We are Hula Post

SUPERIOR SUPPORT

Our technical support staff is available 24 hours a day, 7 days a week, 365 days a year.

GREAT GEAR

We maintain the largest fleet of Avid and Apple Final Cut Pro editorial systems and shared storage solutions in the U.S.

GLOBAL REACH

We install and maintain systems locally, nationally and worldwide.

EXCEPTIONAL ENGINEERING

Our streamlined maintenance and pre-built systems avoid technical delays.

The Hula Difference

Studios, independent producers and other content creators worldwide rely on Hula Post as a trusted partner and a source of excellence and innovation.

Hula Post is a leading, independent provider of post-production technology for television and features. We offer proven, end-to-end solutions encompassing editorial systems and other gear, workflow design and installation, system upgrades, custom production technologies and technical support. We feature a large inventory of Avid and Apple Final Cut Pro editorial and finishing systems. We also offer a powerful array of local and networked storage systems. Any of our systems can be delivered and installed at your location site, anywhere in the country or the world.

"We deliver customized, integrated solutions encompassing every aspect of post."

Services

Rentals

Rentals

We offer a complete range of Avid and Apple Final Cut Pro editorial and finishing systems and feature an array of powerful local and networked storage solutions. Our staff is highly-trained with hands-on production experience and in-depth understanding of the latest digital workflows, camera systems and media formats.

Creative Space

Creative Space

We can create the perfect space for any production. We offer complete, turnkey solutions for post-production with state-of-the-art gear and on-site support. Our beautiful facilities come with lots of amenities and are conveniently located near major studios and other entertainment companies.

Support

Support

With more than two decades of experience in servicing post-production systems, we are committed to ensuring that your gear is operating at peak performance. We offer service plans for editorial systems, networking components and other IT infrastructure. We also support legacy technology including most popular video decks, cameras and related equipment.

Systems Integration

Systems Integration

We are much more than a source for great equipment and service. Our skilled professionals can assist in technology assessment and workflow design. We tailor solutions to your production requirements, budget and schedule.

From the Blog

Hula Post Supports “The Jungle Book”

Supplies editorial team through 24 months and four locations on Jon Favreau’s magical production.

HOLLYWOOD—April 25, 2016—In a project spanning nearly two years, Hula Post provided editorial systems, workflow engineering and technical support to Walt Disney Pictures for the production of The Jungle Book. Hula Post engineers set up and maintained editorial facilities at the studio’s production facility in Playa Vista; at Digital Domain, where motion capture elements were produced; and at Los Angeles Center Studios, where live action elements were captured. Additionally, it supported satellite editing facilities at Sony Pictures Studios and Skywalker Sound, where sound work was completed.

Jungle Book 3
Directed by Jon Favreau, based on Rudyard Kipling’s timeless stories, and inspired by Disney’s classic animated film, The Jungle Book seamlessly blends live-action with photorealistic CGI animals and environments. Produced natively in 3D, it employs up-to-the-minute technology and storytelling techniques to immerse audiences in an enchanting and lush world.

Hula Post supplied the editorial systems used by Favreau, 3-time Eddie nominated Editor Mark Livolsi, Academy Award-winning Visual Effects Supervisor Rob Legato and their crew. The editorial environment included as many as ten Avid Media Composers connected to central storage whose capacity reached more than 100TB.

Jungle Book 1“Technically, it was among the most challenging projects we’ve ever undertaken,” says Hula Post Senior Vice President Rick Lee. “The editing team was constantly pushing the envelope in terms of technology and inventing new workflows. Our team supported them 24/7/365 every step of the way.”

The production diverged from the traditional linear progression of pre-production, production and post-production. Activities such as storyboarding, live action production, editing, animation, visual effects and compositing proceeded simultaneously, and at times overlapped and blended. “It started with Jon Favreau and his vision for the movie,” notes First Assistant Editor William Kruzykowski. “He didn’t want people working in isolation. Rather, he encouraged a cohesive, open discussion and collaboration between all departments and facilities.”

In the production’s first phase, editing facilities were set up at Disney’s production facility in Playa Vista and at Digital Domain. At Digital Domain, motion capture elements were shot with actors standing in for Mowgli, the film’s sole live action character, and CGI animals. Editors combined the mo-cap with early-stage animation and those edited sequences were used as templates for the subsequent live action shoot with the young actor Neel Sethi who played Mowgli.

“The virtual camera edit served as the basis for everything we subsequently photographed with Neel,” explains Editor Adam Gerstel. “On set, the live action photography was set up based on that virtual edit.  However, nothing was set in stone—we allowed for coverage and flexibility to change how we shot a scene.  Being able to edit on set helped to determine where coverage might be needed.”

Live action production was spread between two stages at Los Angeles Center Studios. Hula set up editing systems on each stage so that newly-captured sequences could be immediately incorporated into existing animation. The on-set editing systems, along with a near-set editing environment, were linked to a central ISIS.

Jungle Book 2“Assistant Editor Rachel Schreibman got material as it was captured and fed it into the ISIS,” says Gerstel. “I would then open it on my system and incorporate it into the cut. I was constantly running back and forth between the two stages. I would close a sequence on one stage, run to the other stage, open the same sequence there and continue working. Once I cut something, Mark Livolsi could open it on his system and work with material a minute after it was shot.”

With the editing team frequently changing locations and often split into two or more units, a “traveling” ISIS was used to provide all parties with access to production media. Content on the traveling SAN was synchronized with the main storage systems at Playa Vista on a daily basis. Gerstel wrote a script that automated the process of identifying and renaming new material to avoid errors or confusion and ensure everything was up to date.

Once production was complete, the editorial team reverted to Playa Vista for another ten months of work. There ten Media Composers were linked to central storage and a 3D digital cinema theater used for screening. Hula’s Rick Lee estimates that more than four miles of Ethernet cable was required to connect all the systems.

Jungle Book 4With editorial, animation, visual effects and sound editorial happening at the same time, proper data management was a priority. “We had to keep careful track of everything that we were doing,” Kruzykowski observes. “And we had to maintain it all in a stable environment over a period of a year and a half. If Mark made a cut in the edit room, or Adam made a cut on the stage, we had to know that it was replicated as it moved from person to person.”

Hula Post helped out by keeping the editing systems fine-tuned and up-to-date. Midway through production, Hula engineers updated all of the Media Composers from version 7 to the newly-released version 8, so that the editors could take advantage of new tools for networking and media management. “It worked without a hitch,” notes Hula Post Senior Technician James Tejeda.

“Hula was with us when we were split between Digital Domain and Playa Vista, and when we were working as two teams at Los Angeles Center Studios,” Kruzykowski says. “When we were done there, they got us back up and running at Playa Vista for the final push. They were tremendous.”

Kruzykowski has worked on more than 30 films over the course of his career, but none quite compares to this. “Every picture brings new challenges, but here we were breaking new ground and there were no maps to guide us,” he notes, adding, however, that the film is more than a technical exercise. “It’s a fantastic movie,” he says. “It tells an exciting adventure story and some people will enjoy it as pure entertainment. But others will look into it and see a deeper meaning. Its message is wonderful.”

Hula Post’s Michael Phillips to Discuss Metadata Alignment, Demo Real Time View at NAB

HOLLYWOOD—April 15, 2016—Hula Post Creative Technology Officer Michael Phillips will discuss the growing importance of metadata in content distribution in a special session of the Avid Customer Association’s The Future in Motion Conference in Las Vegas. Metadata aggregation and alignment allow content owners, advertisers and consumers to engage with content during a broadcast or OTT stream. Phillips will describe how it works and include a live demo. The pre-NAB event is scheduled for Sunday, April 17th at 1:20pm at the Wynn Las Vegas.

During NAB, Phillips will host a demonstration of Hula Post’s groundbreaking workflow solution Real Time View. The demo will be held at the RED Digital Cinema Booth (SL1517) on Wednesday, April 20th at 3:00pm. Real Time View is the fastest and easiest way to review dailies and editorial media. The web-based platform allows producers, directors, editors and other creative decision-makers to view media on virtually any device—computer, tablet or phone.

An Oscar and Sci-Tech Award winner, Phillips joined Hula Post earlier this year. His background includes more than two decades at Avid as part of the Market Solutions team for Post and as Principal Product Designer. He was a co-inventor of Avid Film Composer and Symphony lines, now industry standard editing systems. He was honored with a Sci-Tech Award in 1993 and an Oscar in 1999 as part of the Avid team. He won an Innovator of the Year honor from the Mass Media Alliance, and holds a dozen patents related to post production, sound and interactivity. Phillips’ background also includes work as an editor and post production supervisor. He was a partner in the independent production company Miledia Films, and has worked with the Sundance Institute.

Former Avid Exec Michael Phillips Joins Hula Post

As Creative Technology Officer, Phillips will lead R&D into workflow technologies and educational outreach.

HOLLYWOOD—April 5, 2016—Hula Post, a leading provider of editing systems and support for film and television, has appointed Michael Phillips to the newly-created post of Creative Technology Officer. A veteran technologist and creative professional, and a former executive with Avid Technology, Phillips will lead strategy, research and development. He will focus on developing new workflow solutions and other emerging technologies. He will also increase Hula’s educational outreach to studios, producers and other industry professionals.

Michael-Headshot_JPG-DR-FOR-WEBPhillips’ appointment is part of Hula’s effort to broaden its service offering to support the technology needs of film and television projects throughout the production cycle. “Production models are quickly evolving and we want to help producers by providing them with the tools they need to work smarter, faster and more efficiently,” said Hula President Denine James Nio. “Michael has demonstrated an incredible knack for recognizing promising new technologies and a talent for transforming them into marketable tools that improve the way people work. We are very excited to have him on our team.”

Phillips brings more than 30 years of experience in research and development, and in hands-on creative roles. Most recently, he led a production and post production consultancy, advising productions of workflow design and development.

Phillips spent more than two decades at Avid as part of the Market Solutions team for Post and as Principal Product Designer. He was a co-inventor of Avid Film Composer and Symphony lines, now industry standard editing systems. He was honored with a Sci-Tech Award in 1993 and an Oscar in 1999 as part of the Avid team. He won an Innovator of the Year honor from the Mass Media Alliance, and holds a dozen patents related to post production, sound and interactivity.

Phillips’ background also includes work as an editor and post production supervisor. He was a partner in the independent production company Miledia Films, and has worked with the Sundance Institute.

In assessing his new role with Hula, Phillips said that he looked forward to helping directors, producers, editors and others streamline their workflows and make better use of technology. “The production world is changing,” he observed. “Post is now happening on sets. It’s exciting but producers need better solutions for managing and coordinating the process.”

Phillips will conduct a series of seminars on emerging workflow technologies beginning this summer. The events will cover such topics editing formats, workflows for new camera systems, emerging storage solutions and integrating color correction and editing. They will also feature demos of proprietary technologies being developed by Hula, including its remote review and approval system, Real Time View.

Real Time View

Real Time View is the fastest, easiest way to view dailies and media in real time during the editorial process. The web-based platform allows producers, directors, editors and other creative decision-makers to view media on virtually any device—computer, tablet or phone. Be a part of the editing room at any time, from anywhere.

Real Time View is fully secure and encrypted. You control access through a browser; only people you invite are able to see your files. For the end-user, the experience is simple and streamlined. The system works with any camera and edit system, with either SDI or HDMI connections, and includes embedded audio.

Real Time View is a boon to the creative process. Directors, producers and cinematographers can stay abreast of creative editorial, color and related post work. Colorists can keep better track of looks established on the set. Post production is more efficient. Color is always “on point.” Temp screenings look better.

We’re very excited about Real Time View’s ability to streamline postproduction and color decisions in a Media Composer post workflow. Color decisions can now be made throughout editorial, starting with dailies and updating the look of a shot or a scene on the fly, or applying LUTs and ASC CDLs as scenes come together. Real Time View is a powerful tool for use in refining your look in context as the story takes shape.

Real Time View’s accuracy in maintaining color fidelity has been proven in real-world production and can be employed at any stage of the production from dailies through final color.

Leading Hula’s Real Time View development team is Michael Phillips. Michael is the co-inventor of Avid’s Film Composer and the product designer of the Symphony lines. He was honored with a Sci-Tech Award in 1993 and an Oscar™ in 1999 as part of the Avid team. Michael’s varied career also includes work as a camera operator, production sound, film editor and technology consultant. Michael continues to conduct cutting-edge research in new technology and workflow solutions for digital production.

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Hula Post Keeps “Madam Secretary” in Sync

Hula Post is among the largest renters of editorial systems and related gear in Southern California. Along with more than a dozen returning scripted and non-scripted television series, Hula is servicing three series premiering this fall: CSI: Cyber, Madam Secretary and The Messengers, all for CBS.

Madam Secretary is one of several shows taking advantage of StorageDNA Sync, a media synchronization engine available through Hula. Where other file transfer services require the sending party to upload files to a server and then for those files to be manually “pulled” back down by the recipient; DNA Sync is point-to-point. For example, a production in New York can transfer files at accelerated speeds, directly to hard drives or shared storage at the post production facility in Los Angeles. That, in fact, is precisely the workflow employed by Madam Secretary.

madam-secretary-tea-leoni-ftrMadam Secretary’s production team in Los Angeles wanted to avoid having to wake early in the morning to initiate a download of dailies processed overnight in New York. DNA Sync eliminates that extra step. When the assistant editor in L.A. arrives for work in the morning, dailies from the day before are ready and available for use. It’s one less step that saves some time and allows the team to focus on the creative work, not the tech. Plus, they get to enjoy the benefits of a good night’s sleep.

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