Post-Production

Cyrus Sales Funny you should ask this today, because at Aerith we just proved our quantum processing rendered in-house! For those who don't know, Aerith Corp (at aerithai.com ) is the first quantum visual effects house and we're creating Avé - the Aerith Visualization Engine. Our VFX lead is the Emmy award winning Michael Stark. We'll be using the Avé render engine on certain scenes in our upcoming film Slayer. Along the development way, we have to address a lot of technical and artistic issues that could be of interest to anyone in post.

Hey, Cyrus Sales. VFX. How it's used and how it affects writers when outlining/writing scripts.

Congratulations, Shadow Dragu-Mihai, Michael, and Aerith Corp!

Hello Cyrus Sales, great question. I would love to see before-and-after VFX challenges for scenes, or sound challenges similar to open assignments. That way, people could showcase their work, learn from each other's approaches, and build their portfolios through creative competition.

Watching a live VFX session

Autograph, iClone, and Omniverse are initially the ones that interest me the most.

Autograph for mograph that doesn't require the full power of Houdini.

iClone for basic character work, since I'm not a character animator nor a CFX artist.

Omniverse because it's an extremely powerful platform that makes moving data and assets between applications easier, such as moving sims and environments from Houdini to Unreal.

Ashley Renée Smith Thanks for sharing! I’m excited to watch this. There’s still so much I don’t know when it comes to the latest post-production tools and developments, so resources like this are really helpful. I’m always looking to learn more and stay open to new tools and workflows.

As a scriptwriter, I’m always interested in tools that can help bring a story to life visually. I would love to explore affordable post-production tools that help independent filmmakers turn a strong screenplay into something truly cinematic.

Thanks for sharing this with the community Ashley Renée Smith! I'm currently working with Adobe, Canva, and Figma, and I'm getting into Unreal Engine as well, so I'm definitely interested in exploring some of these free alternatives like Autograph and Cavalry for motion graphics work. When I learn new software, I watch videos and save the best ones in a playlist, then subscribe to channels with the best overall teaching for my specific goals and art style. I group up all the shorts I'll need to create, and after a few days or weeks, depending on the software's complexity, I start hands-on training and practice for hours at a time, treating it like my favorite game, bingeing the first uses to learn fast.

Saul Mahoney This is a really interesting approach. I’m still learning more about the theatrical distribution side of post-production, so I appreciate you sharing your experience and perspective.

I’m curious about a few things: when you talk about automated DCP mastering, what parts of the current process are you seeing as the biggest opportunities for automation? Is it mainly the technical packaging and QC process, or are there other areas where filmmakers tend to run into challenges?

For independent filmmakers completing their first feature, what are some of the most common mistakes or unexpected costs you see when preparing a film for theatrical release? Also, how much technical knowledge do filmmakers typically need to have versus relying on platforms like Cineport to handle those requirements?

It’s exciting to see solutions being developed that could make theatrical distribution more accessible for indie filmmakers.

Cyrus Sales One key area to be mindful of - DCP File size. If the DCP is 200GB, that 200GB has to be transferred to every location. This has an impact on cost, efficiency, reliability (and climate, we should not forget).

In early 2010's we set out this issue at Disney; in operations, we were dealing with huge files, each release suffered these challenges. We reached out to our studios (Marvel, Pixar, ILM, Disney Animation, Disney Live Action) and discussed how file sizes might be reduced - to lighten the load on the delivery operation - with both eDelivery and HDD options. File size is the last thing anyone thinks about when mastering, and the tools to reduce file size are there, but VBR -Variable Bit Rate compression is always worth considering. Applying VBR can return significantly smaller DCPs without any quality loss, than more common CBR (Constant Bit Rate) compression. This results in leaner and more reliable distribution from the get go. File size is an important decision often overlooked in the business, and there are tools to address this effectively, we just need to implement them. Cyrus Sales , As you are in Post Production, is this subject on your radar when considering theatrical releases?

Saul Mahoney Thanks for sharing your perspective, Saul. That's a really interesting point and, admittedly, not something I've had to consider yet.

Most of my work has been creating deliverables for social media and digital platforms, so I haven't had the opportunity to work through the DCP mastering or theatrical distribution process firsthand. My focus has primarily been on ensuring the audio and final deliverables meet the client's platform requirements.

It's interesting to learn how much file size optimization can impact theatrical distribution, especially at scale. There are clearly a lot of considerations beyond simply creating the final master.

I appreciate you sharing your experience. It's definitely an area I'd like to learn more about as I continue expanding into theatrical post-production.

At what stage is the VBR applied? When I make a JPEG 2000 sequence for use in a DCP, I’m not sure that’s an option.

Vital Butinar That's awesome to hear. It sounds like you genuinely enjoy the entire filmmaking process, even with the extra work. I'm curious though, what was it about pre-production that you didn't enjoy? Was it the planning and logistics, or was it more about having to wear so many hats?

And yeah, I've heard the same thing. Getting a film made is a huge accomplishment, but festivals and distribution can be a whole different challenge. Hopefully all the work you've put into this project opens some doors. I'd love to hear how that journey goes.

Cyrus Sales well it's not the entire pre-production process. I actually enjoy the part of making the shot lists and storyboard, breaking down the screenplay. Even if some parts of it are bit time consuming, but figuring the shots and how to shoot something is generally exciting. But the parts I enjoyed the least was having to coordinate everything and then arranging the locations along with everything. Scheduling was a nightmare for me, because I tend to overthink things and it takes a long time, but over the years I've learned that I always have to account for extra time and then things go smoothly.

So yeah probably being overloaded with too many tasks.

Yes festivals seem to be challenging, we've already been rejected by one festival just because they seem to prioritize "independent films" that are film fund funded and because we're a comedy and this year the theme was a slow burning drama. So naturally we didn't make the cut.

Vital Butinar I completely get that. Honestly, it sounds like the creative side of production is where you really shine, and the coordination side is where things start getting a little more challenging when there are too many moving parts.

Funny enough, I tend to thrive in those areas that you mentioned being more difficult. I actually enjoy the organization, planning, and figuring out how to make all the pieces come together. If you ever need an extra hand or someone to help take some of those things off your plate, feel free to reach out. I’ll always do my best to help depending on my workload.

I can definitely relate to the scheduling part though. Even with a solid plan, production always finds a way to throw something unexpected at you. Learning to build in extra time is huge because it gives you room to adjust instead of feeling like everything is falling behind.

And yeah, festivals can be tough. It’s frustrating when a project doesn’t get selected because it doesn’t align with what they’re looking for that year rather than the quality of the film itself. A comedy going up against a festival leaning heavily toward slow-burn dramas is definitely a tough position.

Either way, getting the project finished and putting it out there is still a big accomplishment. The festival process can be unpredictable, but every submission is another opportunity to learn, build connections, and get the work in front of more people.

Hey Cyrus Sales thank you for the words of encouragement and the offer. I might take you up on that some time.

Like I said most of it was fine, but some of it was a bit tedious. Like I said shortlists and schedules, especially schedules can be tedious sometimes. But I always look at things like if I can't do it nobody else will want to. But if I can do it so can someone else.

Yeah of course, we'll find something sooner or later as far as the festivals go.

Vital Butinar Of course, anytime! I completely understand. The behind-the-scenes tasks like schedules and shortlists can definitely get tedious, but they’re also the things that keep everything organized and moving forward.

I like that mindset though, if you can figure it out, someone else can too. I’m sure the right festival opportunity will come along sooner or later. Wishing you the best with it, and feel free to reach out anytime!

Shadow Dragu-Mihai This is a fascinating topic. I haven’t had a chance to read the article yet, but I’m looking forward to diving into it and learning more about how quantum computing could influence imaging, VFX, and post-production workflows.

The possibilities around faster rendering, more accurate light simulation, and new approaches to visual creation are really exciting. I’m interested to see how this technology develops and how it could eventually impact the tools filmmakers use every day.

That's an interesting point. To blend all this with Music often has to support exactly that invisible rhythm, sometimes by doing less rather than more.

Cyrus Sales Thanks. We've just accomplished ray tracing with quantum processes in-house! Now moving on to color representation.

Shadow Dragu-Mihai Congrats on the milestone!

Cyrus Sales We're moving very fast on this!

Mohamed Rizk I completely agree. Stepping outside of a familiar genre can force editors to approach storytelling from a different perspective rather than relying on established patterns. That outside perspective can create unexpected pacing choices, emotional beats, and transitions that make a project feel fresh.

I’m curious from an editing standpoint, do you think the biggest advantage comes from the editor’s lack of attachment to the usual genre conventions, or from bringing techniques and instincts from other genres into the project? I’d love to hear examples of films where you feel this approach really elevated the storytelling.

I completely agree. I think the same principle often applies to composers as well. When artists step outside their "comfort genre," they tend to rely less on established conventions and more on storytelling instincts. That fresh perspective can challenge expectations in ways that feel authentic rather than forced. Sometimes the most memorable creative choices come from someone who isn't trying to recreate what the genre has always done, but is simply serving the story first.

Cyrus Sales from an editing standpoint, the lack of influence by the norm of a genre creates different decisions in every cut's place and the chosen shot and angle to show an emotion or an action or a hidden tip for the audience.

The way a comedy editor feels and uses the wide shot is totally different that the drama editor and a whole other thing for the horror editor. Each one of them uses the wide shot for a different purpose and it has different powers in each genre.

The move from that genre to another brings new perspectives and experiences across these different worlds.

Francesco Marchetti totally agree, it is quiet magical and astonishing, like how children amazes you with how they do stuff or play with toys totally different than you and in a way that never came to your mind. Always mind blowing and always changes the way you feel or see things after.

Mohamed Rizk This is a really interesting perspective. If I’m being honest, I haven’t given much thought to how the different genres influence editing choices and how those decisions change depending on the story being told.

I’m not new to editing or post-production, but I have found myself taking it more seriously and intentionally planting a flag in this area as my career path. This conversation has made me realize how much more deliberate I need to be with every edit, especially when considering the expectations and storytelling language of different genres.

The idea that the same shot can have completely different purposes depending on the genre is fascinating. A wide shot in a comedy, drama, or horror film isn’t just a technical choice, it carries a different emotional weight and communicates something different to the audience.

I think moving between genres is where editors can continue to grow because each style challenges you to approach pacing, shot selection, and storytelling from a different perspective. It’s a great reminder that every cut, angle, and moment on screen has a purpose beyond simply moving the story forward.

Hey, Cyrus Sales! Tips for post-production and what strategies members use in post.

I second that Maurice Vaughan I also want to know, what is the postproduction pipeline. What is the order of the activities.

Great to hear from you Maurice Vaughan! Hope all is well on your end. Great feedback. Follow up question, is there a specific area in post you are wanting to see more tips? VFX? Editing? Sound design? Mixing and Mastering?

Kevin Jackson Thank you for the feedback as well! I can do that for you. For some reason the body of the original post did not show. Fixed it.

Nice.

Lorenzo Coppolella Congratulations on this achievement! Scoring a documentary that explores such personal and intense stories must have been an incredible experience. I’m always fascinated by how music helps shape the emotional connection between the audience and the subjects on screen.

I’ll have to check out Beauty VS Beast BKFC and look forward to hearing how you and Emanuele approached creating the score to complement the athletes’ journeys and the energy of the film.

I have items on Prime Video but I haven’t heard of the SKR format. Can you point to their documentation on the subject? Nothing came up when I googled.

Here are the specs I usually refer to. I’ve uploaded HD Mov and MP4 in the past.

https://videocentral.amazon.com/support/delivery-experience/videos/video-requirements

Any update on this? I'm interested to know if you could explain the issue or if you found a solution.

Thomas Constantinides .skr is not a video format, it's a special format for PGP encryption. Are your sure this is what they were asking for?

Ashley Renée Smith We're applying quantum physics and quantum compute to the challenges or fluid dynamics, simulation and path tracing. We are the first mover in the space at Aerith Corp and our team includes multiple Emmy award winners and people whose work crosses quantum phsyics and visual arts. The point to quantum is not to brute force it... quantum processes themselves rely on natural phenomena and because of that they can produce near 100% fidelity in very short time. This is a hardware dependent issue though and quantum hardware is currently not what is called fault-tolerant. If interested to learn how quantum compute and quantum physics can apply to visual effects, we have a growing set of information and educational pages on our site at aerithai.com