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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 K OHN • Director of Sales • 818-291-1153 • [email protected] Post Magazine monthly sections Bits & Pieces Digital Domain creates Township Transformers teaser takes its vitamins ENICE, CA — Activision Publishing and High transform into the towering Bruticus. for Jamieson Bits & Pieces Moon Studios tapped Digital Domain (www. “We took a lot of cinematic cues from the Trans- V digitaldomain.com) and sister company Moth- formers and Terminator movies — eyes lighting out of ORONTO — Township & Company (www. ership director Neil Huxley to create the unexpected the dark, lots of atmospherics and smoke, using fires T townshipco.com), based here, recently teaser for Transformers: Fall Of Cybertron, which pre- on the battlefield to illuminate characters versus big worked with agency Quizative on a spot for miered during the 2011 Video Game Awards show on light,” explains Huxley. “Camera and lighting were so Jamieson Vitamins. The piece features a mix of Spike TV. The :90 piece has a dark filmic look designed important in a CG piece of this scope to provide a CG animation, stock footage and matte paint- to hook gamers. sense of scale. These guys are massive robots. We ings. Township, which directed the piece, were mindful of depth of field and designed and crafted a number of beautiful people What’s New in Post Production used a lot of wide angle lenses locations that set the scene for the narrative. where appropriate.” “We started by designing storyboards and Making the robots emote was creating style frames in Photoshop to help set challenging, as none of the characters the look and feel of the spot,” explains VFX O.D.WELCH JOHN MCGRATH had facial rigging for animation. “It director Andres Kirejew. “After client approval, O.D. Welch has joined Burbank’s John McGrath has joined Chicago’s becomes about theatrics and perfor- the storyboards were used to create an ani- Cameron|Pace Group (CPG) as COO, Re:Think Post as partner/lead facilitator, mance; selling emotion through visu- matic in After Effects for timing purposes. While where he will be responsible for leading the focused on business development and growth. als, with the music heightening it and that took place, we started building all the company’s global expansion, focusing on strategic Before joining Re:Think, McGrath spent 20 years creating mood,” Huxley explains. matte paintings in Photoshop. planning and execution, international business as GM of Cutters. Re:Think focuses on creating Production began with extensive Once everyone was happy with the flow of development, and worldwide operations of the photoreal CGI and is aiming its efforts at automo- previsualization that included lighting the animation they blocked out the all the shots group, which is co-chaired by James Cameron tive work, pharmaceuticals, commercials, feature cues, giving Activision a clear idea of in 3DS Max. “The Nuke’em script was used to and Vince Pace. Prior to joining CPG, Welch was films, interactive content, mobile content, events how the piece would actually look in get the 3DS Max camera data and FBX info into president of Evolve Consulting. He has also held and more. The company also plans open a perma- the end. Then, working in Digital Nuke, whose toolset allowed us to be fast and roles as COO, North America for Prime Focus nent headquarters in Chicago later this year. Director’s Chair Domain’s virtual production studio, flexible,” says Kirejew. “At that point we re-linked Group, CFO for the ComputerCafe Group, and Huxley took previs elements and a all the elements in Nuke and did the final comp. WELCH president of 525 Studios. As production execu- MCGRATH ROGER BECK virtual camera onto the stage and After Effects was used to do final grade and we tive on nearly three-dozen feature films, Welch’s Reno, NV-based Bright Technologies has directed the movement of CG sets added some extra animation elements by using credits include Iron Man, Speed Racer, Spider-Man promoted Roger Beck from worldwide man- and motion captured actors in real- the live link between After Effects and 3DS Max 3, Pans Labyrinth and King Kong. ager, technical services, to CTO. He will establish time — shooting the CG story as if 2012. This allowed us to use the same camera technical standards and ensure adherence for he were shooting live action. Digital throughout the whole process.” The final client- CAROL DUNN product development; be responsible for manag- Domain artists finished the spot with attended session was finished using Flame. Carol Dunn has been hired as executive ing Bright’s technical committees, recruiting and One of the Top Director’s in Industry final animation, lighting and composit- The Township team included creative director producer/managing director of LA-based managing, and overall staff training and motiva- ing. A team of 15 took the piece Ron Gervais, animation director David Greene and Squeak E. Clean, a commercial music and tion; and oversee sales activities and function as from start to finish in eight weeks. VFX director Andres Kirejew. The production com- sound design company, overseeing the day-to- the primary contact for customers and resellers Rich Flier, Digital Domain execu- pany and finishing house was Axyz. Axyz’s team day operations. Dunn has over 15 years of music regarding technical questions in the pre-sales The VFX studio provided animation, lighting and compositing. tive producer, gaming, notes, “People included producer Karen Huybers and assistant placement and music licensing rights experience process. Beck began his career with Bright in are used to a certain type of trailer Davey Birrell. Audio post was via Vapor Music. under her belt, on projects ranging from Baz 2007 as senior systems engineer. Prior to his “We wanted to make a piece that looked like we for a game like this. Activision wanted to take it to a Luhrman’s Romeo+Juliet to Boogie Nights. She has appointment as CTO, he served as the compa- discuss their filmmaking technique in went to Cybertron and shot it with real hand-held different place — to give gamers something unex- worked for Interscope Records, Capitol Records ny’s worldwide manager. cameras,” notes Dave Cravens, cinematics director for pected; more of a backstory that would set a com- DUNN and Windswept Pacific, Amber Music, and Asche BECK High Moon Studios. “This is an emotional story and it pletely different tone. In this piece you get more of WHAT POST READERS ARE LISTENING TO & Spencer. Zach Sinick, who has been with STEPHEN VENNING, TIM has to feel like the viewer is right there. Digital the characters’ motivation and you really feel for Squeak E. Clean from its inception, will continue DAVIES, LARUE ANDERSON Domain’s virtual production process was like shooting them and their situation. There’s a little bit of hope, his role as head of production/EP. Brent Nich- The Mill LA has made three new hires: live action, and Neil’s creative approach allowed us to some redemption.” right ols, another Squeak E. lifer, has taken on the Stephen Venning, who joins as EP/new busi- take this piece out of the traditional action mode to a “We were able to take our experience working on now position of creative director. ness and spent the past 10 years as an EP at The higher, more artistic plane. You really feel for the char- the Transformers movies to create a look for this piece MUSIC: “I am currently Mill London, will head up the studio’s newly- relation to technology and tools Used in acters and their situation.” that was consistent with the franchise but delivers the listening to ‘Watch the Throne,’ ROGER BECK, DAVID TURNER formed design and creative direction arm; Tim Featuring characters from Hasbro’s iconic Trans- unique ‘Cybertronian’ aesthetic of this standalone A Jay-Z/Kanye West joint. Halo Post in London has hired Roger Davies joins as a VFX supervisor/lead Flame formers brand, the piece opens with Optimus Prime game series,” says Ed Ulbrich, CCO of Digital Domain Loving the tracks Otis & Beck as COO and David Turner as director artist, with experience in commercials and fea- carrying his longtime comrade Bumblebee out of and president of Mothership. “And having virtual pro- Gotta Have It.” of film post production. Beck, who is responsible tures, as well as design; and LaRue Anderson battle, whose critical injury is the catalyst for the Auto- duction in house meant that we could shoot these Sam Johnson, for managing the integration of the new Noel joins as producer, telecine, producing all projects bots’ redemption. Puscifer’s “Humbling River” is a som- massive CG characters like live action, bringing more Production/Post Engineer Street facility into the larger Halo group, has over for the office’s new telecine division headed up ber backdrop as the mood shifts to despair with the feeling and emotion to the piece and ultimately helping for the LAB, London.

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