p. 1

[close]

p. 2

[close]

p. 3

[close]

p. 4

serving the industry since 1986 offhollywood vol 27 · no 2 4 editor s letter social media s role in post by randi altman post script aardman s art of stop motion by marc loftus bits pieces what s new in post director s chair david cronenberg a dangerous method by iain blair cover story act of valor jacob rosenberg and bandito brothers blend drama and reality by daniel restuccio postings a graphic glimpse of some recent work people keeping tabs of the industry s movers shakers review shure s ksm42 mic 4 6 20 t 20 12 swamp wars rends are you engaged post companies embrace social media by randi altman 16 television 24 posting reality unscripted fare poses unique challenges for post pros by marc loftus test spots how these early versions make the final piece better by christine bunish 40 24 animated storyboards 44 47 28 by luke harper 48 review glyph s gpt50 external hard drive by brady betzel a 34 udio unsung gear tools these audio pros can t live without by jennifer walden 28 royal caribbean daily news updates review krk rp10-3 monitors by luke harper tutorial basic color balancing in avid ds using a custom preset by igor ridanovic photo jacob rosenberg tutorial seth worley s tutorial on on our cover creating a comic book sequence using magic bullet looks toonit and trapcode 40 directors mike mouse mccoy and scott waugh of bandito brothers www.banditobrothers.com helmed act of valor which combines real-life active navy seals and a fictional story by kurt johnstad it was shot on canon 5d mark iis with panavision lenses as well as 35mm film and sony hdss making for an interesting post process jacob rosenberg helped give the low-end digital sources a high-end look he established a post workflow that created an offline edit in avid and a parallel conform timeline built concurrently using adobe premiere pro after effects media encoder and various thirdparty apps turn to page 16 for complete details post · february 2012 www.postmagazine.com video composer kurt oldman discusses streamers by igor ridanovic this month in · · · · upping the ante with graphics in games stereo 3d a new methodoloy cg on the silver screen soars digitally augmented spots score big 2

[close]

p. 5

rango is a winner bafta award nominee best animated feature

[close]

p. 6

editor s note i by randi altman editor-in-chief raltman@postmagazine.com embracing social media book twitter instagram and tumblr we are able to support and converse with not only our clients but also designers and other industry folks we collaborate with and the atlanta design community as a whole it s a great way to spread awareness of tube throughout our field as well as share what we ve been up to a year ago we spoke with minneapolis s pixel farm about how they further their message online see page 20 for this year s feature on the topic while serious about business they realize the web helps build community and they have fun with it we ve been further strengthening our current social media channels such as facebook vimeo and twitter says sarah edwards social media/marketing coordinator we recently found out one of our senior vfx artists starred in two episodes of family feud and we are starting an online twitter contest which is going to be something different and fun the hashtag for the contest will be #pixelfeud check out their blog for details and giggles http blog.pixelfarm.com product makers also embrace the web i was marginally skeptical when we made our first foray into social media at the foundry says head of marketing lucy cooper but it has become a key marketing tool and more our customers also use it as a soft support channel editorial randi altman editor-in-chief 516 797-0884 raltman@postmagazine.com marc loftus senior editor/director of web content 516 376-1087 mloftus@postmagazine.com christine bunish film video ron dicesare audio bob pank european correspondent bob.pank@virgin.net dan restuccio west coast bureau dansweb451@aol.com barry goch west coast blogger/reporter iain blair film michael viggiano art director mviggiano@postmagazine.com f you own a business have a hobby or even a remotely curious bone in your body chances are you have an established social media presence or you visit those sites from time to time heck my 80-year-old father has a facebook page go marvin post pros in particular have embraced twitter facebook vimeo tumblr and others they realize that the reach is long and the information gathered and shared is invaluable london s berwick post is one of the many studios @post_magazine follows on twitter they are an active participant in the conversation social media is a fast and effective way for berwick post to interact with our existing clients and present ourselves in the right way to new ones explains berwick ceo steve dann it helps get our message across that we are a traditional post facility that is also passionate about and at the forefront of new technologies such as augmented reality they primarily use twitter berwickpost to create an initial buzz about new ideas and technology that interests them they use their facebook page for more visually based ideas that can be used as resource by our followers and linkedin for a more concentrated b2b approach says dann owner/creative director chris downs at tube in atlanta has found that by reaching out through a variety of social media outlets such as face advertising natasha swords vp marketing 818 291-1112 nswords@copcomm.com mari kohn director of sales 818 291-1153 cell 818 472-1491 mkohn@postmagazine.com gary rhodes eastern intl sales manager 631 274-9530 cell 516410-8638 grhodes@copcomm.com chris salcido account manager 818 291-1144 csalcido@copprints.com customer service 620 west elk ave glendale ca 91204 csr@postmagazine.com 800 280 6446 opt 2 publishing opt 1 subscriptions reprints reprints 781 255-0625 · 818 291-1153 la sales office 620 west elk avenue glendale california 91204 800 280-6446 postscript aardman s art of stop-motion d by marc loftus senior editor mloftus@postmagazine.com irector peter lord founder of the ukbased oscar-winning aardman animations was in nyc recently to promote his latest film for sony the pirates band of misfits which stars the voice talents of hugh grant and jeremy piven the stop-motion animated film was adapted from a book by gideon defoe and follows a band of pirates out to prove their worth the mission is a humorous one considering a track record that includes unsuccessfully trying to loot from ships full of children lepers and nudists still the pirate captain yes that s his name feels pressure to prove to peers black bellamy and cutlass liz that he s not the joke they make him out to be and with the right booty he could take home the coveted pirate of the year award lord says the project marked a sweet and steady five-year journey with much backup and support from sony these days there is computer animation all over the place the fact that we did it this way was delightful the film s 80 characters are all puppets but because they re not cg doesn t mean they aren t complex the pirate captain for example contains as many as 200 components created by experts working in resin fabric and other materials rapid prototyping allowed for the creation of different mouths that could be used across a range of characters the sets were also elaborate and numbered upwards of 250 stop-motion animation was captured one frame at a time using high-end canon dslr cameras at the height of production as many as 40 units were working simultaneously the footage would later be combined with backgrounds and animation such as the water in post so what tools does aardman use slightly embarrassed lord says he wasn t quite sure he s learned over the years to surround himself with a great team and rely on their expertise i knew my dp would deliver a great camera move and that the animators would do a better job than i could dream of and that the 3d would work just surround yourself with great people that s my top tip william r rittwage president ceo see us on post magazine is published by post llc a cop communications company post does not verify any claims or other information appearing in any of the advertisements contained in the publication and cannot take any responsibility for any losses or other damages incurred by readers in reliance on such content post cannot be held responsible for the safekeeping or return of unsolicited articles manuscripts photographs illustrations or other materials subscriptions address all subscription correspondence to post magazine 620 west elk ave glendale ca 91204 subscribers may also contact customer service at 800 280 6446 opt 2 publishing opt 1 subscriptions or send an email to csr@postmagazine.com for change of address please include the old and new address information and if possible include an address label from a recent issue subscriptions are available free to qualified individuals within the united states non-qualified 1 year rates usa $63.00 canada mexico $94.00 all other countries $133.00 airmail delivery is available for an additional $75.00 annually postmaster send address changes to post magazine p.o box 3551 northbrook il 60065-3551 please send customer service inquiries to 620 w elk ave glendale ca 91204 4 post · february 2012 www.postmagazine.com

[close]

p. 7

welcome to davinci resolve 8 a av hollywood s most powerful color corrector with over 25 years experience in color correction davinci resolve is the world s most loved high end color grading system only davinci resolve is designed to be real time all the time so it keeps up with you when you re working on demanding client jobs with the most creative toolset and highest image quality it s easy to see why davinci resolve is used on more hollywood feature films syndicated network television series music videos and high end television commercials than any other system greater creativity with a massive toolset designed by colorists for colorists the innovative yrgb primaries and node based design allow more creative grading and better looking images combined with power windows rgb mixing curve grading blur sharpen mist keying noise reduction and 32 bit float quality you get more with davinci resolve super computer processing davinci resolve uses a cluster of gpus for real time super computer performance simply plug in an extra common graphics card gpu to get more performance add up to 3 gpus on mac os x or a massive 16 gpus on linux the freedom is yours and there are no extra software costs simply plug in gpus when you need more power automated for speed davinci resolve includes more automatic tools such as the 99 point 3d window tracker so you ll rarely need to manually track windows you get automatic 3d eye matching auto-grade auto stabilization auto 3d color matching automatic xml aaf and edl conforming real time proxies auto scene detection and much more world s best compatibility no system supports more file formats in real time than davinci resolve grade from mixed format clips on the same timeline including raw red and arri even in bayer format prorestm dnxhd h.264 uncompressed and more get full multi layer timeline xml aaf and edl round trip with editing built right into davinci resolve if your edit changes resolve will automatically relink grades free download with unlimited nodes supports 1 gpu davinci resolve lite free davinci resolve software davinci resolve full resolve wth unlimited nodes and multiple gpus use 3rd party control panels full resolve with colorist control surface for the most advanced facilities 995 $29,995 learn more today at www.blackmagic-design.com/davinciresolve

[close]

p. 8

bits pieces luma s robust vfx pipeline s anta monica luma pictures www lumapictures.com is a busy visual effects studio working on some pretty cool major motion pictures they are currently finishing up the avengers recently completed work on underworld 4 and have 2011 s captain america the first avenger thor and x-men first class under their belts they specialize in according to vfx supervisor vince cirelli complex cg which encompass creatures digital humans and computationally large effects being able to create these types of effects on tight deadline calls for an efficient pipeline currently this linux-based studio uses the foundry s nuke as its main compositing tool and writes a lot of its own stuff based off of autodesk maya pixologic z-brush and solid angle s arnold renderer another big part of the workflow is assimilate s scratch and scratch to nuke also being able to do complex color corrections it seemed to fit their needs perfectly on wolverine they had shot plates that needed very serious color work due to on-set pyrotechnics lighting actors in an unflattering way describes cirelli with visual effects we try not to affect the plate and maintain the fidelity so when we turn it over to a di facility they have the latitude they need to correct it in any tonal range however with wolverine because of the need we couldn t do the visual effects without first correcting the plates we demoed a few different tools and for the cost and the price scratch achieved everything we were looking to do at press time with luma knee deep in over 200 vfx shots on the avengers scratch is still a big part of their workflow with advances of online color on set directors are used to looking at work prints that look fantastic they are expecting to see visual effects grade plates that match editorial playback this is very costly for a visual effects facility especially if you have a show that is very particular about matching the color they ve come up with we are now very quickly able to devise our editorial grades inside scratch and write them out of scratch really speeding up that whole workflow says cirelli the previously mentioned arnold renderer is also a big part of keeping luma s workflow fast cirelli calls it a beautiful brute force raytracer that makes things easier on artists because if you provide it with realistic lighting data acquired on set there a lot less cheats and tricks needed he says this used to drain an artist s time and turn them more into technicians this tool goes hand in hand with how luma believes the future of vfx is going artists should be both lighting artists and compositors says cirelli we don t like to split the departments anymore the future is vince cirelli inset luma provided 100 this kind of convergence between lighting creature shots for underworld awakening and compositing for the just-completed underworld awakluma s road to an efficient pipeline began as they ening which opened january 20 luma created over started work on x-men origins wolverine back in 2009 100 creature shots their efficient workflow helped they realized the existing workflow while helpful in tremendously with extremely complicated shots every ways had some gaping holes that slowed them down shot was very complex where the creature was close significantly we had a hard time playing back sequenc to camera destroying its environment or transforming es explains cirelli it s important when you are dealing from human to creature explains cirelli for the nine with hundreds of creature shots to maintain consistency transformation shots they created luma called on paul across the show so playing back and reviewing 2k is debevic s ict the pioneer of hdri workflows now imperative across a sequence the software we were used by many he has devised an incredible way to using previously was clunky and had limited correction create digital humans the technology is named lighttools that worked in an intuitive way stage it was instrumental in allowing us to achieve as is usually the case evolution grew out of neces photoreal transformations of humans into werewolves sity and luma had to find a better solution cirelli had like never before heard that scratch did 2k playback beautifully while by randi altman post · february 2012 www.postmagazine.com the brothers olson give it all away for my plastic sun w ilmington nc the forgery www the-forgery.com made up of obin and amariah olson recently produced a new effects-heavy music video for my plastic sun give it all away tells a tale of love loss and vengeful seduction the video was created over several months and incorporates live-action and greenscreen footage shot with red one and 5k epic cameras obin and amariah olson used hp z800 windows machines running adobe premiere cs5.5 and after effects 5.5 along with newtek lightwave for animation and eyeon fusion for compositing the video s opening lighthouse sequence was initially going to be shot on location but weather forced the team to create it instead in studio stock shots of fire and shot fire plates were incorporated into the vfx sequences syntheyes was used for camera tracking the studio called on scratch for color correction red r3d files were converted to dpx files for compositing see it here www.the-forgery.com/direct id=34722864 what post readers are up to right now radio a native angeleno time is spent tooling around in my car my drive time consists of me flipping the radio dial between the dan patrick show and the herd with colin cowherd i m also a huge fan of the petros money show you get your sports music and comedy tools izotope waves bundle dolby media meters ­ konrad pinon margarita mix santa monica 6

[close]

p. 9

golden globe award winner ® best animated feature best animated feature producers guild of america winner best academy award nominee ® original score john williams inananim at edfe at urem ot ionpicture 5 best animated feature 6 annie award nominations including winnerwinnerwinner florida film critics circle new york film critics online north texas film critics association outstanding visual effects visual effects society award nominations including best production design best animated feature best animated feature best animated feature best animated feature best animated feature best animated feature oklahoma film critics circle st louis film critics association toronto film critics association art directors guild nominee winnerwinnerwinner

[close]

p. 10

bits pieces technicolor s new sound complex ramps up h pictured on stage 2 is anna behlmer and terry porter ollywood technicolor s new sound post production complex within the paramount pictures lot in hollywood is a three-story one-stop facility that is currently up and running but won t be fully completed until the spring of 2012 when complete the facility will house eight re-recording stages two large theaters plus two medium-size and four smaller rooms with three adr stages eight sound design suites 16 editorial rooms and two 7.1-channel hd video layback/qc rooms technicolor sound is housed within the original footprint of paramount s crosby building and stage 10 and occupies close to 65,000 square feet the building also includes paramount s feature post production offices as well as 30 high-end picture editorial suites george newburn and jackie mcnaney from studio 440 architecture and acoustics handled the architectural design with david schwind and cristina miyar from charles m salter associates acting as acoustic consultants all of technicolor s re-recording stages are outfitted with avid euphonix series 5 digital consoles the adr stages and editorial suites also feature avid icon c24 and artist series control surfaces the fully completed phase 1 includes the first two large theatrical stages stage 1 the new home base for re-recording mixers scott millan and greg russell and stage 2 now home for terry porter and anna behlmer together with stages 5 through 8 the facility handles re-recording projects for tv shows such as criminal minds castle vampire diaries glee and american horror story two medium-sized stages a third adr/animation stage and the sound editorial rooms will be completed by the spring stages 1 and 2 feature identical 80-fader system 5 consoles with 746 available inputs connecting to a total of seven 64-channel and one 128-channel avid pro tools|hd systems for playback plus a 64-channel rig for recording stems and print-master mixes the medium-sized stages 3 and 4 will house identical 80-fader/746-input system 5 consoles each connecting to seven 64-channel pro tools|hd playback rigs and a master pro the re-recording stages will be able to mount pro tools volumes directly from the centralized data store that uses quantum stornext file systems accessed via a high-speed storage-area network technicolor s file-based digital workflow is based on dual 10 gbit/sec fiber-optic connections that provide highspeed access to centralized data servers from the various re-recording stages adr tools recorder the smaller stages 5 6 7 and 8 will feature 48-fader/368-input system 5 consoles linked to four 64-channel and one 128-channel pro tools systems for playback plus a 64-channel recorder monitoring includes either jbl model 5732 four-way or model 5742 four-way screenarrays and custom subwoofers powered by crown amplifiers plus genelec model 8250s as nearfields nec 2k dlp projectors replay digital images from the avid nitris dx system as the technicolor facility becomes fully updated to pro tools 10 by early-2012 all of rooms and editorial suites as well as other facilities around the world using technicolor production network tpn the eight planned sound design rooms and 16 editorial suites will be equipped with a user choice of avid control24 icon d-command or artist series controllers linked to multichannel pro tools workstations says curt behlmer who has overseen design and outfitting of the three-story complex this multi-room ground-up complex represents technicolor s first foray into offering theatrical re-recording stages therapy visualcreatures open new ghost rider l os angeles therapy s www.youneedtherapy tv doobie white served as an editor on several key sequences for the stereo feature ghost rider spirit of vengeance which opens this month the la-based editor worked with visualcreatures ryan mcneely and john cranston to craft the two-minute animated sequence that opens the film and sets up the franchise s backstory for unfamiliar viewers working from a voiceover penned by the film s writers white cut together preliminary storyboards by mcneely and cranston to screen for test audienc es columbia then engaged therapy and visual creatures to create the fully-realized sequence which blends impressionistic live action from the film s originally-intended open along with animation and graphics that evoke the story s comic book origins visualcreatures used a combination of maya and maxon cinema 4d to animate the characters and build the environments the studio also employed third-party plug-ins such as turbulence fd and particular to create fire and weather elements that look less realistic but more painterly 8 post · february 2012 www.postmagazine.com

[close]

p. 11

image courtesy of chris o riley take your art to the brink of reality the latest version of newtek lightwavetm 3d animation software takes your art to the edge a complete palette of tools lightwave 11 is professional faster and way more powerful tv film architectural visualization print and game development get incredible detail instancing flocking motion fracture bullet dynamics virtual studio tools hypervoxelstm blending goztm technology freedom to stretch your imagination for real ©2011 newtek inc all rights reserved www.newtek.com

[close]

p. 12

bits pieces identity fx www.identityfx.com in north hollywood has purchased and installed an sgo mistika 4k color grading and stereo 3d system the investment broadens the studio s production pipeline allowing it provide camera-to-delivery 2d and stereo 3d services to feature film television and commercial production clients identity fx produces visual effects titles and stereoscopic 3d work that spans the media spectrum mistika will serve as the lynch-pin of the company s services pictured is owner and stereo supervisor leo vezzali at a glance siggraph www.siggraph.org the conference for computer graph ics and interactive techniques has selected the cities for its 2013 and 2014 north american conferences siggraph 2013 will return to anaheim ca july 21-25 2013 to celebrate the 40th international conference and exhibition on computer graphics and interactive techniques siggraph 2014 will return to vancouver for the 41st international conference and exhibition on computer graphics and interactive techniques august 10-14 2014 visual effects technologist jonathan erland has been voted the john a bonner medal of commendation by the board of governors of the academy of motion picture arts and sciences www.oscars.org the john a bonner medal is awarded for outstanding service and dedication in upholding the high standards of the academy of motion picture arts and sciences the board of governors of the academy of motion picture arts and sciences has voted the gordon e sawyer award to douglas trumbull a visionary filmmaker who has worked as a designer director inventor and entrepreneur for his lifetime of technical contributions and leadership in the motion picture industry in the course of his work he created developed or improved numerous filmmaking techniques and tools including slit-scan photography process photography miniature compositing interpositive matte painting large-format filming high-frame-rate photography and projection synchronized multiscale filming and motion control photography seatac wa s advanced broadcast solutions www advancedbroadcastsolutions.com has opened a new satellite office in portland the company is a professional video and audio systems integration firm and their new office is designed to provide regional customers with a centralized location for product demonstrations and customer support sound lounge alumni phil loeb keith reynaud and gloria pitagorsky have come together to form a new full-service audio studio while the studio s name has yet to be announced the company does has a website www.have-you-heard.co and recently completed work on its first project the audio house will be located on the 5th floor of 16 west 22nd st once construction is complete in the interim the trio is working out of two studios on the floor below having the right gear for your artists is important for post houses also important knowing what kinds of nibbles their clients need and at what time of day goldcrest in nyc www.goldcrestpost.com serves up bagels with whipped cream cheese in the morning and chocolate cake in the afternoon with tea and coffee its london facility keeps the studios fruit bowls full and serves cake pictured in the afternoons we ve cut down on the cakes in january due to staff and client protests that the smell was too tempting and threatening january diets reports goldcrest london sales manager rebecca adams 10 post · february 2012 www.postmagazine.com

[close]

p. 13

introducing hyperdeck studio the broadcast deck that uses solid state disks now you can get the incredible quality broadcast deck that records and plays using low costs solid state disks hyperdeck studio works like a regular broadcast deck and supports dual disk slots so the moment one disk is full recording can continue to the next disk that s unlimited recording hyperdeck studio supports uncompressed and compressed dnxhd recording into quicktimetm and msf files so you can simply mount the disks and edit media directly without any file copying hyperdeck studio is perfect for live production instant replays and disk server use absolute perfect quality hyperdeck shuttle works with both compressed and perfect quality uncompressed video you can select between 10 bit dnxhd mxf or uncompressed 10 bit quicktime recording and playback only uncompressed gives you a mathematically perfect clone recording between capture and playback only uncompressed lets you trust your recording and there is absolutely no higher quality possible familiar broadcast deck design hyperdeck studio has a familiar broadcast deck style design with transport buttons jog/shuttle knob deck control port and build in lcd you get unlimited duration recordings because hyperdeck studio includes dual ssd slots so when recording if your disk fills it will automatically continue recording to the other disk solid state disk ssd recording simply plug in a fast 2.5 solid state disk into hyperdeck studio and start recording ssd s are used in desktop and laptop computers so prices are constantly falling while sizes are getting bigger plug the ssd into your computer and the disk will mount right on your computer s desktop files are stored in standard quicktimetm or mxf 10 bit format so you can use the media in mactm and windowstm software use cameras switchers and monitors with sdi and hdmi inputs and outputs hyperdeck studio works with virtually every camera switcher or monitor plug into televisions or video projectors for instant on set preview or get exciting live action replay with atem production switchers even use it for digital signage just press play twice for loop playback imagine using pristine broadcast quality 10 bit recording on your next live event hyperdeck studio 995 learn more today at www.blackmagic-design.co /hyperdeckstudio www.blackmagic-design.com/hyperdeckstudio /

[close]

p. 14

director s chair david cronenberg a dangerous method h by iain blair the director says this will be his last movie shot on film ollywood since his first aptlytitled 1975 feature shivers writerdirector david cronenberg has produced a uniquely-personal body of work including the fly dead ringers scanners crash a history of violence and naked lunch exploring areas where few other directors venture cronenberg has examined with a clinician s eye themes of biological horror physical deformity emotional terror and sexual unease now the canadian director has once again turned his attention to the two latter areas with his new film a dangerous method with his usual surgical precision cronenberg gets fully under the skin of two titans of the subconscious freud played by viggo mortensen and jung michael fassbender and one disturbed patient kiera knightley in his examination of the complicated real-life triangle adapted by oscarwinner christopher hampton atonement from his own play the film is a visual and intellectual treat here in an exclusive post interview cronenberg talks about making the film his love of post and why he s such a big fan of digital and will be happy to see the demise of film post what sort of film did you set out to make with a dangerous method david cronenberg that s interesting since i don t have any idea when i start i have the script and here you have the historical characters but i never visually have a film in my head so i can run that alongside what we shoot to see how close i came christopher and i came to it very neutrally we didn t have an agenda or try to elevate freud at jung s expense or vice-versa it was more `resurrect them and bring them back to life as closely as art will allow and given that we re squeezing nine years into 90 minutes we did a lot of research and we had a lot of documentation their letters and diaries and we just let them speak for themselves and as it was such an intriguing era just prior to world war 1 with the invention of psychoanalysis we felt it would speak for itself post talk about all the locations vienna cologne and so on they must have been crucial cronenberg yes we went to jung s burgholzli clinic and i got very excited about that feel for nature it was very advanced for its time and then we shot most of the interior scenes on a stage at mmc studios in cologne then we also shot on location in vienna and the outside of freud s house it all helped with getting the tone of the era the beautiful clothes that were so controlled and restrictive with their high collars and multiple layers all that gradually insinuates itself into preproduction and your visual approach and lighting ideas and informs the whole film post talk about the look of the film and about working with director of photography peter suschitzky for over 20 years so this time we did it all over the internet we d send over the digital files he d download and then start cutting and it worked out very well he stayed in toronto and cut on an avid but we do have a shorthand and my director s cut took just a week because i m shooting more simply these days so i give him less footage to work with but also we understand each other and he knows immediately why i ve done this shot instead of that one or that angle instead of another so we don t need to talk about it a lot david cronenberg on set with actor viggo mortensen i ve done a lot of dis and i love digital i can t wait to get rid of film to be honest cronenberg the look all comes from the weather and time of year which gives it a certain light then you decide were the rooms lit by gas or electric light then it s how does that light react with the clothes kira s in particular once again i rarely start a film with visual look in mind i let the movie express itself and as we find the locations and costumes and cast and start building sets it gradually emerges peter s a profoundly cultured man very wellread and this was heaven for him he belongs in this era post your editor was ronald sanders who s cut 15 films for you tell us about the editing process was he on set cronenberg no and after working together for 35 years this was the first time he wasn t with me on location even when we did eastern promises in london he was there the film was cut by the director s longtime collaborator ronald sanders on an avid system i don t ever look at the movie while i m shooting i do look at dailies although to be frank i ve almost stopped that too as you re watching the monitor in the old days the footage you got wasn t what you saw on the monitors but today it s so closely calibrated you can actually judge lighting from the monitor even when you re shooting film not digital and we shot this on film so on the set i feel i ve already looked at the rushes while we re shooting and i don t look back unless i feel there s a problem or we need to adjust something or need missing coverage if ron thinks there s a problem he lets me know but it s very rare i like to be surprised by the movie and forget what i shot i learned the value of that a long time ago on my first film i was editing every night and i completely lost perspective i knew things were wrong but not how to fix them then i realized i 12 post · february 2012 www.postmagazine.com

[close]

p. 15

[close]