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Designers Richard Swan and Liz Ellis have developed a brand new look for Postmodern, which incorporates the octopus (many arms, three hearts, and very good eyesight). We’re excited by this new look and think it appropriately represents both our visual effects and design foundations.

Postmodern continues to surge forward not just in our ‘look’ but in quality and capability, particularly based on the precedents set by the extensive feature film work completed earlier this year. Postmodern have streamlined commercial production to incorporate larger scale data handling, detailed job tracking and faster turnarounds. The results are a higher level of production finish; and the ability to offer feature-like pipeline—integrating editing, 3D, compositing and digital grading—all in house.

Meanwhile in the Design department Creative Director, Richard Swan, and designer Liz Ellis have been working hard on various projects. From creating station openers for Channel 7’s TWO, as well as creating titles for director Luke Eve and John Jameson Production’s short film ‘Cockroach’, to designing the images that were molded in post-production onto the black boxes present in Macquarie Bank’s impressive new TVC.

•TAC unwrapped

more here

•Get a feel for other latest work including McDonalds, Imodium, Macquarie Bank

more here

•iphone apps review & how to make them work for your job

more here

•Design links from Richard Swan

more here

•Andrew Robinson’s great food and wine review

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• Download Screen Safe Checker for any

of your Quicktimes

here

TAC “The Ride '' more here

McDonald's 'McHappy Day' more here

Macquarie Bank 'Welcome' more here

Imodium ‘Dunny Boy’ more here

1. These days, post-production starts in pre-production

2. Collaborate on the VFX concepts and realisation; it's never too early to comment.

3. If the foundations are solid, planned and discussed, the VFX will work.

4. Use previz as a tool not only for the client, but also for the crew.

5. Don't think VFX are "special", they are just another tool to make a shot.

more VFX Tips here

Postmodern Managing Director, Andrew Robinson, has been checking out some of Sydney’s fine dining spots. After much consideration and photographic evidence, it seems Robbo can’t go by Neil Perry’s Rockpool Bar & Grill. He highly recommends the onion rings, macaroni cheese and won’t say no to the steak tartare and chips, not to mention a bottle of the Rockpool’s finest red “I love it!” says Andrew. Wine pick La Landonne 2003 Cote-Rotie (pictured).

For more information

www.postmodernsydney.com

contact@postmodernsydney.com

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Matte painting by postmodern

“Here is a link to a nice example of animations combining design, maths and art that I think could inspire” says Richard. “It isn't very often that you see creative work which takes a combination of simple techniques and rethinks them for a new application. So many considerations were required to generate these visual illusions with such accuracy. Lighting, scanning, 3D

modelling and concept generation all work together to great effect. To conceive this work appropriately a clear vision and understanding of the end result was needed. Thinking laterally across a variety of mediums has made this all possible. I hope you like them...”

Andrew Clarkson and Christine Trodd (both ex Bean) are working well with a great collection of directors including Steve Rogers, Glue Society, Paul Middleditch, Matt Murphy, Matt Palmer, Lance Kelleher, David Gaddie, Tim Gibbs, Jono Nyquist, Kimble Rendall , Les Sharpe, Tori Garrett, Dennis Hitchcock, Scott Patterson. It’s been great to see a mix of Postmodern’s regulars and some new faces through the building.

Andrew Clarkson says, “I enjoy working at Postmodern, the NUCODA system handles commercial colour grading with ease; it is fast and efficient with loads of tools. It is a true DATA environment with all formats and resolutions supported”.

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