continued on page 29 Reel West JULY / AUGUST 2012
Photo c/o Post modern Sound
like it will fill in those gaps, we will program our own software or create our own solutions to achieve it.” In 2009 the company partnered with Albuquerque, New Mexicobased Cinnafilm Inc. to develop a “de-grain, de-noise and dustbust software.” A Cinnafilm spokesperson says the technology, now called Dark Energy, is currently used by post production houses worldwide. Trounce says that the software has been a boon for the company. “Dark Energy is the perfect example of creating solutions.: We recognized that productions have a need to mix formats in order to take advantage of the strengths of various different cameras, but there wasn’t a software solution available that could even out the footage and make it look as seamless as we wanted when cut together. We developed Dark Energy to respond to that need and it became the best-in-class software for texture management so we are now able to offer producers more flexibility in production by choosing to post at Central. Hopefully, by doing so, we have also helped the industry as a whole by improving the tools available so that everyone benefits in the end: clients, facilities and audiences. “The Vancouver visual effects industry is booming and studio productions are willing to go the extra mile to have us pulling plates in order to achieve the best possible images for their film. We also recently released our Dark Energy plug-in for After Effects which is a scaled down version. Our software development arm is thriving as it feeds into the spirit of the independent sector which we see as an important facet to the current climate in post-production. Indie producers are always under pressure to save costs wherever possible and we are trying to support that by offering them tools which allow them to do some processes in-house without compromising their ability to upscale to a facility environment if their project gains traction.” Northwest Digital has been working on both local television shows and American movies for over 20 years. The company’s earlier credits include features like Spawn and Disturbing Behaviour and several of the groundbreaking series that first showed American producers that post production work could stay in the city. Things have changed a lot, with digital becoming as important as film to post production. However,
Sound Management: Vancouver’s leading sound post houses are facing the challenges of keeping up with ever-changing technology The
television
picture. Here it has been different. So we
done. They don’t have time to set up and
industry was in its infancy in the early 1970s
BC
film
and
felt it would be a good idea to offer bun-
get great sound. However, we are working
but there was enough commercial produc-
dled services. It makes us more competi-
with the best equipment so that can help. I
tion that at least two sound post produc-
tive in Los Angeles. Usually in the local
think we have been able for the most part to
tion companies were able to start up. Little
markets they will negotiate and work with
make it sound better more efficiently. Keep-
Mountain Sound, which worked with radio
us or use our competitors. They know the
ing up with the equipment, isn’t that difficult
commercials and musicians was already an
market well. But in LA, it will help.”
but the market changes quickly. Thankfully,
established leader. One of the key produc-
Arbel says that the journey from the 1970s
ers for the company was Geoff Turner, who
through the second decade of the Millen-
Keeping up with clients demands is more
in 1974 decided to start his own company.
nium has gone through several phases. “It’s
difficult, she says. “There is greater demand
Almost 40 years later, the company, Pine-
a challenge if you have 30 or 40 people and
for last minute changes because everything
wood Sound has worked on hundreds of
you have them here for 30 years. You reach
happens in an instant. If they want to do that
film and television productions.
a point where in order to survive you are look-
they can and you have to do what you have to do to keep up, so it can be challenging.”
the prices are a lot less than they used to be.”
A year earlier, another post production
ing at any other way of marketing yourself.
house had been established to handle
People would come to me and ask for demo
Keeping up with the competition can be
local commercials. Post Modern Sound
reel but there is no sense in doing it for ev-
even more challenging if other jurisdictions
has also managed to survive the decades
eryone. We would read the project and the
have advantages. While the digital and an-
and become a draw for Americans and
script and then we would supply demos for
imation communities in BC have the Digital
Canadian producers, with a capability
their kind of film. If I send a brochure online
Animation Visual Effects (DAVE) tax credit
that allows it to compete with Los Angeles
how many people would read it? We target
to keep them competitive with foreign and
companies for local and international work.
the client now. We invite them here and cre-
domestic post houses, other post pro-
Of course, keeping up with the challeng-
ate a team that will work with them and pro-
duction houses, including the sound post
vide them with what they need.
community have to do without.
es in sound technology was never going to be easy. Both companies have done what-
“Everyone has their own vision. I am
Arbel, speaking on behalf of the local
ever it took to take on the challenges. In
not going to tell them how to create a
houses, says that is one of the biggest chal-
fact, post production is slimming down and
soundtrack but I will be there to help
lenges to his industry. “We all have a disad-
bundling up. At least in Vancouver, anyway,
achieve success. One of my clients said
vantage because post and sound are not
where there is stiff competition between
it’s like flying in a plane: the food was great,
part of the DAVE credit. The visual effects
sound production houses. In June, Post
the entertainment was great and the view
houses qualify but we don’t so it is a major
Modern Sound announced they would be
from the window was great but if the land-
problem. Sometimes we lose projects be-
offering “bundled” picture and sound post
ing was bad that is all you remember.
cause they will go elsewhere. You don’t have
production after an agreement with Deluxe
When they come here we try to ensure that
to shoot the visual effects here to qualify. A
Entertainment Services to work closely with
it is a sweet landing and at the end of the
few years ago there were more productions
their picture post house Encore Ltd.
day they will get their soundtrack.”
from Los Angeles choosing to finish here and
The company’s president, Manesh
Of course, not every flight is going
Arbel, says that post production in Van-
to be smooth. Pinewood’s Jean Turner
tax credits in Ontario to include all post, it is
couver is facing challenges with Vancou-
says that working with television produc-
booming there. They are fully booked so that
ver facilities closing shop or reducing their
ers can be difficult, particularly if they find
has been a huge change the last couple of
facilities. He says that if you want to com-
themselves learning on the job.
years. They still face the same challenges
pete for Los Angeles product you need to
now there are less. Since they changed their
“What we are finding is that a lot of people
with the dollar but the tax credit system is
in the industry don’t have experience so
alright. I think that while we are doing a good
(Working with Encore) is a good exam-
we don’t always receive the quality. In the
job of keeping up with the technology, in or-
ple of what has to be done to be competi-
earlier days it was a little better but now the
der to be competitive we need to be on a
tive,” he says. “In all the major jurisdic-
TV people are working with lower budgets
level playing field with others.”
tions, if you go to LA, you get sound and
and they have a lot less time to get things
keep up with the way they do business.
n
– Ian Caddell 17