Post In Black

Our conversation with Brian Vickers, Lead Music Supervisor at Walt Disney Studios, is both inspiring and insightful as he shares how an early passion for music evolved into an extraordinary career.Brian has worked on a ton of projects like Project Runway, Keeping Up with the Kardashians, Khloé & Lamar, Kourtney & Kim Take New York, The Real World and Bad Girls Club, including trailer campaigns for Avengers: Infinity War, Star Wars: The Last Jedi, Black Panther and The Incredibles 2, to name a few.If you've ever found yourself obsessed with a movie soundtrack or a perfectly placed song over a scene, this is the episode for you. Brian takes us on a journey as to how he, as a Howard University grad from Birmingham, Alabama, ended up moving to Los Angeles in 2008, right before the writers' strike and how the industry's pivot to reality TV steered his early career. We talk about how the Bernie Mac Show was the series that opened his eyes to music supervision, his thoughts on AI in the music industry and what he wants aspiring creatives interested in sync to know about being 'sync friendly.'

It'll become immediately apparent that Calmatic is keenly ingenious and artistically perceptive. Within the span of this conversation, the award-winning director takes you on a journey that reaffirms why it's so important to trust your art and creative instinct. Infused with your unique experiences and chance-taking, your wildest dreams can come true.The strides he's earned in the industry are already major. Both released in the same year, 2023, to be exact, he directed two huge remakes, House Party and White Men Can't Jump. He won an MTV Music Video Award for Best Direction for Old Town Road and a Grammy Award for Best Music Video. He's worked with industry titans Kendrick Lamar, Childish Gambino, Anderson .Paak, Pharrell Williams and Jay-Z, to name a few. His success in directing commercials has landed him a coveted place among Super Bowl commercials and work featured for many, many global brands including Apple, Sprite, NBA, Uber, Chase and Nissan. He was also named Director of the Year by Ad Age.We get to find out what it was like directing Kendrick Lamar's 'squabble up' music video, being a filmmaker and artist from South Central LA.Even the corners of this conversation are riveting. We talk about how being motivated by passion helps creatives cultivate their own style. Not only does he share amazing advice but we get a lesson on how quality doesn't always have to be perfect.

Marcus Myrick does not shy away from being a 'nepo baby' and it's endearing. His projects include G.I. Joe: Renegades, Family Guy, The Looney Tunes Show, Tron: Uprising, Kaijudo: Rise of the Duel Masters, Camp Lazlo! and The Marvelous Misadventures of Flapjack. He was also an assistant editor on Black Dynamite. With such an impressive list of projects, Marcus shares how his father, Ron Myrick, a veteran in the animation industry, played a pivotal role in his career of choice. Now, with over 20 years in the industry, we talk about that longevity as well as what being an animatic editor is in post-production. We dive into how the industry continues to evolve regarding technology and content and how during times when opportunities are few, connections mean everything. Marcus offers advice for aspiring editors and adds what he's learned from his dad and how it's helped him navigate his career and life.

On this episode of Post In Black, we talk to film and television editor Angela Latimer. Angela's career began as an assistant editor, where she worked on films and series like The Old Guard, Downsizing and Drop Dead Diva, to name a few. More recently, she has been an editor on some of television’s most talked-about series, including Forever, Grown-ish, Bel-Air, Hush and First Kill.Having always wanted to get into the entertainment industry but not necessarily knowing how, she shares how editing first started off for her as a side hustle. We also get into how moving to LA and getting a Master of Fine Arts in Editing from the American Film Institute was a culture shock that proved to be a pivotal power move that enhanced her approach to editing.Angela lauds the power of thinking outside the box and how it's propelled her craft. She also shares priceless insights from her unique perspective as an editor in the film and television space.

What do Malcolm X, Barack Obama and Janet Jackson all have in common?Listen long enough to this fantastic conversation with Kaela Brown, an assistant finishing colorist at Marvel Studios and you'll find out.Kaela's extensive experience in post-production includes a ton of popular projects like Euphoria, Loki, The Morning Show, Eyes of Wakanda, Ironheart, Daredevil: Born Again, Agatha All Along, X-Men '97 and Dish Nation.Going from a journalism major to working in marketing on shows for luminaries like Katie Couric, Ellen DeGeneres and Queen Latifah, Kaela's first major opportunity came from the very place that had initially ejected her.Her unique perspective and experience as a Black woman working in an arena where she infuses color science into some of Hollywood's biggest productions is awe-inspiring and she has quite the advice for others seeking to do the same.If you've ever wondered how the coloring of a project informs the emotional aspect of the story, what the workflow of a colorist can look like and why you shouldn't second-guess your dreams, this is the conversation for you.