Screen Magazine - Index

Screen Magazine - Screen Magazine: Vol. 29, Issue 14 - Index

a good DP, can produce a stunningly
complex and filmic image.
Annerino: The thing that has been
most exciting is the potential in the
Red camera. It seems like every other
part of our business has drastically
changed in the last 10 years except for
how material is acquired. With what I
am seeing with the Red camera the
process of getting material for post is
going to see some major changes. It
is a a great opportunity for those post
facilities that can adapt to this new
workflow.
Petty: I here Premiere is making a
comeback. Seriously?
Nelson: Frankly, Final Cut Pro is the
most exciting piece of equipment
I’ve been working with. It’s light-years
ahead when it comes to dealing with
file-based editing and also the many
emerging new camera and file formats.
It’s ability to work with a wide range of
media makes it the perfect tool for
people like me who want maximum
control and flexibility.
On the forefront, the most exciting
thing is a full-fledged conversion to
HD workflow. I’m tired of standard def.
Once the networks finally eliminate
the ridiculous need for multi-format
delivery and the redundant need to
finish wide screen and center crop,
we’ll be in a whole new world. It’s long
overdue.
Ferruzzo: I am really looking forward
to working with Scratch by Assimilate,
a software specifically built for
conforming and grading Red footage.
Rankin: I’m really excited about the
continuing upgrades in HD finishing
and digital delivery. In the early
stages of the HD changeover, the
technologies were so much slower and
more cumbersome, both for post and
for production, that many clients were
hesitant to make the move. I think
the last year or so has produced a
giant leap forward in the ease of the
HD workflow, from shooting through
editing through finishing.
I’m currently editing a feature that
was shot at 720p, and being able
to work with the raw P2 files without
having to go through a film-to-tape
or a capture process in the Avid is
amazing. In addition, we don’t have
to wait until the finishing process to see
exactly what the film will look like since
we’re working at 720p throughout the
entire edit.
How has your summer been going? Has
work been slow or steady?
Ferruzzo: Work has been very steady
this summer. I definitely can’t complain,
although I am trying to fit in a much
needed vacation.
Effron: Summers rule.
Petty: Things are going well. I’ve had the
opportunity to work with three great
directors - Mark Romanek, Michael
Hausman and Josh Taft.
Rankin: My summer has been very
busy. I’ve been working nonstop on a
variety of projects, which is what I love
about this industry. The variety allows
me to find new challenges in each
project, and also to bounce ideas
off of the incredibly talented people
we have working in our mix and our
design companies.
Nelson: I’ve been busier than a onelegged
man in a butt-kicking contest –
mostly because I’ve been diversifying
the nature of the work I’ve been doing
over the last two years. Commercials
keep things interesting, and I’ve always
made sure I’ve got a film going on in
the background. It’s been grueling but
it’s the most creatively rewarding time
I’ve ever had in my career.
What kind of projects have you been
working on?
Rankin: I’ve been doing a lot of work
for USA Network this summer, first
launching the new season of “Law
& Order: Criminal Intent” and now
working on the launch of the new
original series “The Starter Wife.” I had
the opportunity to work on a spot for
the Olympic Games and I’ve begun
editing a feature called “Kingdom of
Gravy,” directed by Adam Reid.
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Petty: I’ve worked on a Hilton package
cut entirely from stills that will be airing
during the Olympics, three Jeep
packages with [San Francisco-based
agency] Cutwater and a Nike web
piece with [agency] AKQA (various
locations).
Ferruzzo: Old Navy, Dos Equis,
ExxonMobil [and] a music video for
PaperRadio.
How does summer differ from the rest of
the year in terms of amount and type of
work that comes through the door?
Effron: Historically, summer is slow for
production. Still managing to stay busy
considering the struggling economy,
tanking housing market, high gas
prices, potential SAG strike and a war.
There seems to be a lot more weightloss
spots in production during summer.
And on the air
they seem to
run the hell out
of Viagra, Cialis,
Flomax and
Avodart spots.
(I should switch
to the Oxygen
network – at least
I can deal with
Jessica Simpson
on Pro-Activ.)
Ferruzzo: I think it definitely feels busier
this summer.
Petty: Honesly, I’ve noticed no
difference. It’s nice to keep the
momentum going.
Rankin: The great thing about
working for both broadcast and
commercial clients is that I benefit
from their normal rhythms. While the
summer can be a slower period for
commercial production, many of
our cable clients are launching all
of their original programming. I love
the different creative challenges of a
broadcast campaign as compared
with a commercial campaign.
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