franchise but delivers eative Services VENNING, ANDERSON Rob Alley live action, and Neil’s cre - Loving the tracks Otis two decades in media services, inc DAVIES, design veteran ill direct all aspects of piece out of the traditional action m that was consistent w esthetic of this standaloneomain ve It.” take this ne. You really feel for the char Gotta Ha Granada Television, Technicolor Cr - digital creative director. He w from concepting to unique ‘Cybertronian’ a - Sam Johnson, ost produc higher, more artistic pla s- s Ed Ulbrich, CCO of Digital D er and Ascent Media Group. the digital creative process,rk to create new digital game series,” say ip. “And having virtual pro hoot these Production/Post Engine n. TURNER Turner has overseen the soundClash p of the Titans, - acters and their situation.”rs from Hasbro’s Optimus iconic TranPrime presentation, and also wor 11 years of experience and president of Mothersh for the LAB, Londo , as well as TV nd technology busi Featuring characte se meant that we could s ng tion on many films, includingrewe strategies. Alley has ove - duction in hou ke live action, bringing more and Tamara D r: UK. Having formers brand, the piece opensrade withBumblebee out of Greenzone in the entertainment,y, autohe wasa the CD for MRM catalyst for the Autom- massive CG characters to theli piece and ultimately helpi inare, Matrix Studios One of the Top Director’s in Industry carrying his longtime com shows like Luther and Law & Orde nesses. Most recentl has worked on campaigns for feeling and emotion battle, whose critical injury’s is “Humbling the River” is a so previously worked at Mols a lot of experience- Worldwide, SF. He TV and Fox. ifts to despair with theich to elevate the game.” bots’ redemption. Puscifer 1:37 PM and BBC Radio, Turnertments ha and while at Pep Best Western, Direc zine.com 12/19/11 ber backdrop as the mood sh managing sound depar No part of this n and the Combaticons, whwww.postmaga ly, established a Dolby Premier l rights reserved. y photocopy, arrival of Megatro per Post, recent 2012 the U.S.A. ©Copyrighteans, 2011 electronic POST, LLC.ore publisher.mechanical Al Authorization including by bPOST, to photocopy LLC for Post • January dubbing stage. in writing from th hone: 978- For 4 roduced or transmitted in any form or by any m tions Mail Agreement Number 40017597.d retrieval Printed system, in withoutrsonal permission use of specific clients, is granted by is granted Avenue, publication may be rep earance Center, 222 Rosewood107 or Dr. 108 Danvers, of the U.S.MA 01923Copyright p Law. nications company, 620 West Elk Avenue, recording or information storage an discuss their filmmaking technique in for internal or personal use, or the internal or pe to Permissions Dept. POST, LLC 620 West Elk Possessions; $94 for one year in Canada items for copying beyond that permitted by Sections States & other users registered with the Copyright Cl 45 ublished monthly by Post,LLC, a COP Commuude an additional $75 per order annually. Single libraries and Back issues, if available, are 750-8400 fax 978-750-4470;ith the CCC, call send permission request in writing tion rates: $63 for one year in the United l other countries. those not registered w Post0112_004,6,8, 10-BitsRAV4FINALREAD.indd 4 POST MAGAZINE (ISSN 0891-5628) is p one year. For air-expedited service, incl es. Include $8.00 per order plus $3 per Post • November 2011 Glendale, California 91204. Subscrip ; $32 in Canada and Mexico; $47 al additional $14 per order plus $5 per Glendale, California 91204. POSTMASTER: Please send- and Mexico; all other countries $133 for Canada and Mexico; $94 for all other countri e.com ber: R-124213133RT001. Publica copies (prepaid only): $16 in the Unitedd handling. 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director’s chair EAD.indd 45 44 ices in Santa PM Page Post1111_045-peopleMLV2FINALR 12:35 “We just rented off onths long.” 8/1/11 PAYNE: INALREAD.QXD Post production always the nt, who edit- Monica as usual. It was about eight m t _044 ProductsMLV2F Alexander Payne: “The best Theactors are Descendants Your editor was Kevin Te Post0811 PAYNE: as well, since they POST: and Schmidt for you. Tell us abou face. He’s ed Sideways — Over the past but15 ones who have directed ojects OLLYWOOD film; he’s a great the editing process. - understand all the problems you “He’s edited all of my pr years, since his 1996 feature de PAYNE: just directed his fourth und eat relationship. He , director/writer Alexan stays in LA and Citizen Ruth small but potent collaborator.” since ’95, and it’s a gr H You filmed in locationsthat logistically? aro e set and ask him, der Payne has createdg Sidewaysa (which won POST: doesn’t come on location; he location re the performances The Foundry body of work, includin Golden Globe for Best Hawaii. How tough was I call him every day from th “Fairly tough as it was all d judgment totally. products him the ’05 Oscar and PAYNE: tly moving around. ‘How’s it looking? How a extends Nuke’s About Schmidt and Election, that Screenplay), and talent for bal- work so you’re constanet. But the local crews reading?’ I trust his taste two an weeks off and then reach to spots By Lost, who then bears his distinctive voiceramatic elements — We only built one s t from After the shoot, I take and start from scratch. AJA releases frame sync IAIN BLAIR Hawaii Five-0, so we watch all the dailies — The ancing comedic and d cene. are great. We Piratesgot a lo 4 and & format converter LONDON often within the same s dants, which is moved on to ienced. And the new — AJA (www.aja. Foundry (www.the- His new film, The Descen Oscar buzz, is they’re very exper OptiTrack RASS VALLEY, CA foundry.co.uk) has a already getting a lot of earlyook at life and for desktop G com) is now shipping the FS2, a univer- new version of its Special report another darkly humorous l stars as Matt sal frame synchronizer and format converter Nuke compositor motion capture relationships. George Clooneyn whose perfect life with two independent channels that support suited to small and (Judie Greer) — King, a Hawaiian land baro CORVALLIS, OR virtually any input or output. The FS2 can be medium-sized facili- ating accident. falls apart when his wife Joanie NaturalPoint (www. used as two separate frame synchronizers/ ties working in spots falls into a coma after a boct with his two optitrack.com) has converters, or channels can be combined in a as well as features. Maxell’s four-interface A 3D particle sys- When King tries to reconne anie had been released the Opti- variety of ways. The 1RU solution builds on AJA’s FS1 by storage solution daughters, he also learns that Jo Track V120:Duo and — Maxell tem, planar tracking, Shot on having an affair. Post interview, Payne V120:Trio tracking adding dual-channel features. Each video OODLAND PARK, NJ presets and audio Industry Expert provide insight into scratch track, along Here, in an exclusive is love of post, and bars, two out of the channel supports analog component or com- (www.maxellpromedia.com) has re- posite, 3G/HD/SD-SDI, dual-link and HDMI W with speed improve- 35mm, this talks about making the film,next h film digitally. box motion capture leased the Maxdata Tank Quad, a 3.5-inch I/O, as well as optical fiber I/O options. Each ments, combine to why he’ll be shooting his solutions. The Opti- external desktop hard disk drive with four in- years ago. channel also has its own still-store, keyer and save time on short- director’s next Track tracking bars terfaces. The product is specifically de- form projects. Com- POST: Your last film was seven incorporate optical video processing amp/color corrector. With signed to work with the large files asso- ciated with HD environments and mon compositing What took so long? “I was pretty busy tracking technology film will be on is available in 1TB ($212.78) tasks have also ALEXANDER PAYNE:ne of which I’ll make in that is accurate and and 2TB ($326.50) capacities. been made easier trends and tools. Arri Alexa. writing three scripts, o , I did a short in Paris, easy to use. The Maxdata drives support e seven years Designed for via redesigned the future, doing a pilot USB 2.0, eSATA, FireWire 400, spline and grid Avid system. desktop-friendly I got divorced, had surgery. Thos warpers, and a new d you set out mocap, the Duo and FireWire 800, and have a hot plug-and- went very quickly.” ited The Descendants on an denoise algorithm. POST: What sort of film di - ($1,999) and Trio play function for simple connection. Both y films. ollaborator Kevin Tent ed it’s too depress Nuke is multiplat- Long-time Payne c offer the power of drives will spin at 7,200RPMs and have up to make? cally about 14 form and costs “I never have a visionry thatfor mhooked I don’t watch an assembly — multi-camera, six to 16MB of cache. The drives support Win- PAYNE: nd above, as well as Mac OS 9.0+ $3,800. NukeX, . I never say, I’m fan, so he’s working ing. We cut on Avid, and it’s typi degrees of free- dows 2000 a I just felt this was a good sto - support for all broadcast video formats in a which includes a 3D il afterwards, ion and tax incen weeks to the first cut.” dom (DOF) object and OS X. me, and I never question it governor is a big movie n it single converter box, the FS2 allows match camera tracker, ve to shoot POST: Do you ever preview? tracking in a single, The unit’s durable aluminum housing and making a drama or whatever,whatever unt it is — in hard to increase product “I do, a lot. You have to scree up of disparate video and audio systems. depth generator, than any other tives, since it’s more expensif, which shaves PAYNE: of what you have.” plug-and-play pack- shock resistance make it well suited for pro and then it turns out to be cut? FS2 is available through AJA’s reseller lens distortion cor- tock cost. On the age. Each tracking environments. The drives also have a wideDDs this case, it’s more dramatic there. We shot 35mm, 3-per constantly to get a real sense have rection tools and ntastic Is it true you have final system is self-con- channel for $4,995. Also available are dual- al- film I’ve done.” 25 percent off the filmomes s time to doing POST: temperature range of -20° C to 60° C. Measur- “Yes, and I feel veryt. As lucky Billy to Wilder tained and factory fiber options for $295 and single fiber op- FurnaceCore plug- POST: As usual, you assembledClooney? a fa other hand, when it c u don’t have as PAYNE: ing 5.61” x 1.38” x 8.52”, the Maxdata H andments of calibrated for out-of- tions for $195. ins, is $6,600. the full-frame transfer, yo south to re-frame. it and wish never to abuse i can be positioned vertically or horizontally, cast. Any surprises working with the-box tracking. “Directors don’t at awards hang shows, out tch full frame famously said, ‘The Ten hComm 9, thou shalt not lowing them to fit into tight configurations. Postings PAYNE: much latitude north and The company But then not many peopleera waof letter-boxing filmmaking are: 1 througl have final cut.’ I gather together very often, exceptother about actors sees the solu- bore; and 10, thou shal ally have final cut, so Alexander Payne: “Post but we all talk to eachne had told me how anymore. Finally, the tions as well - has prevailed.” that very few directorsly re and I’ve found that it is where cinema reallyges and so on, and everyoh and that you’re lucky e whole suited for both POST: Do you like the post process? I treat it very serious e to comments and Kinoton DCP projectors DCI certified happens, where monta great he is to work witctor, and that was really- “It’s my favorite part of th game develop- PAYNE: but painful, directing makes me very receptiv it’ll become an issue unique to cinema among to have such an a verything about film ers and anima- UNICH — Kinoton’s (www.kinoton.com) entire line of DCP Se ting — and you have suggestions. But I predict -budget film. I bet safety and technology stan- the arts come alive.” true. He understands e on a set most of his film. Writing is necessary tion studios. The ries II projectors have completed the strict testings DCI). procedure The DCP 30 ost is where cin- ased on making and he’s been is exhilarating but exhaus if and when I make a largesist of course. But I’m M comfortable on a set Duo is equipped for certification as compliant with the Graphics glimpse into recent projects d he knows how all those egos to massage.e P montages unique they’ll bring it up. I’ll re my films make money. f the tests for adult life. He’s more alive.” with two cameras, dards of Digital Cinema Initiatives (also known a and everyone’s ema really happens, wher very concerned that than he is anywhere else, an for efficient marker- LX II, DCP 30 MX II and DCP SX II projectors,tests which were are performedb to keep positive energy going - to cinema among the arts come based object track- shed direc Where did you do the post? projection technology provided by Barco, passed all o inema spirits up. He’s a total pro.” POST: ing. The Trio in- He’s also a very accompliative? compliance with the DCI specifications. The POST: cludes an additional by CineCert, LLD. 10/31/11 7:03 PM gistical and tor himself. Was it very collabor middle camera, The DCI certificate documents the transparency of digital c www.postmagazine.com which is useful for products and their overall compliance with safety,ecifications technology define and stan-ng increased tracking Post • November 2011 equipment standards. It covers quality, technological, lo nt chromaticity, 14 accuracy or for cre- legal aspects of digital cinema. The DCI sp ing tolerances. ating augmented re- dards for various parameters of digital projection systems, includi ality applications. light levels, image luminance, homogeneity, white poi Users can stream color space, color saturation and the correspond or save motion track- Post1111_012-13-directors chairRAV3finalREAD.indd 14 ing data, and exter- nal sync I/O allows for compatibility with ine.com Products glasses. www.postmagaz shutter t 2011 Post • Augus 44 in the mix story. The latest in hardware and software by sound dramatically bring a lot to the s talks us through “Our sound effects crew,pent led a lot of time- Hell on Wheels on track with creative audioning, the cre - of collaboration. Here, Raine designer John Peccatiello, s shooting trains. From the beginhat they wanted — AMC, the net the process. at must OLLYWOOD critically ators were very adamant tin the story. So our- work that hosts theand Breaking This is a period piece, so th f time research Mad Men POST: trains to be a real character acclaimed H determined to wow affect the audio? “It’s one of the things sound effects guys spent a lot o Bad, has a new series Hell on Wheels, DAVID RAINES: eat, but it’s also one of viewers and critics alike: that makes the sound grhe which premieres this month. the Civil War and the things that makes cult.t sound very, very diffi By The show is set just afteransion of the Union Hell revolves around the exp well as the show’s The producers on RANDI have made Pacific Railroad. AMC, asayton, have an eye for on Wheels l the way ALTMAN creators Tony and Joe G sound a priority on ctionthe EDITOR-IN-CHIEF set for the produ detail and realism that follows al s Aus- People [email protected] through to the show’s mix. sound crew in Calgary, One half of their mix teamr includeDavid Raines, Alberta, where it’s shot. tralian-born re-recording nmixe television and film “Mike Playfair, the pro- . His resume who has been working i duction sound mixer, is in the US for nearly 10 yearsld. fantastic, so the dialogue- boasts stints all over the work takes him, and we receive is the abso Sound is no He mixes where the worartner Mark Server lute best they can shoot. trains be a character Keeping Tabs of the industry movers currently he and his mixing p.larson.com), lending But it does mean there is n Peccatiello insisted thatrded was authentic. are at Larson Studios (wwweries. Larson takes care some physics to the Sound designer Joh sure what they reco afterthought for like and shooting their talents to this new s show as well. sound we are dealing in the show and made ing what these trains soundeds that are part of this this new series of the editorial work on thehour drama focusingHell with, and the physics of Hell On Wheels is a one-ot so coincidently - the locations in terms of ules we can’t break,- trains and other elementk and unique wildlife as on AMC. on a small town, called ssesn along with the rail background noise and r he industrial revolu story. There is livestocof those elements in and e and contributes to On Wheels, that progree story is rife with conflict. since this is set beforeose tunique physical rules well, so it’s bringing all ry from moment to road’s construction. Th tion. So some of th hallenged by the real in a way that is creativ from the north andlroad, the south there and shakers There are people are constantly being c z- what’s happening in the have sto it all together, our d slaves, world, and the production working side-by-side building the rai sound crew does an amae- moment. Once theycott Schofield brings it all are Native Americans and emancipate ing job delivering us somh in associate producer Shn Kincade and we get a uce it.” thing we can work wit to the stage with Jo the mix stage.” few days to mix it and prod r are

Can you walk us POST: Are you working on youru? own o POST: ere is always those guys on the stage with yo through the workflow? “A little of both. Th “Our sound work’ that Mark RAINES: RAINES: dealing with the editorial crew is led by a certain amount of ‘house and I need to do. We areund noise. On the- John Kincade of Larson ion sequenc Studios, they are generally locations and the backgro sic — the mixing receiving material a weekt effects side, when it comes to act es — and same with the muthe physics of the- before the mix. They ge r ears can per about five to seven days- process is also dealing with So the housework to go through all the dai , delivery and how much ou Review rushed. Often, the lies, edit all the dialogue ceive at any one moment. takes time and can’t be for this section of- find the best takes and t a more cre alternate takes that are producers are not there the mix. They know they’lltrack ge if they don’t going to work with the can move into - ative track and a better story and dynamically telling beyond with the other sound ele rush it. When that’s done we here is an entire the area of pushing the storyperspective, and Post Experts review the latest products ments within the track. T by Foley mixer the obvious from a soundved and it becomes amazing job of l element. crew of Foley guys, led that’s when they get invol long, and interesting Foley really fun for everyone.” n and there is also a politica Andrew Morgado, who do an network liken it ly accurate but also The show is mixed o The first season is 10 episodes coming up with unique and Avid ICON consoles in Raines says the creators andosed to 10 series sounds that are historical six-track surround. to 10 feature films as opp f work and a lot episodes. That involves a lot o 11/1/11 7:04 AM www.postmagazine.com

Post • November 2011 16

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For more information, or to reserve advertising space, contact your regional sales representative:

Sales Contact Marketing Contact

Mari KoHn • Director of Sales NATASHA SWORDS • VP, Marketing 818-291-1153 • [email protected] 818-291-1112 • [email protected] Gary Rhodes • Sales Manager, East Coast and Int’l Editorial Contact 631-274-9530 • [email protected] RANDI ALTMAN • Editor In Chief 516-797-0884 • [email protected] 2012 Demo sheet

Mari KoHn • Director of Sales • 818-291-1153 • [email protected]

Digital Content Creation Market reach 4.8 billion in 2012

Jon Peddie Research provides an Job Title and classification overview of the digital content Production Management- Production creation (DCC) software market for Manager, Director, Producer, 42.9% Creative Director, Colorist applications running on PC based Technical Management and Engineering computer platforms or UNIX work- (Video Editor, Audio Engineer, Special Effects 26.4% stations. Digital content creation Supervisor, Technical Director) Corporate Operations management software enables the creation or ( Owner, President, General manager, Operations 30.7% modification of digital content, Manager, Marketing Director) such as animation, graphics, images or video, as part of the production Type of Media you work in process before presentation in its (some respondents picked more than one) final medium. Motion Pictures 26.1% The digital content creation mar- Special Effects/Animation Graphics 35.5% ket has seen a healthy period of TV programming 37.2% growth. The total DCC market grew 16% from $2.6 billion to reach more TV Commercial 41% than $3 billion in 2006. The fastest Audio (audio Post,mixing,sound design) 29.5% growing segments in the future will Internet Web 34.5% be interactive development and video as the web offers new distri- DVD 43.8% bution networks and new program- Multimedia Computer Games 21% ming approaches such as AJAX to enable small, compelling applica- tions to be developed that extend Best Describes your facility the power of individual websites. Post production 51.2% Jon Peddie Research expects to see Production Company 42.6% the total Digital Content Creation Special Effects Animation Studio 22.6% market reach $4.8 billion in 2012. (Source: JPR) Broadcast Cable TV 19.5% Audio recording mixing studio 19.4% Advertising agency 12.7% 2012 Demographics

Mari KoHn • Director of Sales • 818-291-1153 • [email protected]

Types of Production and Post production equipment Types of Post production services they purchase and technology they purchase (some examples) (some respondents picked more than one) Platforms Windows 71% Post Production Mac 66.1% Video Editing 72.9% Film Editing 29.7% Equipment and software Visual Effects and Compositing 42.5% Edit controllers 27.4% Open Logos 30% Non Linear Editing 65.5% Audio 45.9% DVD Authoring 58.4% Sound Design 33.9% Graphics and Animation 55.2% Scoring Compositing 23.9% Disk Storage Subsystem ( Disk Arrays, RAID,SAS, SAN) 33.0% DVD Authoring 46.7% Digital Camera 48.4% Digital Cinema 21.6% Services Stock Footage Library 42.9%

Music /Sound Library 50.8% Audio Equipment Duplication Replication Digital Audio Workstations 49.9% 35%

Mixing consoles 48% Microphones 61.5% Digital Disk Recorder 26%

Studio Monitors 45%

For more information, or to reserve advertising space, contact your regional sales representative:

Sales Contact Editorial Contact

Mari KoHn • Director of Sales RANDI ALTMAN • Editor In Chief 818-291-1153 • [email protected] 516-797-0884 • [email protected] Gary Rhodes • Sales Manager, East Coast and Int’l 631-274-9530 • [email protected] 2012 Advertising Rates

Mari KoHn • Director of Sales • 818-291-1153 • [email protected]

Print Advertising Rates

4C 1x 3x 6x 12x 24x Full Page $8,630 $8,224 $8,159 $7,714 $7,321 Jr Page $7,437 7,411 6,839 6,623 6,510 Jumbo 1/2 Page $6,586 6,408 6,015 5,906 5,719 Jr Half Page $5,327 5,200 5,067 4,793 4,779 1/3 Page $4,872 4,756 4,646 4,366 4,282 1/6 Page $3,247 3,204 3,087 2,980 2,903

Custom Marketing Solutions Covers (Includes 4/C Process and Bleed)

Reprints Cover 2...... 25% Premium Reprints are available from articles in Post Magazine. This is a cost-effective Cover 3...... 15% Premium way to promote your brand in the market. Choose your quantity and layout, PDF’s are available too for posting on the web. Cover 4...... 25% Premium Contact your sales rep today for details!

List Rental Reach active Creative Management professionals in Post Magazine opt-in list. Sort to your demographic for targeted approach. Please contact your rep for more information.

Custom Publishing We have many custom programs available: advertorials, targeted Enewsletters, special event sponsorships and more!

For more information, or to reserve advertising space, contact your regional sales representative:

Sales Contact Editorial Contact

Mari KoHn • Director of Sales RANDI ALTMAN • Editor In Chief 818-291-1153 • [email protected] 516-797-0884 • [email protected] Gary Rhodes • Sales Manager, East Coast and Int’l 631-274-9530 • [email protected] 2012 Advertising Dimensions

Mari KoHn • Director of Sales • 818-291-1153 • [email protected]

Material Instructions Method and Paper: Web offset, coated text and cover, saddle stitch Trim: 10” x 12” Bleed: No additional charge. Full Page (1) Junior Page (.75) 2/3 Custom Page (.50) Minimum size 1/2-page horizontal. Trim Size: 10 x 12 No bleed: 6.75 x 10.875 No bleed: 6.75 x 7 Bleed: 10.25 x 12.25 Bleed: 7.5 x 12.25 Electronically Provided Ads Only high-resolution Adobe PDF files are accepted. All electronic files must be accompanied by an Epson color print. If a laser is not supplied, we cannot be responsible for reproduction quality. If a color proof is not supplied, we cannot be responsible for color reproduction quality.

Jumbo 1/2 Horiz. (.5) Jumbo 1/2 Vert. (.5) Jr. Half Island (.33) No Bleed: 8.75 x 5.25 No Bleed: 4.375 x 10.875 No bleed: 4.375 x 7 Submission Instructions Bleed: 10.25 x 6.25 Bleed: 5.25 x 12.25 Send Materials To: Post Magazine, Production Dept., 620 West Elk Avenue, Glendale, California 91204 (800) 280-6446

FTP Information: Please see the next page for full FTP instructions.

Please make sure the advertiser’s name is included in the file Junior 1/2 Horiz. (.33) 1/3 Square (.25) 1/3 Horizonatal (.25) name. When uploading ads to the ftp site, please notify your No Bleed: 6.75 x 4.875 No Bleed: 4.375 x 4.875 No bleed: 8.75 x 2.25 sales representative and provide a color proof.

Additional Artwork: Any work done by publisher will be billed to advertiser or its agency.

Keep all essential live matter 1/4” inside trim all around.

1/3 Vertical (.25) 1/6 Vertical (.12) 1/6 Horizonatal (.12) No Bleed: 2.125 x 10.875 No Bleed: 2.125 x 4.875 No bleed: 4.375 x 2.25

For more information, or to reserve advertising space, contact your regional sales representative:

Sales Contact Editorial Contact

Mari KoHn • Director of Sales RANDI ALTMAN • Editor In Chief 818-291-1153 • [email protected] 516-797-0884 • [email protected] Gary Rhodes • Sales Manager, East Coast and Int’l 631-274-9530 • [email protected] 2012 Online Advertising

Mari KoHn • Director of Sales • 818-291-1153 • [email protected]

Postmagazine.com 2011-2012 Online Advertising Rates Top Leaderboard 728x90 (ROS) $2000 Bottom Leaderboard 728x90 (ROS) $950 Middle banner 468x60 (ROS) $950 Skyscraper One 160x600 (ROS) $1500 Skyscraper Two 160x600 (ROS) $1500 Half Skyscraper 160x300 (ROS) $1250 Square Skyscraper 180x180 (ROS) $1500

100kb max file size, no limits on animation, Formats: GIF, JPG, PNG SWF-Flash files can be up to 100 kb. 3rd party tags accepted i.e. Dart and Atlas. Please check with sales rep, all ads are expandable. Roadblocks, peel off’s web ads coming soon. Postmagazine.com can also handle several Rich Media formats, the most common being Macromedia Flash. If you intend to do any work with Flash please see Flash Instructions and email [email protected] ahead of time as there are some design considerations. Third Party ad tags are also accepted if it is the client’s wish to be able to track their own stats. Otherwise, we (Post Magazine) are able to provide (by request) the numbers of clicks and impressions that their ads generate. Materials should be sent to

Web Sponsorship Opportunities

a) Target market Enewsletters Monthly themes: Audio/Music/sound; Animation/Graphics, Cameras in Post, Editing, HD, Storage, Studio, Work- stations.Editors will review any additional topic choices. Circulation per Eblast: 24,000 opt-in subscribers. Web ad sponsorship levels: 1) Exclusive Sponsorship of enewsletter: banner, button, skyscraper, 100 words of text. $3295 net per month 2) Co-sponsored with another advertiser: 2 web ads, and 50 words of text each. $2495 net each advertiser b) Web ad sponsorship on Show Dailies Daily E-newsletters from these shows: NAB, Siggraph, IBC, AES, HD World. Circulation per Eblast: 36,000 opt-in subscribers. We offer one price for all eblasts during each show week. Top banner (468xx60): $4995 net; square (120x120): $2995 net within section banner (468x60) $2995; Skyscraper (160x600) $3995, (Medium Skyscraper) $3295 c) Bi-weekly “News & Networking” E-newsletter (2x monthly). Enhanced reporting on industry updates, training, jobs, career, events, studio and student galleries. Circulation: 24,000 opt-in subscribers. Here’s your opportunity to sponsor with: 468x60 horizontal banner $2500 top position; $2000 in between sections 160x600 vertical skyscraper $1895; 180x180 box $1500 d) Direct mail via POST’s subscriber lists. Custom Online Survey. Need to know more about our audience’s preferences or buying intentions? Submit up to 15 burning questions you would like to ask the subscribers. Select subscriber categories from POST’s subscription card (ex: businesses, titles, media they work in) POST Magazine will create, deploy and tabulate the results for you. Custom Contest via www.postmagazine.com and e-newsletters. Contact Post’s Editors or sales representatives for details. Direct Mail/E-list and Mail list rentals: Contact your sale representative for cost per thousand quote and selection breakdowns.

For more information, or to reserve advertising space, contact your regional sales representative: Mari KoHn • Director of Sales • 818-291-1153 • [email protected] Gary Rhodes • Sales Manager, East Coast and Int’l 631-274-9530 • [email protected] 2012 Online Advertising

Mari KoHn • Director of Sales • 818-291-1153 • [email protected]

Web Sponsorship Opportunities

a) Target market Enewsletters Monthly themes: Audio/Music/sound; Animation/Graphics, Cameras in Post, Edit- ing, HD, Storage, Studio, Workstations.Editors will review any additional topic choices. Circulation per Eblast: 36,000 opt-in subscribers. Web ad sponsorship levels: 1) Exclusive Sponsorship of enewsletter: banner, button, skyscraper, 100 words of text. $3295 net per month 2) Co-sponsored with another advertiser: 2 web ads, and 50 words of text each. $2495 net each advertiser

b) Web ad sponsorship on Show Dailies Daily E-newsletters from these shows: NAB, Siggraph, IBC, AES, HD World. Circulation per Eblast: 24,000 opt-in subscribers. We offer one price for all eblasts during each show week. Top banner (468xx60): $4995 net; square (120x120): $2995 net within section banner (468x60) $2995; Skyscraper (160x600) $3995, (Medium Skyscraper) $3295

c) Bi-weekly “News & Networking” E-newsletter (2x monthly). Enhanced reporting on industry updates, training, jobs, career, events, studio and student galleries. Circulation: 36,000 opt-in subscribers. Here’s your opportunity to sponsor with: 468x60 horizontal banner $2500 top position; $2000 in between sections 160x600 vertical skyscraper $1895; 180x180 box $1500

d) Direct mail via POST’s subscriber lists. Custom Online Survey. Need to know more about our audience’s preferences or buying intentions? Submit up to 15 burning questions you would like to ask the subscribers. Select subscriber categories from POST’s subscription card (ex: businesses, titles, me- dia they work in) POST Magazine will create, deploy and tabulate the results for you. Custom Contest via www.postmagazine.com and e-newsletters. Contact Post’s Editors or sales representatives for details. Direct Mail/E-list and Mail list rentals: Contact your sale representative for cost per thousand quote and selection breakdowns.

For more information, or to reserve advertising space, contact your regional sales representative: Mari KoHn • Director of Sales • 818-291-1153 • [email protected] Gary Rhodes • Sales Manager, East Coast and Int’l 631-274-9530 • [email protected] You have news. Big news. You want everyone in the Post Production World to know it.

Put it on the cover

January 2012 postmagazine.com Take out a Cover Banner Justifying and showcase your Post company for the Investing in datacentric workflows pays off entire industry

JUSTIFIED and AJA partner on to see. CineForm PAGE 22 stereo workflow solution.

The Cover Banner tells readers where to find your story in the magazine. The accompanying QR Code opens the story in readers’ phones before they even open the magazine!

There is one Cover Banner per issue. Be sure to book ahead.

For more information or to reserve advertising space, contact your regional sales representative: Mari KoHn • Director of Sales • 818-291-1153 • [email protected] Mari KoHn • Director of Sales • 818-291-1153 • [email protected] Gary Rhodes • Sales Manager, East Coast and Int’l • 631-274-9530 • [email protected] Gary Rhodes • Sales Manager, East Coast and Int’l • 631-274-9530 • [email protected]