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Making Being Evel: James Durée 
walks us through post

Compositing plays huge role in this documentary film

By Randi Altman

Those of us of a certain age will likely remember being glued to the TV as a child watching Evel Knievel jump his motorcycle over cars and canyons. It felt like the world held its collective breath, hoping that something horrible didn’t happen… or maybe wondering what it would be like if something did.

Well, Johnny Knoxville, of Jackass and Bad Grandpa fame, was one of those kids, as witnessed by, well, his career. Knoxville and Oscar-winning filmmaker Daniel Junge (Saving Face) combined to make Being Evel, a documentary on the daredevil’s life and career. Produced by Knoxville’s Dickhouse Productions (yup, that’s right) and HeLo, it premiered at Sundance this year.

Director Junge (who shares writing credit with his editor Davis Coombe) has a little daredevil in him too, choosing to walk a bit of a tightrope when it came to how he wanted to present the film — ultimately, he ended up putting 60 interviewees in front of a greenscreen while archival clips of Knievel’s stunts played in the background. The interviews were shot all over the country in a variety of locations.

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Capturing, creating sounds for Last Days in the Desert
These audio post pros got involved early on in the process and it paid off
By Jennifer Walden

Man, woman, Son of God… the desert doesn’t care who you are. It has a way of leveling the playing field to find out what you’re really made of. Spend 40 days wandering around out there alone and you’re bound to have a hallucination or two. And that’s where writer/director Rodrigo García picks up the story, fabricating a chapter of Jesus’ expedition into the desert. But Last Days in the Desert isn’t a biblical flick — it’s a character study of man vs. nature and man vs. man. 

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A conversation with cinematographer Michael Minock
By Randi Altman

DP Michael Minock is a 40-year veteran of the film industry who spends his time shooting films, television series, theme park presentations and the occasional commercial. He says that this diversity of projects helps keep him on his toes. Each type of job “presents different aesthetic challenges, which then necessitate a new technical approach.”

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Behind the Title: Magnetic Dreams' Joël Gibbs

Behind the Title: 
Zoic’s Peter Hunt

Animated PSA shows benefits of solar power

Resolve 11.2 offers improved CinemaDNG processing

Fairlight integrates 
Auro-3D into its 3DAW

Animator/director Colin Hesterly joins Not To Scale

• NetApp
• Devil & Demon

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