American Cinematographer - March 1993 - 91

★ Seattle

LE&
RTLAND ARE
PPENHEIMER

by Brooke Comer

Spring is traditionally one of the busiest
times for the postproduction business and
'93 is no exception. Gloria Pineyro's
Gloria's Place, New York's premiere bi¬

were incorporated. * New Jersey-based
VIDeo COMmunications has an editor
from the ad world. Principal Ralph
Teitelbaum announced that Russ

lingual facility, posted

DeFilippis, formerly of J. Walter Thomp¬
son New York, is operating VID COM's

a

PSA package for

the National Crime Prevention Council tar¬

geted at the Hispanic community. The spot
collaborative effort shared by
Morningside Movies (director/camera¬
man Luis Argueta, producer Ramon
Suarez, executive producer Magali Capi),
and ad agency Vidal, Reynardus & Moya
New York (producer Beatriz Ferrer, cre¬
ative director/copywriter Jorge Moya, art
director Albert Rodriguez). The four :60
spots, entitled "Unete," feature re-enacted
street crimes. The hot post house also pro¬
vided a sophisticated offline post environ¬
ment for editor Yvette Pineyrdto incorpo¬
rate virtually all creative decisions, includ¬
ing layering and complex effects, drastically
minimizing time in the online suite for Billy
was a

online and offline suites

as

well

as

Portland

★

Oppenheimer Camera now brings you
responsive service
and quality equipment at nationally
competitive rates. Like our Seattle
shop, the Portland office features the
two locations with

work¬

ing in the facility's new computer animation
room. DeFilippis brings not only agency
expertise but a TV background, having
worked on projects including 21 Jump
Street and Bosom Buddies. * Photomag,
the hot New York audio postproduction fa¬
cility, has been the mix capital for trailers
including Malcolm X, Unlawful Entry, and
Dracula. Mixer Peter Holcomb is busy in
Studio C's up-to-date environment, which
includes the Dolby Stereo surround sound
and SR Noise Reduction that fast-paced
theatrical releases require. "With trailers,"
says Holcomb, "it's always more, more,

finest

in

ARRIFLEX

accessories, Sony
editing systems,
mounts and

Give

us a

and

cameras

BetaCams, KEM
Tyler helicopter

Motorola walkie talkies.

call

...or

two.

□PPENHEIMER
ItZ

A

M

SEATTLE

PORTLAND

206/467-8666

503/233-0249

□

MOVING?

music video "Pressure." The

more." Master mixer Holcomb has spot
trailers to his credit too, including Camel

video, shot in London, features black &

Cigarettes International Campaign for

white

Bender Editorial and Coke's Winter & Sum¬

PLEASE NOTIFY US

Olympic Trailers for First Edition/New
York and Pelco Editorial, respectively. *
Post Perfect "beamed up" the promo se¬
ries "It's Coming For You" for the USA

6 WEEKS IN ADVANCE

Ocean's

new

images of Ocean while a series of
stock shots, plus live action and animation
rip across the screen in a forceful montage.
Pineyro worked in a Calaway suite, creat¬
ing effects with a Grass Valley 100
switcher. In addition to the Calaway, clients
can

also avail themselves to other nonlin¬

options at Gloria's Place: an AVID sys¬
ad creatives, as evi¬
denced in Bravo Group's AT&T spot. The
EMC? finds favor on long format projects
while video directors love the Calaway
which allows them to incorporate effects
ear

tem is a hit among

into their offline version. Director Tim (Ed¬
ward Scissorhands) Burton found

mer

channel's SCI FI Channel. Staff Paintbox/

Harry designer Don Butler and online edi¬
tor Bob Roesler gave 2-D animation a 3D look in a series of promos created to an¬
nounce the line-up of science fiction and
horror programming, which includes the
shows Lost In Space and Dr. Who. A tight
deadline dictated the 2-D approach, but
Butler created a 3-D illusion by scanning
plaster textures under changing light

plete library of Vincent Price films. Stock

sources with a motion control camera. He
then used Harry and K-scope to shape them
into simulated 3-D objects. The spot is thus
an animated "bed" which showcases a
series of clips from various programs while
the words "It's Coming For You" shine to¬
ward the viewer. As the letters break apart
and disentegrate, three massive overlap¬

shots, vintage photos and home movies

ping boulders part to reveal the fire-storm

Pineyro's Calaway suite ideal for his docu¬
mentary on horror king Vincent Price. The
project was created completely in
postproduction with editor Angelo Carero,
who notes that editing in video gave him,
producer Diane Minter and assistant edi¬
tor David Leonard total access to a com¬

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