Jemma Burns is an Australian music supervisor. One of her recent projects was the Netflix reboot of Australian series Heartbreak High, which included 128 songs from inner-city Sydney underground trap and drill to pop acts like Dua Lipa and Tame Impala.
She also recently worked on the film Foe,
By Mike McCarthy
Cloud storage has been around for at least a decade, but I have been slow to really embrace it. This is for two reasons: trust and bandwidth. But as both of those concerns get alleviated over time, and cloud-based solutions (even beyond storage) continue to mature, I am beginning to move toward more cloud-based functions and workflows.
By Iain Blair
Swedish cinematographer Linus Sandgren, ASC, has multiple award noms and wins under his belt, including an Oscar for his work on the retro-glamorous musical La La Land. His new film, Saltburn, couldn’t be more different.
Written and directed by Emerald Fennell,
Georgia Dodson is an editor at PS260, a boutique editorial house in New York, Los Angeles and Boston that specializes in commercials, music videos and feature films. PS260 also has a motion graphics and visual effects department as well as a sound studio.
Born and raised in Appalachia, the now-LA-based Dodson has always been a storyteller.
By Oliver Peters
The growth of modern streaming platforms and alternative media has ushered in a golden age for documentary films, series and short-form projects. Editors working on scripted versus unscripted projects find similarities but also major differences between these two film genres.
I surveyed a small, diverse cross-section of documentary film editors for their thoughts on the genre.
EmmoLei Sankofa is a composer, producer, musician and artist whose original music can be heard on Hulu’s Three Ways, Season 3 of Starz’s Step Up: High Water series, Lizzo’s Watch Out For the Big Grrrls on Amazon and Shudder/AMC’s horror anthology film Horror Noire. Sankofa has also worked with top brands like Nike,
By Alyssa Heater
Directed by Sam Esmail and based on the novel of the same name by Rumaan Alam, Leave the World Behind follows the Sandford family on their impromptu vacation to a beautiful rental home on idyllic Long Island. The trip soon goes awry when a cyberattack leaves them without access to their regularly used tech devices,
Yvette M. Amirian, ACE, is a film and television editor who has been transitioning seamlessly between editing scripted and documentary content for the better part of two decades. One of her most recent projects was the holiday film EXmas, which tells the story of Graham (Robbie Amell) and Ali (Leighton Meester), two exes who aren’t quite over each other and still harbor resentment over how things ended.
By Randi Altman
The Disney+ series Loki, based on the Marvel character, is back with six new episodes. In this season, Loki and the Time Variance Authority are searching for Sylvie, Ravonna Renslayer and Miss Minutes. It once again stars Tom Hiddleston as the god of mischief.
DP Isaac Bauman joined the Loki team in Season 2,
In Amazon Prime’s holiday comedy Candy Cane Lane, Eddie Murphy is a dad intent on winning the lucrative prize for the neighborhood’s best-decorated house. He makes a pact with a mysterious elf to help him win and ends up being rescued by some strange magical ornaments when havoc ensues.
Director Reginald Hudlin wanted a film that harkens back to the era of classic Christmas movies and songs of the ’50s and ’60s.
By Randi Altman
Storage. Without it there would be no post workflows. It is at the heart of each and every one of them… an unsung hero of sorts. The folks we spoke to for this storage roundtable share their thoughts on how users employ storage, how manufacturers make storage, what it’s like living in a hybrid and cloud world and what’s next for this all-important aspect of the industry.
By Alyssa Heater
postPerspective recently sat down with some of the team behind CBS’ The Late Show With Stephen Colbert to discuss how the talk show workflow influences storage and security needs. The Late Show, which airs four days a week, records live to tape, and as you can imagine,
By Alyssa Heater
The world of commercials and TV spots is known for quick timelines and multiple levels of sign-off. Storage plays a big factor in not only backing up media but facilitating collaboration with multiple stakeholders.
Lost Planet Editorial’s Kenji Yamauchi elaborated on the storage needs for TV spots, referencing the Google DeepMind piece he recently cut for YouTube.
By Iain Blair
To be Barbie in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis and suddenly develop flat feet and bad breath and end up traveling to the real world to find some answers.
That’s the clever setup for the biggest blockbuster of the summer — and now the biggest movie on the awards circuit thanks to its nine Golden Globe noms.
Written and directed by Sofia Coppola, the film Priscilla is based on Priscilla Presley’s memoir Elvis and Me, recounting their romance and time together as a couple. The movie reunited Coppola with cinematographer Philippe Le Sourd, ASC, AFC, and Harbor colorist Damien van der Cruyssen — the trio have worked together before on La Traviata (2017),
By Alyssa Heater
Unscripted reality series and the sheer amount of footage captured for each episode poses unique challenges, especially when it comes to storage.
To find out more about how these shows manage all that data, we first spoke with BBC Worldwide post producer Chris Gats, who works on the unscripted series Life Below Zero and its multitude of spinoffs.