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  • About Mike Most

    I’ve been working in the Los Angeles television and film industry for over 30 years, in both the production and post production segments of that industry. Having started out in the post facility end of the business in 1978 as a videotape operator, I progressed within a few years to telecine work, primarily mastering of feature films. Continuing in this capacity, I became associated with the post production department at Lorimar Television, which in 1984 was beginning what would be a revolution in television post production, moving from film to videotape finishing. I joined Lorimar to help set up and design workflows for their in-house video transfer facility near Los Angeles International Airport, and after spending a season there in both a supervisory and an operational position (transferring dailies for shows such as Dallas and Knots Landing), was moved into the post production department. While there, I held several positions, among them Special Projects Supervisor (evaluating various new electronic editing devices that were being introduced, as well as other workflow enhancements), Post Production Supervisor (on various series), and Associate Producer (on pilots). In 1989, I decided to return to the facility business and the telecine suite, becoming lead colorist for television series at Encore Video. During the next 8 years, I was responsible for transfer and final color correction on various high profile series, including L.A. Law (5 seasons, for Fox Television), Cop Rock, Civil Wars, Byrds of Paradise, and NYPD Blue (for Steven Bochco Productions), Dinosaurs and Ellen (for Touchstone/Disney Television), and numerous other series and movies of the week. I also developed and helped to implement Encore’s VIP (Video Interpositive) system, which was designed to alleviate some of the problems of the tape to tape color correction process, and in 1996 I was named Technical Director for the facility. In 1997 I moved into Visual Effects, using much of what I had learned over the years at both the studio and post facility levels to supervise visual effects creation on many series, movies of the week, pilots, and feature film projects, including “Ally McBeal,” “Charmed,” “Without A Trace,” “Veronica Mars,” and the feature “Dominion: Prequel to the Exorcist.”. In 2006 I relocated to Miami, Florida, to take on the position of Chief Technologist for Cineworks Digital Studios. While there, I helped to design and implement a digital infrastructure and working methods for the existing film lab and video transfer facility, and also recalibrated and redesigned the Digital Intermediate Theater, serving as both conforming editor and DI colorist. In 2009, I returned to Los Angeles to take on new challenges, and in April, 2010, I became a Senior Colorist for Next Element by Deluxe, in Burbank, CA, and in April 2011 was moved to Level 3 Post, also in Burbank. Some of my recent and current projects include color grading work on the series “The Gates”,  “Covert Affairs,” the pilots for  “Detroit 187” and “My Generation,” the series “Once Upon A Time” and “Intervention,”  and digital intermediate grading on the independent feature “Meeks’ Cutoff.” In April 2012 I was asked to join Technicolor as Director of On Location Services, helping to design and deploy workflows and systems for both dailies and finishing outside the traditional facility environment, re-uniting me with some of my former Next Element colleagues. Since joining Technicolor, we have deployed systems in many different locations worldwide, including the U.S., Canada, the United Kingdom, France, Germany, Italy, Thailand, and China.

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