CP:
You have a grasp of some very complex technologies powering the creative vision.  How did you get here?

Steve:

From the time I was a young kid I was into computer technology.  We were the first house in the neighborhood to have an Apple IIc computer.  I quickly got into basic computer code and started writing my own little computer programs and games.  In those early days that was fairly easy to do, but it was incredibly exciting to venture into something for which there were really no instructional manuals.  I was also really interested in explorers.  Geographical explorers like Columbus and Lewis & Clark, or technology explorers like Benjamin Franklin and Alexander Graham Bell always fascinated me.  I think that working and playing on the bleeding edge of technology is our version of being explorers.  There are many times when we begin something, and there simply is no road map.  Sometimes, it’s very exciting to me to not be able to ask for help, because that means no one has yet walked that path.  And at the basis of everything is telling a story, which I love.  The story will always be the most critical part of the filmmaking process.  But finding new ways to push technology for the purpose of allowing us to tell our stories better, faster or cheaper is a never ending pursuit that, for me, keeps the process of capturing, molding and delivering those stories always interesting.

CP:

You were able to outline an end-to-end workflow for TRON.  When you got the script, looked at the schedule, checked the budget, how did you begin to analyze the process and figure out the path?

Steve:

It started by identifying what technology was going to be the backbone of our process.  What camera were we going to shoot on?  Were we going to shoot in stereo, or dimensionalize in post?  Were we going to edit on the Avid or Final Cut?  What Stereoscopic tools were out there for us to use?  The answer to that last question, in mid-2008, was virtually "none."  Once we were able to answer those questions, I just started from point A.  OK, we have a camera, the Sony F-35, and we're going to shoot in stereo using the Pace/Cameron 3D rigs.  So, how do we best capture that image and how do we get people's eyes on that image?  It was really mostly about breaking down the process and asking very simple questions all geared toward the goal of making the workflow resemble a normal flat (2D) film workflow as much as possible.  That's a workflow that everyone in our industry understands and can relate to.  Manuals have been written and the path has been walked a million times.  So, if I were able to relate each part of my workflow to the familiar processes that everyone has been involved with, then I knew I'd find success with a workflow that would prove understandable and executable for everyone.

After identifying all of the technology and developing some basic ideas for how we wanted to capture, view and edit, then it was time to start asking a LOT of questions.  One of the great things about working on the edge of technology is that everyone is pretty much in the same boat as you are.  Everyone is asking questions and trying to figure things out at the same time.  So it becomes a very collaborative, mutually-supportive environment.  I had countless lengthy conversations with all of the parties critical to our success.  We had Pace/Cameron handling the stereoscopic rigs and data capture services.  We had Codex covering the actual data capture technology for our all-digital shoot.  We had Laser Pacific who would eventually be handling our online assembly and DCDM creation.  We had Digital Domain who would need to plug into this pipeline with the extensive visual effects component.  And we had the editors who would really need to understand and appreciate the DNA of the workflow to help execute it properly.  After endless roundtable discussions, a near infinite number of sidebars, and multiple camera tests, the workflow eventually got hammered out to something that proved a viable road map for everyone to follow.

CP:

In that frontier of workflow, information, and questions – was there one aspect that was the most challenging?

Steve:

I would say that the sheer volume of visual effects shots was daunting.  Once the all-digital workflow was locked down in Pre-Production, that part of the process went relatively smoothly.  We ended up with one of the most problem free online assemblies that I've ever been through.  Stereoscopic had its share of challenges, but those were always manageable challenges.  In a way, our preparation for an all-digital workflow probably went a long way to put us in the right frame of mind for the onslaught of digital delivery of all the VFX shots.  And I'm not really talking about the delivery of just the final shots, of which there were 1,576.  But that number doesn’t account for the endless stream of different versions of all of the shots.  Managing the daily trafficking of incoming shot versions and outgoing shot notes was a monumental task.  Our VFX house was using Shotgun for their internal shot management and we were using Filemaker Pro, so that presented another familiar challenge of making sure we were always on the same page as the vendor regarding versions and applicable notes.

The second hardest challenge was the tight timeline we had in getting all of those shots finished and delivered, which only added to the impact of the volume of shots.

CP:

How do you see creativity and technology interweaving?

Steve:

Technology allows us to properly convey a filmmaker's vision to an extent that was never possible before.  Movies like AVATAR, INCEPTION and TRON could not have been effectively told even 5 years ago.  You read a lot about the frustration of directors in earlier days not really being able to convey the full vision that was in their mind, like George Lucas during Star Wars.  TRON's creator, Steven Lisberger, had to deal with that frustration on the making of the first TRON in the early 80's.  The vision in his mind was way beyond what ended up in the movie, because technology hadn't evolved far enough to properly convey his vision.  So, technology has come a very long way in eliminating creative roadblocks.  It feels like we are at a place now that if you can imagine it, we can find a way to put it on the screen with a realism that was not previously achievable.

CP:

Are there any tools or technologies that you see as particularly important in this technology-creativity interweaving?

Steve:

A really critical development in the dynamic between technology and creativity rests in pre-visualization tools.  It’s as though we are working our way backwards in the pipeline.  The goal is to allow directors to begin seeing their vision for the final movie as early in the movie making process as possible.  Effective pre-visualization reaps many rewards.  It helps directors realize and shape their visions prior to production, and it also allows all the other members of the crew to gain a level of insight into the director's vision that simply didn’t exist in the past.  Another important development is that editors are starting to come onto projects much earlier, because more and more, the visual part of the story is being developed in conjunction with the script.  That is a new and really powerful dynamic.  Cutting sound effects and music into Pre-Vis is becoming very common, and I believe that having an editorial presence at those early stages pays off in the long run and becomes a wise investment.  Again, the most critical part of our process will always be to tell the story.  If we don't have a good story to tell, then we're all just wasting our time... and having fun with technology along the way.

CP
Let’s really step out in front of the way workflow and the production pipeline are now.  If you could design the post process of tomorrow, what would you hope for?

Steve:

You have heard the old phrase "I can do it for you faster, cheaper, or better.  Now pick 2."  Too often in post, the emphasis is on faster and cheaper, to the exclusion of better.  I believe that technology will ultimately allow us to hold on to the "better" as well.

I want to see all digital workflows continue to evolve.  They still haven't reached their maximum potential.  Many productions are claiming to be all-digital, yet are still recording to tape stock, which is not all digital.  I would strive to eliminate recording to hard drives or media cards.

The evolution in cameras has given us the ability to simultaneously record raw native master frames, and have an instantly transcoded file at the appropriate codec for direct ingestion into the Avid or Final Cut system.  That's an example of getting images faster and cheaper, and the sooner editors receive their dailies, the more time they have to be creative, which delivers the "better."

We should continue to improve the transcoding codecs that allow for higher quality offline images to be used in Post.  The higher quality image that picture and sound editors have to work from at the beginning allows for better, more informed work through the Post process.

I'm also hoping we can effectively harness all of the possibilities of working in "the cloud."  We shouldn't just treat that as a buzz word or fancy trend.  It's the future and the future is now.  This is when we'll really start to become fully "all digital."  I have a lot of interest in harnessing the cloud for feature film production – it is something that I am passionate about.

My ultimate Post workflow would be one that doesn't include any transcoding... one in which the master file generated from the camera is carried through every step of the process.  This will be made possible by improvements in minimizing storage file size of the captured images and by increasing speed of commonly used internet bandwidth.  But there should be a day soon when the following workflow is commonplace.

Here is how, right now, I think a future workflow could look:

• Cameras wirelessly "record" full-resolution 4K dailies directly to an online server.
• Editorial accesses and cuts with those full-resolution files.
• Sound and Music receive full-resolution cuts for their respective work.
• Sound Mixing and Score Recording are done to full cinema resolution picture.
• Editorial delivers a cinema resolution finished edit to the color timing facilities for direct 1-to-1 ingestion and color timing.
• The final Digital Cinema Package is uploaded to an online server, from which theaters around the world stream directly into their projectors and onto the screen.

Romeo Tirone: Shooting & Directing “Dexter”
Romeo Tirone has enjoyed a stellar career as a cinematographer, and is in the midst of some very exciting directing duties on “Dexter” and “True Blood.” We asked him a few questions in advance of the BEST OF TV WEB CAST coming up on January 29th.
 

Createasphere:  You have been shooting high-profile television and music video projects for over a decade.  What was it like to make a transition to director?

Romeo: I have always been interested in directing, and the transition from DP to Director has been almost seamless.

As a DP I have been lucky to work with so many great directors, and I apply everything I have learned from them when I direct. My experience as a DP helps me to streamline the logistics of shooting and blocking when I direct. I think it would be intimidating to walk on a set and direct without understanding the inner working of the set as a DP.

Createasphere:  You worked on a number of high-profile music videos for major artists (Red Hot Chili Peppers, TuPac, etc.)  How have those videos contributed to your skills and creativity?

Romeo: I started shooting music videos at a time when it was not formed into the industry that it is today. I had freedom to experiment and make mistakes without grave consequences.  That freedom gave me the courage to try new things without fear. I carry that attitude still.

Createasphere:  What was your first thought when you read the script and were offered “Dexter?”

Romeo: I've shot all of the episodes of “Dexter” except for seven, and I directed three of those. When I was offered the job, I wondered how is an audience going to relate to and be sympathetic to a serial killer? After seeing Michael C. Hall in the pilot I realized it all rested on him and he has done an outstanding job. He has achieved something wonderful, and has made “Dexter” a compelling character.

Createasphere: You have gotten to work with some very talented actors on “Dexter”  - - the regular cast is outstanding and there are world-class visiting actors like John Lithgow. Do you ever think "wow" .... that's John Lithgow I am directing!

Romeo: Every day I go to set I think WOW. I am truly a fan of the show and I am so very lucky and honored to work with such an excellent cast and crew. John Lithgow was a pleasure. He is a wonderful actor and an even better person.

Createasphere: What are you working on, and when do you head back to “Dexter?”

Romeo: I am currently shooting "True Blood" and I will be directing another episode shortly. I return to “Dexter” in June.

Createasphere: Do you have any advice to anyone who wants to follow in your footsteps?

Romeo:  Shoot, shoot and shoot some more. Be bold, have no Fear and "Make Your Days"....

Createasphere:  Thank you, Romeo.

City Councilman Paul Krekorian will host the first Los Angeles Student Media Festival on Sat February 12 at the Beaudry Theater at LA Center Studios in Downtown Los Angeles!

The Festival is designed not only to encourage the artistic aspirations of Los Angeles’s next generation of filmmakers, but also different ways of telling their stories than their predecessors. The films, which must all be less than 10 minutes in length, can be captured on any medium – film, tape, digital, even cell phone. The Festival is placing the greatest premium on creativity and storytelling, recognizing that the democratization of filmmaking tools has opened the door to the imaginations of every young Angelino with a visual story to tell.

“Though we live in the entertainment capitol of the world, our high school students have never before had the opportunity to show off their work in a setting befitting their great talent,” Councilmember Krekorian said.“ As we work to keep Hollywood in California, we should also cultivate the next crop of filmmakers whose innovation will lead the way into the next generation of entertainment and story-telling. That is just what the Los Angeles Student Media Festival will do and I am very excited to see what our students have to offer.”

The councilman is well known for his efforts while in the State Assembly, to pass the state's first successful incentive package for the entertainmentindustry. He has continued that effort while a member of the LA City Council and looks forward to strengthening the relationship and ensuring that our heritage industry stays right here in California, where it belongs.

Tickets are free and can be reserved by contacting Hrag Yedalian at Councilmember Krekorian’s office (213-473-5922) For further information, visit the website at: lasmf.lacity.org

“The accomplishments we acknowledge with these Awards are embodied within the amazing and talented artists we are so proud to be honoring tonight,” said HPA President Leon Silverman, who served as the evening’s host. “Their work exudes consummate skill, dedication to craft, and creativity that is undeniable. That work is too often underappreciated and not only do the people in this room deliver much of what is perceived as the magic of Hollywood, but post production itself literally stitches together the pictures and sound in a way that not only brings our stories to life, but is the vital link that delivers increasingly technically and creatively complex finished masters to the air in television, to the movie theater, online and increasingly around the world in multiple forms in timeframes that makes it difficult for anyone in this room to get much sleep.”

During his career, Lifetime Achievement Award winner Ted Gagliano has overseen post production on such films as Avatar, Titanic, Moulin Rouge, Master & Commander, Walk the Line, and both the X-Men and Ice Age franchises.

“If Ted believes in someone, he'll do whatever's necessary to get things done, even if he has to do it himself,” said Cyril Drabinsky, president and CEO of Deluxe Entertainment Services Group. “Michael Mann was editing The Last of the Mohicans over a weekend and he desperately needed an extra KEM. So, Ted found a post house in Hollywood that had one. Somehow, Ted managed to wrestle this heavy, awkward machine out of the building and was last seen personally rolling it down Sunset Boulevard.”

Avatar producer Jon Landau and Academy Award nominated composer Patrick Doyle also saluted Gagliano—who received a standing ovation.

This year’s HPA Awards for Outstanding Editing, sponsored by Avid Technology, was presented by Academy Award winning editor for The Hurt Locker, Chris Innis, A.C.E. As she introduced the feature category, 2009 HPA Award winner Innis recalled:  “Last year we were nominated in this category for Outstanding Editing for a feature film. It was the first of several nominations for us for best editing for The Hurt Locker. I remember I was so nervous, I could feel my heart pounding from inside my chest. I was actually hoping we wouldn't win, just because I didn't want to have to get up here and give a speech.” Lee Smith, A.C.E., won the feature competition this year for his work on Chris Nolan’s Inception.

In the television category, Mark J. Goldman, Christopher Nelson, A.C.E., Stephen Semel, A.C.E., and Henk van Eeghen, A.C.E. - representing Touchstone Television - earned the HPA Award for the final episode of “Lost,” titled, “The End.” Chris Franklin of Big Sky Editorial’s work, American Express’ "Geoffrey Canada" earned the commercial editing trophy.

In color grading, Company 3’s Stefan Sonnenfeld accepted the award for a feature film that went through a DI process, for his work grading Tim Burton’s Alice in Wonderland. Fellow Company 3 colorist Siggy Ferstl won the commercial competition with AT&T “Legends.” Colorist Steve Porter was honored in the television category for his work on “The Pacific – Episode Five,” which was completed out of Riot.

In the categories for outstanding sound, the team at Park Road Post Production in Wellington, NZ was honored for its work on District 9. Recipients were Michael Hedges, Gilbert Lake, Brent Burge and Chris Ward.

Brad North, Joe DeAngelis, Luis Galdames and Jackie Oster of Universal Sound topped the television sound category for “House – Help Me.” And Universal Studios’ David Brolin and Giaronomo’s Phil Daccord were recognized in the commercial category for “Devil Theatrical Trailer #1.”

The team of Erik Winquist, Robin Hollander, Erich Eder and Giuseppe Tagliavini at Weta Digital earned the award for outstanding compositing in a feature film for their work on Avatar.

UK-based Framestore’s team of Diramid Harrison Murray, Russell Dodgson, Tim Osborne and Adam Rowland topped the commercial compositing category for Kia Soul “This or That.”

ARRI, Digital Vision and Cine-tal earned Engineering Excellence Awards, which were sponsored by NAB. ARRI was recognized for its new Alexa camera; Digital Vision, for its Open EXR workflow, and Cine-tal, for its Davio Signal Processor. A special recognition went to Texas Instruments for its DLP Cinema Technology.

FotoKem, Gradient Effects, Light Iron Digital and Reliance MediaWorks received the HPA Judges Award for Creativity and Innovation in Post Production, which recognizes inventive thinking and execution of concept.

FotoKem was honored for nextLAB Mobile, a toolset for file-based workflows in remote locations; Reliance MediaWorks was recognized for its Custom Image Processing software applications; Gradient Effects was awarded for GLoW (Gradient Location-Optimized Workflow), a 2D or stereoscopic 3D previsualization and nonlinear production system; and Light Iron Digital was honored for its OUTPOST and LIGHTSTREAM tools that enable file-based workflows that begin on set.

A party followed the ceremony, where guests had time to celebrate, catch up and - led by the post production team at Fox - dance.