The Post Bangkok

1613, 1615, 1617 Soi.Ladprao 94 (Panjamitr) Ladprao Road,

Wangthonglang, Bangkok, 10310 Thailand

Tel: +662 530 3979 - 82

Fax: +662 935 6378 - 9

CONTACTS

bank@the-post-bkk.com

marketing@the-post-bkk.com

producer@the-post-bkk.com

RECENT HARDWARE ACQUISITIONS/UPGRADES

- Autodesk Lustre with Incinerator Version 2009

- Final Cut Pro 6.0.6 offline edit suite

- Autodesk Inferno 2010 online editing suite

- Autodesk Flame 2010 online editing suites

- BrightDrive - 30 TB centralized online storage enable digital media to be shared across all post-production and DI workflow

- CGI expanded Render farm

TOP THREE PROJECTS IN THE LAST 12 MONTHS

Nymph

Pen-ek Ratanaruang's film, Nymph, made it's premier appearance in the Un Certain Regard section at Cannes in May 2009. The film-makers decided on a digital camera for this movie - the increasingly ubiquitous RED One. Leading up to this film The Post Bangkok had posted many TV commercial and other TV works using this camera and were gaining important knowledge and confidence. For this, the first major RED project destined for film internegative, The Post Bangkok collaborated with the DOP and camera department for extensive shooting, grading and print testing well-prior to primary filming. The workflow for RED pre-processing for cinema output was refined during this project. All future RED digital intermediate projects at The Post Bangkok will inevitably owe some small debt of gratitude to this movie, as the trailblazer into a world of film which, increasingly, eschews the use of film!

Coke Zero

Director Of Post-Production, Richard Downing, had been asked to supervise a couple of 30-second spots for Coke Zero that involved a few tricky special effects. A recent experience with the relative ease of compositing calibrated, un-graded film scans for a cinema project prompted him to offer to take the commercials through an entire cinema-style DI process. This was agreed to and so it happened that the selected takes were scanned direct to 10-bit log 2K DPX files (plus one shot at 4K) and processed to finality using our DI pipeline of Spirit 4K Datacine, Lustre grading and Flame finishing systems. Of particular interest was that, after initially offering looks in a normal telecine style (so-called linear mode), the colourist, Nicholas Barton, switched to the regular DI configuration for a feature film (log mode) and this was immediately accepted, resulting in a more-than-normally cinematic style of grading. The masters were completed in HD and down-converted in Flame for PAL and NTSC versions.

Pepsi

This spot arrived with a distinctively European aesthetic, due to the influence of the French director. Because of this, The Post Bangkok was able to let its hair down a bit and let loose on a fun spot with a modern and young look. This was particularly a vehicle for the creative whims of the colourist, Ben Conkey. Credit is also due to Chin Hai Siong for applying the tasteful finishing touches in Flame.