Tag Archives: video

Post-Op Learns to Color Inside the Lines

Post-Op Media is stoked to add a little color into our lives! Join us in welcoming award-winning colorist, Ted Snavely to the Post-Op family. Ted has been color correcting everything from spots to shows to music videos to films for over a decade. He began his colorist career at Roland House and most recently was on staff at Henninger. ”Why in the world would you want to be a colorist?” scoffed the audio guys. ”It’s the perfect blend of right brain and left brain, creative and technical,” retorted the new guy. Ted does get his ”audio on” though, playing drums in a band. So he’s got everything pretty much covered. We’re just happy he’s here to rock our Da Vinci and color our world.


Post-Op Media Wins Again at the 2009 DC Peer Awards

At the 2009 DC Peer Awards, sponsored by TIVA-DC, Post-Op Media took home the most awards from the Audio Post – Sound Design and Audio Post – Sound Mixing categories. Winning two of the four awards for Sound Design, Washington DC, Steve Urban and Andisheh Baroomand both earned Silver awards for their work on Bizarre Dino and Virus Hunters, respectively. Post-Op Media co-founder, Brian Cunneff took home both the Silver and the Bronze for Sound Mixing, Washington DC for his work on Man’s First Migration and Virus Hunters. Overall, Post-Op Media’s post audio work was acknowledged with four out of the seven awards given. These wins maintain the track record from the 2008 Peer Awards when Post-Op Media also won 4 awards for Sound Design, Washington DC and Sound Mixing, Washington DC. In 2009, Smoke compositor, Henry Holdren, also won the Peer Bronze for Graphics/Compositing & Keying, Washington DC, for his work on SIPC’s Real People. No matter the year, we’re awful proud of our fellas and all those fancy statues they bring home.


Post-Op helps PBS to Look Back on a Stellar Year of Programming

Working with PBS promo producer, Laurie Wiggins, Final Cut Pro editor Dave Brier cut a two minute image spot that highlighted the critical acclaim that PBS programming has received over the past year. Culling over 50 different sources (roughly 500 hours of programming), Laurie and Dave sought to create a hard-hitting ”Sizzle” spot that would capture the breadth, and excitement of what PBS has to offer. The spot also features a stunning new graphics package designed by PBS Art Director, Dave Wilder, and Eyeball in New York. Post-Op would like to congratulate PBS on another stellar year of programming!


Final Cut Pro…Pro – Nate Zyontz Joins Post-Op

Post-Op Media is bustin’ with excitement to announce the new addition to our video team: Nate Zyontz. Nate came to us from New Jersey, via New York City where he’s worked as a Final Cut Pro editor. He and his wife ventured to the DC area less than a year ago when Nate was recruited to put his editing skills and Adobe After Effects expertise to full use slamming out political spots. Nate is an editor, Apple-expert, and way creative dude with a degree in Fine Arts Graphic Design. He is already proving himself to be an excellent addition to our Post-Op family. We wanted to give you a little more colorful information about Nate but he advised us to “fuhgedaboutit.”


PBS Nominated For National Emmy

Post-Op Media would like to congratulate PBS on their Emmy nod for a theatrical trailer promoting the acclaimed Ken Burns documentary, ”The War”. Post-Op’s own, Dave Brier, did the offline editing, title design, and final compositing, and the spot has now received a nomination for ”Outstanding Promotional Announcement for News or Documentary Program” from the National Academy of Television Arts and Sciences.


Animation That Doesn’t Cost The GNP Of A Small Nation

You may not be producing the next summer’s Blockbuster Coming of Age Trilogy, but that doesn’t mean you should use lesser tools. At Post-Op Media we employ Adobe’s After Effects, Apple’s Shake, and Autodesk’s Smoke systems, simply because we want to provide the best for our clients.

These industry standard toolsets, hailed for their flexibility, reliability, speed and support, have been used to help deliver some of the most enthralling movies, trailers, spots and television programming. With Post-Op Media’s Video Post team you can be sure that your project will shine alongside them all.


The Definition Does Not Fear Change And Neither Should You

Times they are a-changing. Along with the ever-increasing real estate on your wall, High Definition Television has brought with it new terminology, new technology, and new potential headaches. But fear not. With Post-Op Media on your side, taking your project into High Definition, be it 720p, 1080i, or 1080p, is as simple as stating your needs.

We support multiple formats, so it doesn’t matter where your project is destined. The only thing you have to worry about is telling your story.


Without Smoke, It’s Just Mirrors And Some Guy Who Carries Plastic Flowers All Day

We’re not saying that Henry will make you pick a card, but when sitting behind Post-Op Media’s Smoke system he certainly has some tricks up his sleeve. When finishing a video project, from commercials to long form shows, Smoke’s robust visual effect capabilities and processing speed are what you as a client demand.

It doesn’t matter if you need to key your talent off a green screen or fly in type, the speed of the system is only surpassed by its creative flexibility. Which means getting it all done, on time. Whether you’re working in standard definition or high definition, Post-Op Media’s Smoke adds the polish to your video until it shines like a mirror.


Just Because It’s Digital Doesn’t Mean It’s High Def

You keep seeing the commercials: February 17, 2009 is the end of analog broadcast. But Standard Definition Television will still be around on Wednesday the 18th. So don’t worry. Despite upgrading all our video suites, Post-Op Media will continue to support our clients who shoot, produce, edit and deliver in SD.


Make a ‘High Res’ Resolution

Your fine cut is approved. Critical creative decisions have been resolved. It’s time to take this project into the home stretch. It’s time to Online. Your footage will be re-captured at the highest resolution possible and re-conformed into a broadcast quality version of your show. It’s time to bring in all of the final graphics, visual effects, titles and lower thirds (you may want to be around to catch spelling errors).

Your editor will take the time to ensure that your program will meet all the quality control technical specifications of the broadcaster. Because there’s nothing more disheartening than seeing a show return you thought you’d see next on air.


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