ABOUT
As an Emmy and Telly award winning editor and colorist, Mike Wolf has lent his creative vision to television, music videos, commercials and films. 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. 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.
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 post production, he can quickly identify and solve any technical problems that arise when finishing and delivering a show.
Today, Mike is one of the industry's 'go to' resources for color grading and online editing. He is fast and efficient without sacrificing creativity or attention to detail. With Mike in the chair, you can be confident that your show will look great, be delivered on time and be error free.
Mike Wolf C.S.I.
Online Editor/Colorist
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 online, color correction, color grading, network QC & delivery, 4K UHD, file formats, frame rates, color spaces, codecs, conversions, transcodes, data workflows, tape workflows, VTRs, editorial, conform, LUTs, AAFs, OMFs, XMLs, EDLs and more.
CREDITS
Credits best viewed in landscape...
| SHOW | PROD CO | NETWORK | CREDIT |
|---|---|---|---|
| 'Game of Clones’ [S1-8 ep] | Roush Wagner | MTV | Online • Colorist |
'Sugar’ [6 ep]  |
Adam Levine / 222 Productions | YouTube | Online • Colorist |
| 'Aaron Hernandez Uncovered’ | Renegade 83 | Oxygen | Online • Colorist |
| 'Ellen's Game of Games’ [S1 8ep] | Warner Horizon | NBC | Online • Colorist |
| 'Operation Odessa’ (Feature Doc) | The IPC | Showtime | Online • Colorist |
| 'Fearless’ [6 ep] |
25/7 Productions | Netflix | Online • Colorist |
| 'Ultimate Beastmaster’ | 25/7 Productions | Netflix | Online • Colorist |
| 'STRONG’ [10 ep] | 25/7 Productions | NBC | Online • Colorist |
| 'Real Housewives of Dallas’ [10 ep] | Goodbye Pictures | Bravo | Online • Colorist |
| 'The Legend of Mick Dodge’ [S2 20 ep] | Screaming Flea | Nat Geo | Online • Colorist |
| “Are You The One’ [9 ep] | Lighthearted Productions | MTV | Online • Colorist |
| 'The Legend of Mick Dodge’ [S1 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 |
| ‘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’ | 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 |
| ‘The One Day At A Time Reunion’ | Museum of TV & Radio | 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 |
| TITLE | PROD CO | DISTRIBUTOR | CREDIT |
|---|---|---|---|
| ‘Power Rangers (2017)’ | Walt Disney Studios | Lionsgate | Colorist for Studio Screenings |
| ‘Ben Hur (2016)’ | MGM | Paramount Pictures | Colorist for Studio Screenings |
| ‘Carrie’ | MGM | 20th Century Fox | Colorist for Studio Screenings |
| ‘Stolen’ | Millenium Films | Nu Image Films | Colorist for Studio Screenings |
| ‘No Vacancy’ (Feature) | Chris Stokes Entertainment | Lionsgate | 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 | CREDIT |
|---|---|---|---|
| ‘Halle by Halle Berry’ | Halle Berry | Laird + Partners | Online • Colorist |
| ‘Expect Great’ [4 spot campaign] | WNBA | NBA | Editor |
| ‘Crawl Control’ | Lexus | Team One | Online |
| ‘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 |
| ‘Connected’ [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 & 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 | CREDIT |
|---|---|---|---|
| ‘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 | CREDIT |
|---|---|---|---|
| ‘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
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“I can’t recommend Mike Wolf enough. I worked with him on a very difficult, time-intensive Netflix show. Mike's work was second to none and his attention to color and detail exceeded everyone’s expectations. We couldn’t have navigated Netflix’s stringent deliverables without Mike's experience and knowledge of online editing.”Jay Skowronek Post Production Supervisor - 25/7 Productions
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"Mike Wolf is the best online guy I have ever worked with. A true artist who seamlessly incorporates the big picture down to the smallest detail. He's a brilliant colorist, a gifted graphics whiz, and he won't leave the room until the job is done - be it 8 hours or two and a half days. I've been with him in both situations. Mike is our 'Go To Guy' whenever we have a gig that requires a master's finesse. Which of course is every time."Eamon HarringtonProducer/Director/Owner – Planet Grande Pictures
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"Mike is easy and accommodating to work with. My clients enjoy contact with him very much. He takes the initiative to offer creative solutions, but also diligently executes the client’s own vision. One of my favorite things about Mike is his excellent sense of aesthetics. I frequently seek and trust Mike's opinions on 'the art' of TV."Jeffrey NoedelCreative Director – Noedel Agency
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“Mike has been a great asset to 25/7 as a whole and to the post process on multiple series for us. His wisdom and work ethic is invaluable. He'd be a great addition to any team.”Frank SalinasVP of Post – 25/7 Productions
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"I found Mike to be highly creative, technically excellent, always cooperative and unfailingly good-natured... a difficult combination to find."Ralph HainesProducer – Haynes Media
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"I can attest not only to his technical proficiency, but to the creativity he brings to my projects. Mike’s intuitive sense of what was needed combined with a very comfortable communication style make him one of the best I've ever worked with."Drew FitzgeraldCreative Director – Brighton Agency
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"Mike is a multi-talented post-production master, equally adept at offline, finishing or motion graphics. In addition to his fantastic work ethic and deep knowledge of the tools, he's also creative, artistic, calm under pressure and a lot of fun to work with. He's a pro from 'start' to 'finish.' Highly recommended."Kip BrownPost Producer – Karga 7 Pictures
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"Great work is 75% talent, 60% attitude, and 10% luck - wait, that's 145%. Anyway, Mike gave me the talent and positive attitude. With that going for me, I need less luck."J.C. CodyCreative Director – Brighton Agency
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"If you are searching for help in the online editing department, look no further. Mike Wolf's storytelling and visual effects skills are superb, and he is an excellent collaborator. From concept to delivery, Mike has the experience to put that special touch on your show. He will make your next project shine."Ron Harbin, Jr.Director – Harbor Inn Pictures
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"Mike has a great eye and can often be a tremendous help to a client who is looking for something fresh and innovative. That kind of collaboration is a quality I appreciate in other creative professionals, and it is one of Mike’s strongest assets."Tracy CollinsProducer – Creative Producers Group
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"Mike Wolf is the best I've ever worked with. He's creative, fast, efficient and a master of his toolset. Just don't book him when I need him!"Matt LinnellProducer – Traveling Circus
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"Mike Wolf is tremendously talented and extremely knowledgeable. He is on a very short list of people that I recommend for jobs. I can say first hand that he can handle anything you throw at him. He is an excellent editor, a great guy and a pleasure to work with."Doug RathDirector – Myth Factory
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“I can’t recommend Michael Wolf enough. I worked with Michael at 25/7 Productions in Burbank on a very difficult, time-intensive Netflix show. Michael’s work was second to none and his attention to color and detail exceeded everyone’s expectations. We couldn’t have navigated Netflix’s stringent deliverables without Michael’s experience and knowledge of online editing.”Jay SkowronekPost Production Supervisor
-
"Mike Wolf is the best online guy I have ever worked with. A true artist who seamlessly incorporates the big picture down to the smallest detail. He's a brilliant colorist, a gifted graphics whiz, and he won't leave the room until the job is done - be it 8 hours or two and a half days. I've been with him in both situations. Mike is our 'Go To Guy' whenever we have a gig that requires a master's finesse. Which of course is every time."Eamon HarringtonProducer/Director/OwnerPlanet Grande Pictures
-
"Mike is easy and accommodating to work with. My clients enjoy contact with him very much. He takes the initiative to offer creative solutions, but also diligently executes the client’s own vision. One of my favorite things about Mike is his excellent sense of aesthetics. I frequently seek and trust Mike's opinions on 'the art' of TV."Jeffrey NoedelCreative Director – Noedel Agency
-
“Mike has been a great asset to 25/7 as a whole and to the post process on multiple series for us. His wisdom and work ethic is invaluable. He'd be a great addition to any team.”Frank Salinas VP of Post - 25/7 Productions
-
"I found Mike to be highly creative, technically excellent, always cooperative and unfailingly good-natured... a difficult combination to find."Ralph HainesProducer – Haynes Media
-
"I can attest not only to his technical proficiency, but to the creativity he brings to my projects. Mike’s intuitive sense of what was needed combined with a very comfortable communication style make him one of the best I've ever worked with."Drew FitzgeraldCreative Director - Brighton Agency
-
"Mike is a multi-talented post-production master, equally adept at offline, finishing or motion graphics. In addition to his fantastic work ethic and deep knowledge of the tools, he's also creative, artistic, calm under pressure and a lot of fun to work with. He's a pro from 'start' to 'finish.' Highly recommended."Kip BrownPost ProducerKarga 7 Productions
-
"Great work is 75% talent, 60% attitude, and 10% luck - wait, that's 145%. Anyway, Mike gave me the talent and positive attitude. With that going for me, I need less luck."J.C. CodyCreative Director – Brighton Agency
-
"If you are searching for help in the online editing department, look no further. Mike Wolf's storytelling and visual effects skills are superb, and he is an excellent collaborator. From concept to delivery, Mike has the experience to put that special touch on your show. He will make your next project shine."Ron Harbin, Jr.Director – Harbor Inn Pictures
-
"Mike has a great eye and can often be a tremendous help to a client who is looking for something fresh and innovative. That kind of collaboration is a quality I appreciate in other creative professionals, and it is one of Mike’s strongest assets."Tracy CollinsProducer – Creative Producers Group
-
"Mike Wolf is the best I've ever worked with. He's creative, fast, efficient and a master of his toolset. Just don't book him when I need him!"Matt LinnellProducer – Traveling Circus
-
"Mike Wolf is tremendously talented and extremely knowledgeable. He is on a very short list of people that I recommend for jobs. I can say first hand that he can handle anything you throw at him. He is an excellent editor, a great guy and a pleasure to work with."Doug RathDirector – Myth Factory
BEFORE / AFTER
BREAKDOWN
CLIENTS
CLIENTS
WORKFLOW
Workflow best viewed in landscape...
PLANNING
- Meet with the Director, DP and/or Producers to establish a look for the show.
- If possible, please collect images to use for color references. They can be from films, television shows, magazines, photographs, etc.
- Meet with Post Producer to design workflow specific to project's production and post-production needs.
- Create templates for consistent offline delivery of subtitles (fonts/layout), show graphics, timeline track layout, etc.
ONLINE PREP
- Confirm that the final offline locked cut is formatted and cut to clock per network spec.
- Including necessary leader with Bars & Tone so sound mix has accurate timeline.
- Duplicate and name new sequence ‘[TITLE_EP#] Offline Locked Cut_YYMMDD’.
- Export a Quicktime with TC burn-in named ‘[TITLE_EP#] Offline Locked Cut-REFERENCE_YYMMDD’.
- Export a stereo mix-down to an AIFF or WAV file named ‘[TITLE_EP#] Offline Locked Cut-REFERENCE MIX_YYMMDD’.
- Duplicate offline locked cut and name it '[TITLE_EP#] Offline Locked Cut-ONLINE PREP_YYMMDD’.
- Prep this sequence as follows:
- Delete all audio tracks.
- Commit all multi-cam clips.
- Remove all match-frame edits on all tracks IN-OUT.
- Duplicate prepped sequence and name it '[TITLE_EP#] Online Upres_YYMMDD’.
- So now we have –
- ‘[TITLE_EP#] Offline Locked Cut_YYMMDD’ – Final sequence from offline/editorial.
- '[TITLE_EP#] Offline Locked Cut-REFERENCE_YYMMDD’ – Offline picture reference with TC Burn.
- ‘[TITLE_EP#] Offline Locked Cut-STEREO MIX_YYMMDD’ – Offline temp sound mix.
- '[TITLE_EP#] Offline Locked Cut-ONLINE PREP_YYMMDD’ – Offline locked cut prepped for online.
- '[TITLE_EP#] Online Upres_YYMMDD’ – Sequence ready to upres for online.
- Copy ‘[TITLE_EP#] Online Upres_YYMMDD’ into the '[TITLE] ONLINE ASSIST' project.
ONLINE UPRES
- Very important - Before the UPRES, create a new ISIS partition named '[TITLE]_ONLINE_[EP#]_AVID_MEDIA'.
- Now, in the '[TITLE] ONLINE ASSIST' project, UPRES ‘[TITLE_EP#] Online Upres_YYMMDD’ as follows:
- UPRES to the new '[TITLE]_ONLINE_[EP#]_AVID_MEDIA' partition on the ISIS.
- ALL elements for the episode should be upressed to the one partition.
- After the UPRES is complete, cut the QT reference into ‘[TITLE_EP#] Online Upres_YYMMDD’:
- Add video track on top and cut QT picture onto new top [V#] track.
- Add [A1/A2] audio tracks and cut QT audio onto [A1/A2].
- UPRES to the new '[TITLE]_ONLINE_[EP#]_AVID_MEDIA' partition on the ISIS.
- Copy the ‘[TITLE_EP#] Online Upres_YYMMDD’ into a bin by itself in the '[TITLE] ONLINE' project.
- Create a folder for all elements coming to Online from the AEs called 'HANDOFFS FROM ASSIST'.
- Organize the clips in the timeline so that common elements are on discreet tracks. For example –
▪ V6 – Subtitles (if needed)▪ V5 – Graphics/L3rds▪ V4 – [Empty] ▪ V3 – Stock Footage▪ V2 – Interviews▪ V1 – Production
- Print all Network Delivery Spec documentation and put in online suite.
IF COLOR GRADING OFF-SITE
- Deliver all elements to colorist at least 5 days prior to online screening including:
- Bin with ‘[TITLE_EP#] Online Upres_YYMMDD’.
- MXF folder from the '[TITLE]_ONLINE_[EP#]_AVID_MEDIA' partition.
- VERY IMPORTANT – !!!DO NOT CONSOLIDATE TO EXTERNAL DRIVE. JUST COPY THE MXF FOLDER.!!!
- All Network Delivery Spec documentation.
COLOR
- Receive all prepped materials from Assist.
- Duplicate ‘[TITLE_EP#] Online Upres_YYMMDD' and name it ‘[TITLE_EP#] ONLINE CC MASTER_YYMMDD'.
- Save ‘[TITLE_EP#] Online Upres_YYMMDD' sequence in a backup bin.
- Duplicate ‘[TITLE_EP#] ONLINE CC MASTER_YYMMDD' and name it '[TITLE_EP#] To Resolve_YYMMDD' and prep for grading in Resolve.
- Export AAF for Resolve.
- Import and conform cut in Resolve.
- Import and sync temp sound mix and QT Reference in Resolve.
- Color correct all shots to broadcast spec.
- Color grade all shots to producers specific look.
- Render and export color graded media.
ONLINE
- Bring color graded master clips back in to Avid.
- Relink ‘[TITLE_EP#] ONLINE CC MASTER_YYMMDD' to new graded media in Symphony.
- Complete all online work including–
- Recreate all titles in high-res.
- QC all resizes, reformats, time-warps, matte keys & titles.
- Correct all technical picture issues including fixing dead pixels, correcting mis-matched frame rates, etc.
- Address all creative issues including tracked paint removals, tracked blurs for uncleared elements, etc.
- Lay in newly imported series and episode graphics.
- Lay in final sound mix and stems.
- If included, check all subtitles for correct size and location.
- Create slates for all program segments.
- Confirm all onscreen elements conform to Network Spec show time & screen geography.
- Create textless elements at tail if required.
- Final QC check of ‘[TITLE_EP#] ONLINE CC MASTER_YYMMDD'.
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 and International.
- Export all final digital masters for delivery.
- Schedule and deliver masters to QC.
CONTACT
CONTACT
