Screen Magazine: Vol. 29, Issue 9

http://www.wifchicago.org

Screen Magazine - Index

Screen Magazine - Screen Magazine: Vol. 29, Issue 9 - Index

A REDvolution
Fast Cuts (Dallas) was recently tapped by Publicis Dallas
to cut a new campaign for Nestlé’s Juicy Juice. Publicis
creatives Manuel Moreno and Julia Melle looked to Fast
Cuts’ award-winning editor Gigi Cone Welch for her creative
storytelling flair. Janice Mock produced for the agency and
Rick Zessar was the Fast Cuts Producer.
Trio Films director Ramaa Mosley shot these slice of life
vignettes entirely using the RED One camera. “The RED files
require considerable expertise in the post-production process,
which Fast Cuts was exceptionally prepared to supply,” said
Richard Gillespie, Fast Cuts’ owner. “Because RED is a very
flexible format, there are many ways to alter the scenes
in a positive way, but
they can also result in
negative pitfalls if you
are inexperienced.
Gigi and Finishing
Artist Nick Mueth were
meticulous in keeping
the RED Juicy Juice project the best it could possibly be. I
truly believe that Fast Cuts is the best creative shop in Dallas
for HD, RED and all of the new file-based products that are
being launched.”
Gigi Cone Welch says of her experience on the Juicy Juice
project, “We find ourselves working more in digital, tapeless
formats and each one has a different workflow, so for the
RED format we did our research up front to make sure we
didn’t have any last minute surprises. We consider the final
product and collaborate on the best
way to give each person in the process
what they need to make the project
successful. The entire team at Fast Cuts
stepped in to give us a firm foundation
for great work.”
“The RED One Camera and .R3D file
format both afford the artist much
more latitude throughout the finishing
process,” said finishing artist Nick
Mueth. “We’re not locked into a look or
the framing of a shot. I can work more
freely to achieve the look our clients
want, which definitely worked on the
Juicy Juice project.” RED’s new digital
capture format decreases production
costs due to reduced camera rental fees
plus the elimination of film processing.
The resolution is roughly twice that of
HD so there is better control of picture
quality throughout the editorial process.
RED allows for flexibility in outputs to
analog cinema, digital cinema, HD
or SD formats. Agencies are moving
toward a greater dependence on
digital media formats.
The reasonable cost of digital files
with RED make it a logical economic
choice. As project budgets become
�� Visit www.screenmag.tv for more daily news than ever before!
more challenging it seems likely that additional RED projects
are sure to be in the pipeline for Fast Cuts. Fast Cuts is one of
the premiere post-production companies in the Southwest.
Founded in 1991 by nationally recognized editor Richard
Gillespie, the facility has steadily grown in size and creative
reputation.
The offices in the
Uptown area of
Dallas feature three
Avid Adrenaline
suites and two
Avid Symphony HD
suites for creative
editorial. Two Avid/DS suites and a Discreet Smoke/Flame
provide awesome finishing in both standard definition and
high definition (HD), including RED and other file-based HD
formats. Five graphics workstations provide the ability to
design high-end graphics and treatments for spots, DVD
graphics design, encoding, authoring and archiving. Two
ProTools/HD audio suites provide for record, sound design
and surround sound mixing. Linking the entire facility is an
Avid Unity server with nearly six terabytes of storage. The
energetic and innovative team assembled at Fast Cuts
dedicates itself to achieving creative goals in a fun, relaxed
and cooperative atmosphere.
Cutting edge technology is paired with a friendly, customerfocused
approach to every project, making it the most
powerful offline, online and mixing environment in the
Southwest.
//www.redone.com
��
��
��
��
��
��
��
��
��
��