Insofar as production is concerned, it's not Fortgang's thing. I also enjoy being on-set for VFX supervision," he says. "I enjoy the finishing aspect of it and getting projects on-air.
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He has since joined the artist roster at Harbor Picture Company and has continued working with clients including Univision, NBCUniversal, Draftline, Spectrum, Facebook, Toyota, Planet Fitness and more.Īt one point in his career, Fortgang was particularly fond of editing - that is, until he discovered how to finish spots. At this point, I've done it all," says Fortgang, noting that the diverse experience resulted from his time at Univision, where a person was trained to do just about every function.
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"I've done film work, VFX for film, documentaries and features, as well as post-supervised films and TV series. Throughout his career, Fortgang has worked across all genres. Eventually Fortgang made his way to Thirdeye for a few years, where he became proficient on Autodesk Flame. He performed the "meat and potatoes" (conform, delivery, client-facing work) on Smoke, while another person did scene work on Autodesk Flame. "Whatever came in, I was finishing it," he says. While at Manhattan Transfer, he was back using Smoke and working on various short- and long-form projects. In the early days, Fortgang used Autodesk Smoke as well as Avid Media Composer when working at the Hispanic networks. And he notes, the ads are more individualized, more personal. It's just more of a creative atmosphere." The budgets are similar to those for the general market, but the teams are often smaller. There aren't 10 people in a session sitting behind you. "We have so much fun when doing spots for the Hispanic market. One thing, though, is inherent in this work, according to Fortgang. It encompasses a wide swath of people, cultures, dialects and countries - Mexico, Cuba, Guatemala, Panama and more.
One of the challenges is that the Hispanic market is, of course, not a monolith. Oftentimes the work involves adapting the language of a national campaign from English to Spanish, and many times it involves different creative, especially if the project is coming from a Hispanic agency. "That's where my strength is, in the Hispanic market," Fortgang adds.
He estimates that three-quarters of his work is done there. Post facilities often seek him out, whether for the general market or, more often, for the Hispanic market. He has also collaborated with brands such as AT&T, Volkswagen, Nintendo, Disney, Universal Orlando Resorts, Discovery Channel, Toyota, Honda, Ikea, Presidente beer and Wendy's, among others.įortgang lived in the Dominican Republic as a youngster before moving to Miami in his teens. Initially, he did a lot of work in the sports arena, although today he has produced a wide range of projects - commercials, network promotions, high-profile broadcasts and, yes, sporting events - for the likes of Don King Productions, Top Rank Boxing, BVI/Manhattan Transfer, Thirdeye and Merge Studios. And that's when his career really took off.ĭuring the past dozen or so years since, Fortgang has built up a large clientele, and he is especially sought after within the Hispanic market. Three years later, he was doing promos and other work for World Cup soccer. He started doing offlining for some shows at Univision, the leading Spanish language network, and that turned into some online work using an Editbox. We would spend weekends in that room doing simple little cut videos and music videos - nothing fancy, but I thought it was so cool," he recalls. "My best friend's dad was a cameraman for Univision down here in Miami, and he had an edit room in his house. PostPerspective News Extra View this newsletter in a browser.Īlbert Fortgang first stepped into the world of post production when he was just a teenager.
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