My Post House: ÜberMedia

Éric St-Martin's post house, ÜberMedia, is located in Mirabel, Québec and specializes in corporate filmmaking. ÜberMedia's staff of two handles the writing, copywriting, shooting, offline and online editing, color grading, audio editing and design, voiceover recording, mixing, graphic design, animation, and final production of all deliverables for a variety of different projects.

What specific projects do you currently have in the works?

We currently have a two-year contract with Concession A25, who is building a bridge to connect the roads between Montreal and Laval. Our coverage of the construction process will appear in 3- to 4-minute clips on their website. We are also in the process of producing our first two television commercials to air on Montreal's news (LCN) and weather (MeteoMedia) channels, shot entirely in HD. Lastly, we're working on three community-based projects, one of which features the Québec Breakfast Club, an organization that serves underprivileged children breakfast each morning. This video, which includes an interview with Canadian Olympic diving champion Alexandre Despatie, will premiere at the organization's annual fundraiser.

What else have you worked on recently?

We recently completed a two-year, over-700-hour project with the Monaco Group, a Montreal-based manufacturer and distributor of car parts. We produced and prepared 30 corporate and promotional videos (15 in French, 15 in English) for the Web.

What do you consider to be the next big thing in post?

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Standardization: Soon enough, I think HD digital formats will converge and standardize. Tracking all the current standards is becoming extremely difficult for postproduction professionals, and with less compression and storage becoming cheaper and faster, a core standard is likely to evolve.

DSLR Revolution: In the near future, I could see DSLR undergoing a complete transformation. The popularity of this technology caught manufacturers by surprise, and since this poses a threat to camcorders, and Sony and Canon both have extensive lines of video and digital cinema cameras, I suspect Nikon might emerge with a camera that annihilates the competition. A giant leap in video quality is sure to follow, and editing workshops will have to adjust to the trend.

Increased Affordability and Talent: We've seen this happen with countless emerging technologies, and it's not about to stop. 3D and Apple Color are two prime examples, and with Blackmagic Design's recent acquisition of DaVinci and the introduction of DaVinci Resolve for Mac, we watched a $100,000-plus solution become available for a production facility like ours for less than $1,000. As increased access to advanced products and solutions facilitates the creation of incredible content, we're bound to see an increase in emerging talent.

Stereoscopic Disappointment: I'm not a fan of stereoscopic cinema, and I don't think 3D TV will live up to all the hype. It's simply impractical for everyday use, and it will be difficult to get support from the folks that just spent their money on HDTV sets.

What technology do you currently work with?

Hardware:

• MacBook Pro
• Mac Pro dual-Xeon quad-core
• iPad
• Sony XDCAM EX cameras
• Ikan field monitor
• AJA Io HD
• Blackmagic Design Intensity and Intensity Pro capture and playback cards
• LED backlit production monitor
• Kessler Crane
• Compact fluorescent and LED lighting
• Steadicam
• Audio-Technica microphones
• Euphonix MC Color
• Multiple hard disks

Software:

• Final Cut Studio 3 (all components)
• Magic Bullet Looks
• Conduit nodal compositor and keyer
• Sorenson Squeeze 6
• MPEG Streamclip

What new technology are you working with?

I recently acquired a color-grading control surface made by Euphonix called MC Color. Color grading has always been a big part of my work, for which the mouse is definitely not an optimal tool. Not to mention, color-grading surfaces were completely unaffordable for a production facility like ours until Tangent came up with Wave and Euphonix, which offer MC Color for under $2,000.

LED lighting is another one of our latest acquisitions, and is more eco-friendly and durable than compact-fluorescent lighting.

What new products/technology are you looking forward to the most?

I'd love to get Blackmagic Design's DaVinci Resolve for color grading.

What was the first editing system you worked on?

I used CMX 3400, a Grass Valley switcher, and Abecas. I also acted as a colorist on Rank Cintel and DaVinci color corrector.

What gets you out of bed in the morning to go to work in postproduction?

Having assembled an affordable, dynamic production environment that enables us to focus on providing phenomenal quality, we no longer have to worry about charging our customers a premium for infrastructure. We create, deliver, and exceed expectations.

What is your best post memory?

I have a lot of great postproduction memories, but one of the best dates back to 1991, the first time I served as assistant editor. I worked with Denis Pilon, who is now the National Film Board of Canada's online editor, on the offline production of what became Montreal-based TVA network's opening of the 1992 Barcelona Olympics special broadcasts. What makes it so memorable is that we were given a lot of creative freedom to develop what was ultimately a piece of art. This challenging project was what sparked my love for filmmaking.

What are your favorite/least favorite things about working in post?

I hate when systems are unstable. Unlike those willing to accept crashes and lags as a normal part of software and computer use, I have no tolerance for poorly built and programmed solutions and systems.

I like when I cover the entire workflow of a project, dancing with the system throughout the process, and seeing the dream come alive before my eyes, concerned with only one thing: making the customer happy.

What were you doing 10 years ago and what do you expect to be doing 10 years from now?

10 years ago, I was the owner and operator of a 30-employee, $3-million-per-year computer software sales company, which is not as much of a stretch as you think. I had made my debut in post 22 years ago, working for large broadcast networks and the National Film Board of Canada. However, the home-based computer software business I had started in the mid-'90s to make enough for a down payment on a house had exploded.

I sold the company in 2005 and started ÜberMedia in late 2006, inspired by the proliferation of means to broadcast over the Internet, and the sharp increase in quality and decrease in cost of corporate filmmaking.

Ten years from now, my wildest dream is to make a good living as a documentary filmmaker. Realistically, I'll probably continue to do corporate and commercial work, with a small team and additional freelancers to accommodate growth—which I have no problem with. I love what I do!