By Brady Betzel
If you’re tasked with buying a gift for the hard-to-please professional editor, colorist or creative in your life, you may have a hard time finding something they will love. In this year’s Top 5 Holiday Gift list, you will find some odds and ends to help elevate their creations and even bring them to the next level.
By Tom Coughlin
Technology and workflows for M&E are always evolving, and that includes the world of storage. I have been working in and studying this area of the industry for decades, which gives me a unique perspective.
For this special issue, I’ll be sharing my thoughts on digital storage and applications from the past year based on my experience as well as on conversations and interviews with others working in this part of the market.
By Nick Pearce
If you are a creative professional, then you will need some sort of storage to capture, protect, process and preserve the cool stuff you create. Recommending which type of storage depends on where the content came from, what you plan to do with it, the scale of your operation, your need to collaborate,
Robin Lamontagne is a VFX supervisor at Outpost VFX, which has four studios spread across the UK, Montreal and Mumbai. They work on film and episodics, including Napoleon, Silo, The Wheel of Time and The Hunger Games: The Ballad of Songbirds and Snakes.
Based in Montreal,
By Randi Altman
The reboot of Quantum Leap was renewed for a second season and has started airing on NBC. This iteration of the show also follows a charming time traveler/scientist, Dr. Ben Song, who lands in different times and situations in order to right a wrong.
The first and second seasons were shot by Colombian-born DP Ana M.
By Iain Blair
David Fincher’s The Killer is a violent thriller starring Michael Fassbender as an unnamed hitman whose carefully constructed life begins to fall apart after a botched hit. Despite his mantra to always remain detached and methodical in his work, he lets it become personal after assassins brutally attack his girlfriend,
By Troy A Smith
I am an online editor and a colorist. For about 20 years, I had been using a Wacom Tablet when editing in Avid Media Composer. When I began editing in Blackmagic Resolve, I gave up my beloved tablet and started using the mouse because I found myself needing to use the center roller on the mouse too often.
By Jonathan Morgan
In the world of media and entertainment, the way content is stored and managed is undergoing a profound transformation, thanks to the integration of AI. As the demand for high-quality, diverse and personalized content continues to surge, traditional storage methods are proving inadequate. AI is emerging as the game-changer, redefining how media assets are stored,
Tarjas White is an EP at HiFi Project, where they partner with agencies and brands “to create music that inspires viewers to want to hear more,” he says. “To do so, we infuse a nimble team of in-house composers and producers with a deep network of established and emerging talent from the global music scene.” HiFi has studios in Boston,
By Luke Harper
Dune, Mad Max: Fury Road, Blade Runner 2049 and over 125 more films. Six Oscar nominations and two wins. Educator. Musician. Formosa supervising sound editor/sound designer/re-recording mixer Mark Mangini is pretty much a Renaissance man of audio.
As an audio post pro myself,
Powell Robinson is a narrative and commercial cinematographer based out of Los Angeles. His clients for music video and commercial work include such big names as Doja Cat, The Weeknd, Jack White, Pedro Pascal and Megan Fox, but his main passion is working on feature films.
Robinson has shot a horror film for Hulu and Worthenbrooks (previously 20th Digital) called Appendage,
Edgar Reyna is a colorist at India’s After Studios, a company that offers post services, including digital intermediates, visual effects and online editorial. A 10-year industry veteran, Reyna, who is Mexican-born, has been enjoying his time in Mumbai.
Let’s find out more…
As a colorist, what would surprise people the most about what falls under that title?
Company 3 senior colorist Yvan Lucas began working with DP Rodrigo Prieto, ASC, AMC, on the look of Martin Scorsese’s Killers of the Flower Moon long before the film was in production. Lucas, who has collaborated with Prieto on most of the cinematographer’s work for nearly two decades, shares Prieto’s fondness of a film-style workflow in which filmmakers do as much as possible upfront to set appropriate looks,
By Iain Blair
Writer/director Todd Haynes, who was Oscar-nominated for his ‘50s romantic drama Far from Heaven, has always been drawn to classic melodrama and period pieces that examine provocative issues. His new film, May December, tells the story of a shocking affair between 36-year-old Gracie (Julianne Moore) and 13-year-old Joe (Charles Melton).
Clark Griffiths is a colorist at St. Louis-based Bruton Stroube, a 40-year-old live-action production studio whose post division is called Outpost.
After stints at Framestore and Company 3 in Chicago, Griffiths moved to Missouri in 2022 to work at Outpost. Over his career, he has graded spots for Allstate, Cadillac,
By Marshall Grupp
I can vividly recall the day I visited Tom Jucarone’s studio at East Side Film and Video as if it were yesterday, asking him if he’d be up for creating a unique audio post space unlike any we had seen before. Once he agreed, Peter Holcomb joined the team, and,