About

artist • technician

With the creative expectations and technical demands of getting your show through online and ready for air, it is ever important to have a finishing editor with both an artists’ eye and technicians’ experience. Mike Wolf Post

Mike works collaboratively with clients to bring their creative vision to the screen, or he can work independently to create an original look that clients love. And with his 20 years experience in the post industry, Mike can quickly identify and solve any technical problems that arise when finishing a show.

As an Emmy and Telly award winning editor and colorist, he has lent his creative vision to television, music videos, commercials and films. His clients include Anheuser-Busch, Disney, Lexus, Citibank, Ralston Purina, Red Bull, the WNBA, Linkin Park, The St. Louis Cardinals and The United States Marines. His unique visual style has been featured on NBC, CBS, Showtime, Comedy Central, MTV, Discovery, NatGeo, A&E, VH1 and the screens at Carnegie Hall.

Today, Mike is one of the industry’s ‘go to’ guys for color grading and online editing. With Mike in the chair, you can be completely confident that your show will look great and be error free. His creativity, speed and attention to detail will keep your clients coming back again and again.

A gorgeous show that passes QC the first time.
What else could you want?!


artist • technician

With the creative expectations and technical demands of getting your show through online and ready for air, it is ever important to have a finishing editor with both an artists’ eye and technicians’ experience.

Mike works collaboratively with clients to bring their creative vision to the screen, or he can work independently to create an original look that clients love. And with his 20 years experience in the post industry, Mike can quickly identify and solve any technical problems that arise when finishing a show.

As an Emmy and Telly award winning editor and colorist, he has lent his creative vision to television, music videos, commercials and films. His clients include Anheuser-Busch, Disney, Lexus, Citibank, Ralston Purina, Red Bull, the WNBA, Linkin Park, The St. Louis Cardinals and The United States Marines. His unique visual style has been featured on NBC, CBS, Showtime, Comedy Central, MTV, Discovery, NatGeo, A&E, VH1 and the screens at Carnegie Hall.

Today, Mike is one of the industry’s ‘go to’ guys for color grading and online editing. With Mike in the chair, you can be completely confident that your show will look great and be error free. His creativity, speed and attention to detail will keep your clients coming back again and again.

A gorgeous show that passes QC the first time.
What else could you want?!

Specialties

• 12 Years Online Editing / Color Grading
• 24 Years Editing
• First Class Client Relations
• DaVinci Resolve
• Avid Symphony
• Adobe Photoshop & After Effects
• Tape & Data Workflows
• Error-Free Mastering and Delivery
• Expert help navigating file formats, frame rates, color spaces, conversions, transcodes, codecs, VTRs, tape workflows, data workflows, editorial, conforming, online, color correction, color grading, mattes, masks, LUTs, OMFs, AAFs, EDLs, XMLs, and more.

Credits

SHOW PROD CO NETWORK
‘The Legend of Mick Dodge’ (20 ep) Screaming Flea Nat Geo Online • Colorist
“Are You The One’ (9 ep) Lighthearted Productions MTV Online • Colorist
‘The Legend of Mick Dodge’ (9 ep) Screaming Flea Nat Geo Online • Colorist
‘Airplane Repo’ (10 ep) Undertow Films Discovery Online • Colorist
‘Shark Wranglers’ (10 ep) Undertow Films Nat Geo Online • Colorist
‘Ultimate Factories: Jack Daniels’ KAOS Entertainment Discovery Online • Colorist
‘Mad Genius’ (6 ep) Planet Grande FUSE Online • Colorist
‘The Bakery Bunch’ KAOS Entertainment TLC Online • Colorist
‘TV’s Greatest Surprises’ Paley Center for Media CBS Online • Colorist
‘Chainsaw Ice Sculptors: Alaska’ Traveling Circus TLC Online • Colorist
‘Future Food’ (8 ep) Planet Green Discovery Online • Colorist
‘America Haunts’ Shankly Travel Channel Online • Colorist
‘Ace In The House’ Planet Grande GSN Online • Colorist
‘Dynamite USA’ Planet Grande Showtime Online • Colorist
‘CMT Big Break’ Planet Grande CMT Online • Colorist
‘Glamour Women of the Year Awards’ Planet Grande Carnegie Hall Online • Colorist
‘World Series of Blackjack’ (13 ep) Planet Grande GSN Supervising Editor • Online • Colorist
‘A Day in the Life of Television’ Museum of TV & Radio CBS Online • Colorist
‘InStyle Celebrity Weddings 2006’ Planet Grande NBC Online • Colorist
‘Small Town Secrets’ (7 ep) Planet Grande CMT Supervising Editor • Graphics • Online • Colorist
‘Inside Out: Juliette Lewis’ Planet Grande VH1 Online • Colorist
‘Unforgettable Moments in Television’ Museum of TV & Radio NBC Editor • Online • Colorist
‘InStyle Celebrity Weddings 2005’ Planet Grande NBC Online • Colorist
‘The One Day At A Time Reunion’ Museum of TV & Radio NBC Online • Colorist
‘InStyle Celebrity Weddings 2005’ Planet Grande NBC Online • Colorist
‘The Surreal Life’ 51 Minds VH1 Online • Colorist
‘100 Greatest Stand-Ups of All Time’ Central Productions Comedy Central Online • Colorist
‘Homecoming: Jimmy Carter in Plains’ Planet Grande CMT Online • Colorist
‘Next Action Star’ (13 ep) GRB Entertainment NBC Film Unit Editor • Online • Colorist
‘Most Shocking’ (3 ep) Planet Grande CMT Supervising Editor • Online • Colorist
‘Funniest Families of Television Comedy’ Museum of TV & Radio NBC Online • Colorist
‘The Andy Griffith Show Reunion’ Planet Grande CBS Online • Colorist
‘Maxim’s Hot 100’ Planet Grande NBC Online • Colorist
‘The Victoria’s Secret Swim Special’ Planet Grande CBS Online • Colorist
‘Great Women of Television Comedy’ Museum of TV & Radio NBC Online • Colorist
‘Shirley Mania’ Van Ness Films A&E Online • Colorist
‘Animal Planet: Neglected Angels’ Discovery Discovery Online • Colorist
TITLE PROD CO DISTRIBUTOR
‘Carrie’ MGM 20th Century Fox Colorist for Studio Screenings
‘Stolen’ Millenium Films Nu Image Films Colorist for Studio Screenings
‘The Helpers’ (Feature) Chris Stokes Entertainment TBD Colorist
‘The Last Rites of Ransom Pride’ (Feature) Horsethief Films Screen Media Editor • Post Supervisor
‘Nobelity’ (Feature Documentary) Nobelity Productions Lightning Ent. Colorist
‘Defiance’ (Feature) Missouri Trails Productions Lions Gate Films Editor • Post Supervisor
‘That Guy’ (Short) Moonlit Images Productions Editor • VFX • Colorist
TITLE PROD CO AGENCY
‘Halle by Halle Berry’ Halle Berry Laird + Partners Online • Colorist
‘Expect Great’ (4 spot campaign) WNBA NBA Editor
‘UFO’ Foster Farms Grupo Gallegos Online
‘Crawl Control’ Lexus Team One Online
‘Yakut Probiotic’ (7 spot campaign) Yakult Ys and Partners Editor
‘Instant Holes’ Dalco Adamson Director • VFX Super • Editor • Online • Colorist
‘Achievement’ Big Brothers & Big Sisters Schupp Director • Editor • Online • Colorist
‘Summer Sizzle’ (3 spot campaign) Charter Communications Hughes Editor • Online • Colorist
‘Hero’ / ‘War’ NCADA Skylight Editor • Online • Colorist
‘Shake ‘N Meal’ Dairy Queen Dalcom Editor • Online • VFX
‘Connected’ (3 spot campaign) Charter Communications Hughes Editor • Online • Colorist
‘Unleash’ (3 spot campaign) Charter Communications Hughes Editor • Online • Colorist
‘Champions’ International Skating Union IKON Editor • VFX • Online • Colorist
‘Gondola’ (4 spot campaign) Keystone Resorts Schupp Editor • Online • Colorist
‘Bud Light Freeze Frame: Indy’ Anheuser-Busch Schupp Editor • Online • Colorist
‘Bud Light Freeze Frame: Phoenix’ Anheuser-Busch Schupp Editor • Online • Colorist
‘Purina Nutrient Management’ Ralston Purina Checkmark Editor • Online • Colorist
Glory’ [EMMY AWARD] Anheuser-Busch Schupp Editor • Online • Colorist
‘Hockey 101’ Anheuser-Busch Schupp Online • Colorist
‘Bud Light Spotlight: Cocoa Beach’ Anheuser-Busch Schupp Editor • Online • Colorist
TITLE BAND LABEL
‘Leave Out All The Rest’ Linkin Park Warner Brothers Online
‘Young’ Hollywood Undead Octane Records Online • Colorist
‘Resurrection’ Ray Wylie Hubbard Sustain Records Editor • VFX • Online • Colorist
‘Snake Farm’ Ray Wylie Hubbard Sustain Records Editor • VFX • Online • Colorist
TITLE CLIENT AGENCY
‘Red Bull Moments-Todd and Phil’ Red Bull Red Bull Media House Online • Colorist
‘America’s Marines’ (7 episodes) United States Marines JWT Editor • Online • Colorist


SHOW PROD CO NETWORK
‘The Legend of Mick Dodge’ (20 ep) Screaming Flea Nat Geo Online • Colorist
“Are You The One’ (9 ep) Lighthearted Productions MTV Online • Colorist
‘The Legend of Mick Dodge’ (9 ep) Screaming Flea Nat Geo Online • Colorist
‘Airplane Repo’ (10 ep) Undertow Films Discovery Online • Colorist
‘Shark Wranglers’ (10 ep) Undertow Films Nat Geo Online • Colorist
‘Ultimate Factories: Jack Daniels’ KAOS Entertainment Discovery Online • Colorist
‘Mad Genius’ (6 ep) Planet Grande FUSE Online • Colorist
‘The Bakery Bunch’ KAOS Entertainment TLC Online • Colorist
‘TV’s Greatest Surprises’ Paley Center for Media CBS Online • Colorist
‘Chainsaw Ice Sculptors: Alaska’ Traveling Circus TLC Online • Colorist
‘Future Food’ (8 ep) Planet Green Discovery Online • Colorist
‘America Haunts’ Shankly Travel Channel Online • Colorist
‘Ace In The House’ Planet Grande GSN Online • Colorist
‘Dynamite USA’ Planet Grande Showtime Online • Colorist
‘CMT Big Break’ Planet Grande CMT Online • Colorist
‘Glamour Women of the Year Awards’ Planet Grande Carnegie Hall Online • Colorist
‘World Series of Blackjack’ (13 ep) Planet Grande GSN Supervising Editor • Online • Colorist
‘A Day in the Life of Television’ Museum of TV & Radio CBS Online • Colorist
‘InStyle Celebrity Weddings 2006’ Planet Grande NBC Online • Colorist
‘Small Town Secrets’ (7 ep) Planet Grande CMT Supervising Editor • Graphics • Online • Colorist
‘Inside Out: Juliette Lewis’ Planet Grande VH1 Online • Colorist
‘Unforgettable Moments in Television’ Museum of TV & Radio NBC Editor • Online • Colorist
‘InStyle Celebrity Weddings 2005’ Planet Grande NBC Online • Colorist
‘The One Day At A Time Reunion’ Museum of TV & Radio NBC Online • Colorist
‘InStyle Celebrity Weddings 2005’ Planet Grande NBC Online • Colorist
‘The Surreal Life’ 51 Minds VH1 Online • Colorist
‘100 Greatest Stand-Ups of All Time’ Central Productions Comedy Central Online • Colorist
‘Homecoming: Jimmy Carter in Plains’ Planet Grande CMT Online • Colorist
‘Next Action Star’ (13 ep) GRB Entertainment NBC Film Unit Editor • Online • Colorist
‘Most Shocking’ (3 ep) Planet Grande CMT Supervising Editor • Online • Colorist
‘Funniest Families of Television Comedy’ Museum of TV & Radio NBC Online • Colorist
‘The Andy Griffith Show Reunion’ Planet Grande CBS Online • Colorist
‘Maxim’s Hot 100’ Planet Grande NBC Online • Colorist
‘The Victoria’s Secret Swim Special’ Planet Grande CBS Online • Colorist
‘Great Women of Television Comedy’ Museum of TV & Radio NBC Online • Colorist
‘Shirley Mania’ Van Ness Films A&E Online • Colorist
‘Animal Planet: Neglected Angels’ Discovery Discovery Online • Colorist
TITLE PROD CO DISTRIBUTOR
‘Carrie’ MGM 20th Century Fox Colorist for Studio Screenings
‘Stolen’ Millenium Films Nu Image Films Colorist for Studio Screenings
‘The Helpers’ (Feature) Chris Stokes Entertainment TBD Colorist
‘The Last Rites of Ransom Pride’ (Feature) Horsethief Films Screen Media Editor • Post Supervisor
‘Nobelity’ (Feature Documentary) Nobelity Productions Lightning Ent. Colorist
‘Defiance’ (Feature) Missouri Trails Productions Lions Gate Films Editor • Post Supervisor
‘That Guy’ (Short) Moonlit Images Productions Editor • VFX • Colorist
TITLE PROD CO AGENCY
‘Halle by Halle Berry’ Halle Berry Laird + Partners Online • Colorist
‘Expect Great’ (4 spot campaign) WNBA NBA Editor
‘UFO’ Foster Farms Grupo Gallegos Online
‘Crawl Control’ Lexus Team One Online
‘Yakut Probiotic’ (7 spot campaign) Yakult Ys and Partners Editor
‘Instant Holes’ Dalco Adamson Director • VFX Super • Editor • Online • Colorist
‘Achievement’ Big Brothers & Big Sisters Schupp Director • Editor • Online • Colorist
‘Summer Sizzle’ (3 spot campaign) Charter Communications Hughes Editor • Online • Colorist
‘Hero’ / ‘War’ NCADA Skylight Editor • Online • Colorist
‘Shake ‘N Meal’ Dairy Queen Dalcom Editor • Online • VFX
‘Connected’ (3 spot campaign) Charter Communications Hughes Editor • Online • Colorist
‘Unleash’ (3 spot campaign) Charter Communications Hughes Editor • Online • Colorist
‘Champions’ International Skating Union IKON Editor • VFX • Online • Colorist
‘Gondola’ (4 spot campaign) Keystone Resorts Schupp Editor • Online • Colorist
‘Bud Light Freeze Frame: Indy’ Anheuser-Busch Schupp Editor • Online • Colorist
‘Bud Light Freeze Frame: Phoenix’ Anheuser-Busch Schupp Editor • Online • Colorist
‘Purina Nutrient Management’ Ralston Purina Checkmark Editor • Online • Colorist
Glory’ [EMMY AWARD] Anheuser-Busch Schupp Editor • Online • Colorist
‘Hockey 101’ Anheuser-Busch Schupp Online • Colorist
‘Bud Light Spotlight: Cocoa Beach’ Anheuser-Busch Schupp Editor • Online • Colorist
TITLE BAND LABEL
‘Leave Out All The Rest’ Linkin Park Warner Brothers Online
‘Young’ Hollywood Undead Octane Records Online • Colorist
‘Resurrection’ Ray Wylie Hubbard Sustain Records Editor • VFX • Online • Colorist
‘Snake Farm’ Ray Wylie Hubbard Sustain Records Editor • VFX • Online • Colorist
TITLE CLIENT AGENCY
‘Red Bull Moments-Todd and Phil’ Red Bull Red Bull Media House Online • Colorist
‘America’s Marines’ (7 episodes) United States Marines JWT Editor • Online • Colorist

REFERRALS

Before / After

Breakdown

Workflow

PLANNING

  • Meet with the Director, DP and/or Producers to establish a look for the show. If possible, please provide images or known references.
  • Meet with Post Producer to design workflow specific to clients production and post-production needs.
  • Create templates for consistent offline delivery of subtitles (fonts/layout), show graphics, timeline track layout, etc.
ONLINE PREP

  1. Confirm that the ‘[Episode Name] Offline Locked Cut’ timeline from editorial is formatted to network clock spec.
  2. Duplicate the sequence and rename it to ‘[Episode Name] Offline Locked Cut-TO ONLINE’
  3. Organize the clips in the ‘Offline Locked Cut-TO ONLINE’ timeline so that common elements are on discreet tracks.
    • Ex. V1-Main Footage, V2-Stock Footage, V3-Interviews, V4-Graphics, V5-Titles, etc.
  4. Export a Quicktime with TC burn-in named ‘[Episode Name] Offline Reference’.
  5. Export a stereo mix-down to AIFF or WAV file named ‘[Episode Name] Offline Stereo Mix’.
  6. Duplicate the ‘[Episode Name] Offline Locked Cut-TO ONLINE’ sequence and rename it to ‘[Episode Name] Online Locked Cut’.
  7. PREP ‘[Episode Name] Online Locked Cut’ sequence for Online:
    • Very important – Uncollapse all collapsed layers (Submaster Effects) in the timeline.
    • Remove all match-frame edits.
    • Commit all multi-cam clips.
    • Update all timewarp effects.
  8. UPRES ‘[Episode Name] Online Locked Cut’:
    • Very important – On the drive to be used for new media, locate the MXF Folder currently named ‘1’. Rename it to the next available single or double digit number. Note the name you choose.
    • Very important – Create a brand new empty MXF folder named ‘1’.
    • [For File Based Workflow] – Relink to the camera masters and create high-res media with 1 second handles.
    • [For Tape Based Workflow] – Decompose with 1 second handles and batch digitize the master clips from tape at high-res.
    • Very important – After all clips have been upressed, rename the new MXF folder  ‘1’ (created in step 8.2) according to the season/episode number of the sequence- ‘101’, ‘102’, ‘103’, etc.
      [** Now each episode’s upressed media will have it’s own MXF folder.]
    • Very important – Rename the MXF folder that was renamed in step 8.1 back to ‘1’.
  9. Collect all high-res animation files for show series graphics, episode specific graphics and stills.
  10. Collect all finished audio mix and stems files.
  11. Collect all Network Delivery Spec documentation.
  12. TRANSFER all elements to Online Suite local storage including:
    • ‘Online Locked Cut’ sequence (by itself in a bin)
    • High-res media (Very important – just copy the newly created MXF folder- do not consolidate)
    • ‘Offline Reference’ Quicktime file
    • ‘Offline Stereo Mix’ AIFF file
    • All collected graphics, audio and network specs
  13. [If color grading Off Site] – Deliver all elements to colorist at least 5 days prior to online screening.
COLOR

  1. Export AAF of ‘Online for Resolve’ sequence for Resolve.
  2. Conform cut in Resolve via AAF.
  3. Color correct all shots to REC709 broadcast spec.
  4. Color grade all shots to producers specific look.
  5. Render and export color graded media.

ONLINE

  1. Duplicate the ‘Online Locked Cut’ sequence and rename it ‘Online Locked Cut-CC’.
  2. Copy graded media from Resolve to Online storage
  3. Relink to ‘Online Locked Cut-CC’ in Symphony.
  4. Recreate titles in high-res.
  5. Track and blur uncleared elements. Up to 25 shots per episode. (Overage if more than 25).
  6. Correct all technical issues with images including fixing dead pixels, cloning out booms, correcting mis-matched frame rates, and more. Up to 25 shots per episode. (Overage if more than 25).
  7. QC all resizes, reformats, timewarps, matte keys & titles.
  8. Lay in newly imported series and episode graphics.
  9. Check all subtitles for correct size and location.
  10. Lay in final sound mix and stems.
  11. Create slates for all program segments.
  12. Confirm all onscreen elements conform to Network Spec show time & screen geography.
  13. Final QC check of CC Master.
REVIEW

  • 2-3 hour session with Producer & Post Producer to review the episode.
  • Make any changes according to Producers’ and Post Producers’ notes.

DELIVERY

  • Create all versions of show for delivery including but not limited to Texted, Textless, International and Spllt-Track.
  • Export all final digital masters for delivery.
  • Schedule and deliver masters to QC.
PLANNING

  • Meet with the Director, DP and/or Producers to establish a look for the show. If possible, please provide images or known references.
  • Meet with Post Producer to design workflow specific to clients production and post-production needs.
  • Create templates for consistent offline delivery of subtitles (fonts/layout), show graphics, timeline track layout, etc.

OFFLINE FINAL PREP FOR ONLINE

  1. Confirm that the ‘Offline Locked Cut’ timeline is formatted to network clock spec.
  2. Duplicate sequence and rename to ‘Offline Locked Cut-TO ONLINE‘
  3. Organize ‘Offline Locked Cut-TO ONLINE’ timeline clips so that common elements are on discreet tracks.
    • Ex. V1-Main Footage, V2-Stock Footage, V3-Interviews, V4-Graphics, V5-Titles, etc.
  4. Export a Quicktime with TC burn-in for ‘Offline Reference’.
  5. Export a stereo mix-down to AIFF or WAV file for ‘Offline Stereo Mix’.
  6. [ * For Tape Based Workflow ] Consolidate ‘Offline Locked Cut-TO ONLINE‘ timeline with 1 second handles.
  7. Deliver prepped ‘Offline Locked Cut-TO ONLINE’ sequence (by itself in a bin), ‘Offline Reference’ Quicktime and ‘Offline Stereo Mix’ AIFF file to Online.
    (*plus lo-res media for Tape Based Workflow)
ONLINE PREP

  1. Receive prepped ‘Offline Locked Cut-TO ONLINE’ sequence (by itself in a bin), ‘Offline Reference’ Quicktime and ‘Offline Stereo Mix’ AIFF file from Editorial.
    (*plus lo-res media for Tape Based Workflow)
  2. Confirm that the show is formatted correctly and cut to clock per network spec.
  3. Duplicate sequence and rename to ‘Online Locked Cut’.
  4. PREP ‘Online Locked Cut’ sequence for Online:
    1. Very important – Uncollapse all collapsed layers (Submaster Effects) in the timeline.
    2. Commit all multi-cam clips.
    3. Remove all matchframe edits.
    4. Update all timewarp effects.
    5. Remove all color effects.
    6. UPRES:
      • For File Based Workflow – Relink to camera masters and create high-res media with 1 second handles.
      • For Tape Based Workflow – Decompose with 1 second handles and batch digitize master clips from tape at high-res.
      • [ * Do this step either (1) to a fresh MXF media folder, or (2) use the creation date of the newly created media to copy the correct files.]
  5. Collect all high-res animation files for show series graphics, episode specific graphics and stills.
  6. Collect all finished audio mix and stems files.
  7. Collect all Network Delivery Spec documentation.
  8. Transfer ‘Online Locked Cut’ sequence (by itself in a bin), high-res media, ‘Offline Reference’ Quicktime, ’Offline Stereo Mix’ AIFF and all collected elements to Online bay local storage.
  9. [If color grading in Resolve] – Deliver ‘Online Locked Cut’ sequence (by itself in a bin), high-res media, ‘Offline Reference’ Quicktime and ‘Offline Stereo Mix’ AIFF file to colorist at least 5 days before online screening.
COLOR

  1. Export AAF of ‘Online for Resolve’ sequence for Resolve.
  2. Conform cut in Resolve via AAF.
  3. Color correct all shots to REC709 broadcast spec.
  4. Color grade all shots to producers specific look.
  5. Render and export color graded media.

ONLINE

  1. Duplicate the ‘Online Locked Cut’ sequence and rename it ‘Online Locked Cut-CC’.
  2. Copy graded media from Resolve to Online storage
  3. Relink to ‘Online Locked Cut-CC’ in Symphony.
  4. Recreate titles in high-res.
  5. Track and blur uncleared elements. Up to 25 shots per episode. (Overage if more than 25).
  6. Correct all technical issues with images including fixing dead pixels, cloning out booms, correcting mis-matched frame rates, and more. Up to 25 shots per episode. (Overage if more than 25).
  7. QC all resizes, reformats, timewarps, matte keys & titles.
  8. Lay in newly imported series and episode graphics.
  9. Check all subtitles for correct size and location.
  10. Lay in final sound mix and stems.
  11. Create slates for all program segments.
  12. Confirm all onscreen elements conform to Network Spec show time & screen geography.
  13. Final QC check of CC Master.
REVIEW
  • 2-3 hour session with Producer & Post Producer to review the episode.
  • Make any changes according to Producers’ and Post Producers’ notes.
DELIVERY
  • Create all versions of show for delivery including but not limited to Texted, Textless, International and Spllt-Track.
  • Export all final digital masters for delivery.
  • Schedule and deliver masters to QC.

Clients

Contact

Mike Wolf
Online Editor | Colorist
310-357-7211
wolf@mikewolfpost.com




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