While the show was initially live-edited with the ATEM Television Studio 4K, we recorded clean feeds of all cameras through a stack of HyperDeck Studios.
Editready divergent media preferences pro#
With as many as 10 cameras operating at any time (including Blackmagic’s Ursa Mini Pro and the Micro Studio 4K) it was crucial that we preserved every frame of the interactive live show (think “rough cut”) for the editing needed to create our definitive version. Lütz’s array of other corporate clients includes Samsung, Disney, Audi, Bang & Olufsen, MTV, Universal, H&M, BMW and Nivea. Even if a script is highly visual and lacks traditional narrative, my process always comes back to finding some kind of narrative to connect to.” Case in point: Lütz’s H&M spot, which she adapted to tell the story of a horse who inspires through success, although visually impaired with a missing eye. My philosophy has always been: If there’s no story, you can’t grab someone’s attention. Lütz likes to break down a script from the ground up. In the commercial business, on the other hand, it’s okay to be a nerd! The clients are equally nerdy about the details, which is something I really appreciate.”
Editready divergent media preferences tv#
It’s all equally important to me in order to make a stunning film.” Of her transition to short-form content, she explains, “Previously when working with big TV productions, I always felt that the broadcasters were satisfied before me whereas I wanted to continue and ultimately would get stopped. “Everything from scriptwriting, casting, scenography, cinematography, styling and lighting. “I’m nerdy about all the details in a film production,” says Lütz. Holding dual degrees in film and media from the Stockholm Academy of Dramatic Arts (STDH) and the Royal Institute of Technology (KTH), Lütz uses her knowledge of editing, photography and storytelling on all jobs. Lütz initially started out in the industry as a documentary filmmaker and TV director before moving toward narrative and commercial films. Having primarily worked in the European markets until now, Lütz has worked on documentaries, feature films and ad campaigns. The London launch represents the latest step in PXO’s push to grow interactive preproduction services for large feature and episodic projects.ī-Reel has added Swedish filmmaker Stina Lütz to its talent roster for US and Swedish representation, marking the director’s first signing in the States. I very much look forward to working with Alex in the years to come.” A significant push during 2020 from the UK Department of International Trade to make the UK a virtual production Centre of Excellence, as well as investment from Mayfair Equity Partners, has allowed this part of our plan to be accelerated. Virtual production demands that we locate ourselves close to these facilities and talent. Pixomondo CEO Jonny Slow, who has relocated back to London to assist with the launch after almost a decade in Los Angeles and three years at PXO, says, “London is second only to Los Angeles for physical production services and home to a significant number of hugely talented crew, experienced in high-end TV and film production. Webster’s earlier roles include deputy head of production at MPC, head of content at The Mill, where he spearheaded original content creation as part of Mill+, and managing director of animation studio Passion Pictures, overseeing the company’s operations in London and New York. Prior to that he was managing director of The Third Floor London and executive producer at VFX boutique Electric Theatre Collective, where he established its sister production company, Friends Electric. I’m thrilled to be working in close collaboration with the whole PXO team to design and build a state-of-the-art integrated VP studio, which will combine teams in concept art, previz, virtual art and in-camera VFX with a brand-new LED volume in the UK.”Īt Framestore, Webster built FPS, the company’s pre-production division, to more than 120 employees, specializing in previsualization, virtual production, techviz and postviz for clients in film, episodic and experiential media. “PXO is making VP central to its workflow. “Over the last few years, I have witnessed firsthand the speed with which the integration of VP with visualization is reshaping the VFX industry,” says Webster.
It will be closely integrated with PXO’s existing German operations, located in Frankfurt and Stuttgart. Potential locations for the new UK facility are under review pending client consultations. PXO currently has three LED volumes either fully operational or under construction in Canada, located in Vancouver and Toronto and operated in conjunction with production equipment rental company William F.
0 kommentar(er)
