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December 2014

Marc Loftus

Marc Loftus is the Senior Editor and Director of Web Content for Post Magazine. He has been with the monthly publication since 1992, reporting on new technologies and creative techniques relating to film, television and commercial post production. In that time, he has witnessed the transition from linear to nonlinear, analog to digital, stereo to surround, SD to HD, tape-based to file-based, and 2D to 3D. Marc is a graduate of The New York Institute of Technology.



mloftus@postmagazine.com
Authored Articles
Thunderbolt-enabled Storage
Published: July 12, 2011

By working together, Intel and Apple were able to bring to market Thunderbolt, a new, high-speed I/O technology that offers bi-directional, dual-channel, 10Gb per second performance using a single cable. It is a dual-protocol technology, working with PCI Express and DisplayPort devices.
Pitching, and competition
Published: June 13, 2011

This month, Post had a chance to speak with a number of studios that are helping networks and television shows establish unique identities through visuals. Broadcast design is an art, as many will attest, with the goal of creating or identifying a brand through stylized imagery, much of the time relying on CG.
Broadcast Design
Published: June 13, 2011

Those first few seconds of a television show can say a lot. They build excitement, introduce concepts, recap storylines and most importantly, establish an identity. The same goes for networks, which try to set themselves apart as unique entertainment destinations.
Stereo 3D
Published: May 18, 2011

While the broadcast industry is still debating how to bring the stereo 3D experience to home viewers — although ESPN and n3D both offer 3D channels — the film studios, and even the videogame industry, appear to have a jump on things. Just about every week, a new 3D film seems to be opening at the box office, so for those looking for an immersive experience, they need to look only as far as their local cinema.
Post Script: Workflow Troubleshooting
Published: May 16, 2011

Earlier this month, The Motion Picture Editors Guild teamed up with Sixteen19 (www.sixteen19.com) in New York City to host a “file-based acquisition & post” seminar designed to help production and post pros recognize and avoid potential problems that can arise on-set and later in the post chain.
Bandito Brothers goes on-set
Published: April 5, 2011

I had a chance to speak with a half dozen post pros that are working on-set this month. But they’re not supervising VFX shots or troubleshooting greenscreen shoots. These professionals are overseeing the acquisition of footage in a tapeless workflow.
Sixteen19 looks at on-set post
Published: April 5, 2011

NEW YORK — Sixteen19 (www.sixteen19.com) recently celebrated its first anniversary of providing DI, color correction, editing, finishing and on-/near-set services. The company has space at 1619 Broadway, including two DI theaters and 17 Avid editing rooms, as well as divisions in New Orleans, Los Angeles and London. They can also provide mobile rigs for work on location or in production offices.
Post Script: Reality TV
Published: March 4, 2011

When I do find time to sit in front of the TV set, I find myself gravitating toward unscripted programming. Not the Kardashians or the Real Housewives, but the shows you’d find on History, Discovery and A&E. Sons of Guns is pretty cool, but I think it’s probably a guy thing. Hoarders and Confessions: Animal Hoarding are just downright disturbing.
Reality TV
Published: March 4, 2011

Admit it. You watch them — those unscripted television programs, where unpredictability and drama equal big ratings. The networks know it too and are constantly refining concepts and challenges to keep audiences interested.
Commercial Workflows
Published: February 3, 2011

Whether you are a DP, DIT, editor, colorist or effects pro working on a commercial project, the way footage is shot, stored and moved affects you — and the next person down the line. Newer digital film cameras, such as the Red, Epic, Alexa, Phantom and F23, and even lesser quality HD cameras like the 5D and 7D, are all being used to create spots these days, and all require special handling as media is moved throughout the production and post chain.
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