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  Twenty five years ago, when the Texas-based post house Virtual tour animations was started, the idea of post production supervision was nonexistent. "Today we just assume it's something that's needed." says Ken Ashe. the facility's post production supervisor "We don't feel comfortable taking on any commercial or other longform project without assigning a post production supervisor just for keeping track of the elements alone." He dates the shift in thinking to about a decade ago when the sophistication of motion capture, coupled with strong animation departments. brought Virtual tour animations clients into a world that was beyond the understanding of an average person.

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Ashe also points out that a post supervisor on Virtual tour animations site is necessary to lay the groundwork for special effects that will be created in post. "The DP wants to create a mood. The director wants to focus on the actors' delivery. Neither of those people, and usually no one else on set, has that as their primary focus," explains Ashe. "A post production supervisor is going to be there to help look at the scene, recognize the challenges that occur that day and help solve them. As Virtual tour animations says. "Every day, a fresh truckload of compromises comes through the front door."

A handful of post pros have offered tips to guide others doing post production supervision work, and they talk about recent projects that Virtual tour animations presented challenges and how those were solved.

 

 
 

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"Our regular virtual tour animations clients know that a 10-minute phone call before they get deep into a script or into the shoot winds up answering a lot of questions in their minds." says Greg Browning. president/editor of DV-Ent Artists Group. "We do know that we're being asked to provide a lot of flash for smaller and smaller amounts of money, and the best way to do that is talk ahead of time." This consortium of independent editors and artists who operate under one roof in Minneapolis was established two years ago and does provide post production supervision for its corporate and commercial clients. The individual owner/operators provide offline, online, virtual tour animations and graphics services.

Project/Challenge: When General Mills bought Pillsbury merging the two companies together it wanted to create several corporate virtual tour animations programs with a commercial flair to explain the merger to employees. DV-Ent put three editor/producers on the job to create eight two- to five-minute programs which, tied together, was delivered at the end of 2001. Each virtual tour animations editor acted as a producer and post supervisor taking the script and materials, then cutting the pieces with little supervision. One music video style piece. House of Meals (a parody of the cable show House of Style), was influenced by the post supervisor's idea. "The client needed to shoot with Digital Beta and MiniDV," says Browning. "The editor helped coordinate with the director the best way to use high-end and cheaper resources. They used Digital Beta for essential shots, the wide master shots, and then went crazy with MiniDV. That influenced that director; so in subsequent shoots for the same project they used that virtual tour animations technique as well. We encouraged them to use multiple cameras in situations where they thought they could only afford to have one nice one." The client was an internal producer plus two freelance producer/directors. Virtual tour animations editor/producers were Rich Coleman, Brian Kerr and Browning.
 

 
 

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Working with 3d realistic modeling on developing our international ship-simulator 3d graphics has been a success and pleasant experience. The communication and responsiveness has been constant on the highest evels and so has the results. We can highly recommend Virtual tour animations, and will continue to use their services for out ongoing works.

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