Category Archives: New Hire

Rachel Matchett brought on to lead Technicolor Visual Effects

Technicolor has hired on Rachel Matchett to head the post production group’s newly formed VFX brand, Technicolor Visual Effects. Working side-by-side within the same facilities where post services are offered, Technicolor Visual Effects is expanding to a global offering with an integrated pipeline. Technicolor is growing its namesake VFX team apart from the company’s other visual effects brands: MPC, The Mill, Mr. X and Mikros.

A full-service creative VFX house with local studios in Los Angeles, Toronto and London, Technicolor Visual Effects’ recent credits include the feature films Avengers: Infinity Wars, Black Panther, Paddington 2, and episodic series such as This is Us, Anne With an E and Black Mirror.

Matchett joins Technicolor from her long-tenured position at MPC Film. Her background at MPC London includes nearly a decade of senior management positions at the studio. She most recently served as MPC London’s global head of production. In that role, her divisions at MPC Film oversaw and carried out visual effects on a number of films each year, including director Jon Favreau’s Academy Award-winning The Jungle Book and the critically acclaimed Blade Runner 2049.

“Technicolor Visual Effects is emerging from its position as one of the industry’s best-kept secrets. While continuing to support clients who do color finishing with us, we are excited to work with storytellers from script to screen,” says Matchett. “Having been at the heart of MPC Film’s rapid growth over the past decade, I feel that there is a great opportunity for Technicolor’s future role in VFX to forge a new path within the industry.”

Nomad adds editor Jojo King to its New York roster

Editorial house Nomad has expanded its New York roster with the addition of editor Jojo King. King brings a diverse resume and has cut music videos for Janelle Monae’s new single Pynk and Moses Sumney’s Worth It, as well as films and spots for Vogue, Tommy Hilfiger, Adidas Originals, Marc Jacobs and Victoria’s Secret.

He recently edited a music video for indie star Lykke Li (directed by Iconoclast’s Anton Tammi) and wrapped jobs with Droga5 and Johannes Leonardo. Adobe Premiere is his editing tool of choice.

“Jojo coming on was perfect timing,” explains Nomad executive producer/partner Jennifer Lederman. “When we expanded Nomad New York, we were determined to make it a place that focuses on the creativity of our team. We just celebrated our one-year anniversary in our new space, and we’ve grown our VFX and support staff a lot in the past year, so it was the ideal time to add on a new editor. We got so lucky that Jojo found us, as he brings a new style to our offerings. He combines this intense artistry with the narrative arc, which leads to his cuts being fun and surprising. He brings that artistic sensibility into our office every day, and his reel is something I love to show.”

Nomad also has offices in Santa Monica and London.

Cinna 4.13

Milk provides VFX for Adrift, adds new head of production Kat Mann

As it celebrates its fifth anniversary, Oscar-, Emmy- and BAFTA-winning VFX studio Milk has taken an additional floor at its London location on Clipstone Street. This visual effects house has worked on projects such as Annihilation, Altered Carbon and Fantastic Beasts and Where to Find Them.

Milk’s expansion increases its artist capacity to 250, and includes two 4K FilmLight Baselight screening rooms and a dedicated client area. The studio has upgraded its pipeline, with all its rendering requirements (along with additional storage and workstation capacity) now entirely in the cloud, allowing full scalability for its roster of film and TV projects.

Annihilation

Milk has just completed production as the main vendor on STXfilms’ new feature film Adrift, the Baltasar Kormákur-directed true story of survival at sea, starring Shailene Woodley and Sam Claflin. The Milk team created all the major water and storm sequences for the feature, which were rendered entirely in the cloud.

Milk has just begun work on new projects, including Four Kids And It — Dan Films/Kindle Entertainment’s upcoming feature film — based on Jacqueline Wilson’s modern-day variation on the 1902 E Nesbit classic novel Five Children And It for which the Milk team will create the protagonist CG sand fairy character. Milk is also in production as sole VFX vendor on Neil Gaiman’s and Terry Pratchett’s six-part TV adaptation of Good Omens for Amazon/BBC.

In other news, Milk has brought on VFX producer Kat Mann as head of production. She will oversee all aspects of the studio’s production at its premises in London and at their Cardiff location. Mann has held senior production roles at ILM and Weta Digital with credits, including Jurassic World: Fallen Kingdom, Thor: The Dark World and Avatar. Milk’s former head of production Clare Norman has been promoted to business development director.

Milk was founded by a small team of VFX supervisors and producers in June 2013,


Music house Human hires Carol Dunn as executive producer

LA-based music house Human Worldwide has hired Carol Dunn as executive producer. Dunn joins Human from post house PS260, where she was executive producer in its West Coast office for two years. She will report to Human’s partner and composer Gareth Williams.

In her new role, Dunn will be responsible for developing Human’s business from their LA office and growing its model to expand its brand, as well as helping market Human to current and potential clients. She will also work hand in hand with its sales team, and has an additional role in helping to create the company music as a creative producer.

At PS260, Dunn worked with many agencies and brands, including Omnicom, WPP, American Greetings, NBA, Hyatt, Kia and Instagram. Prior to that, she was EP/head of sales at Squeak E Clean Productions and Amber Music, where she oversaw and directed their national sales force, marketing and new business efforts. She also had roles at the record labels Capitol Records and Interscope Records, co-producing such soundtracks as Baz Lurhmann’s Romeo + Juliet, Boogie Nights and Office Space.

“I’m excited to bring my career experience from film and TV to Human with the intention of extending our focus beyond advertising,” says Dunn. “I joined Human because it was an opportunity to set my heart’s passion back on my musical career path with a company that has all the tools to change the idea of how a music house functions in our industry. After a rewarding stint in post production, I am overjoyed to be back.”

This news comes off the heels of the company’s expansion with its Sonic Branding department, helmed by senior producer Craig Caniglia, which has created work for brands such as Coca-Cola, IKEA, Visa, GE Appliances and Lowe’s. In addition, Human’s post department Post Human — led by chief engineer Sloan Alexander — recently mixed projects for Adidas, Under Armour, Google, Verizon and Stella Artois.


Tom Dunlap, Gui Borchert lead Hecho Studios, formerly Hecho En 72

Hecho En 72 has expanded its North American operations to allow for continued growth in both Los Angeles and New York. It will now be known as Hecho Studios under the MDC Partners network of companies. Hecho, is a content development and production company that originally was grown as part of 72andSunny, but is now a separate entity. While they still work closely, and share the same space in New York and LA, they operate independently.

As part of this growth, Tom Dunlap, who was previously chief production officer at 72andSunny, has assumed the position of managing director of the company. He will be responsible for driving all aspects of growth, operations and production.

Hecho Studios will be led creatively by executive creative director, Gui Borchert, who most recently served as group creative director at 72andSunny for the last four years, working on projects for Starbucks, Sonos and the LA Olympic bid.

“In a time where marketing takes any form, how brands make content is just as important as what they make,” says Dunlap. “We have built and are growing Hecho Studios to help brands amplify creative opportunities and modernize production and content creation to maximize quality, efficiency and impact,” says Borchert.

Hecho’s past work includes the production of Sugar Coated, a short documentary featured in 18 film festivals in partnership with 72U, two Emmy nominations for their work on Google — Year in Search, editorial, print and product design for the award-winning LA Original campaign, and the recent short parody film featuring Will Ferrell and Joel McHale for The Hammer Museum at UCLA’s latest exhibition, Stories of Almost Everyone.

Hecho’s production offerings includes building models based on the client’s creative needs. This can range anywhere from a small table-top product shoot to a large scale narrative film and include live-action, photography, stop-motion, time-lapse, narrative, documentary and both short and long form.

Hecho offers full service audio post, specializing in commercial and branded content for broadcast TV, cinema, digital and radio. Their studios are equipped with two Avid S6 mixing consoles and JBL-M2 surround stage (7.1, 5.1) and spatial audio (VR) capabilities. Services include sound design, mixing, field recording, Foley, voice-over/ADR recording, Source-Connect/ISDN and music editorial and licensing.

Hecho’s post offerings include editorial, motion graphics and finishing. Their edit suites integrate all editing platforms, including Adobe Premiere, Avid and Final Cut Pro. Their motion graphics team uses After Effects, Cinema 4D and Maya animations. Hecho has two Flame suites to address requests for clean-up, conform and VFX. They also use Blackmagic Resolve for color grade needs.

Main Image Caption: (L-R) Gui Borchert and Tom Dunlap.


In growth mode, Deluxe NY hires features, episodic colorist Sam Daley

Senior colorist Sam Daley has joined Deluxe post operations in New York, where he will lead final color finishing for feature films and television. Daley has working in the New York post market for over 20 years.

Prior to joining Deluxe, Daley spent time at Technicolor, Postworks and Tapehouse. He began his career in color at Du Art, where he worked with Deluxe president/GM TV post production Dominic Rom, who says, “I am very excited to be working with him again. I’ve watched and shared his career growth since he first came into the New York market. He’s an ideal anchor for our growing final color roster with tremendous industry knowledge. More than ever, directors and DPs are working across formats and Sam’s multifaceted experience in features and television is invaluable.”

Daley’s recent feature credits include The Florida Project, Beirut and the upcoming Sorry to Bother You. Previously, he finished the first season of Girls, and season one of The Deuce, as well as the HBO miniseries Show Me a Hero, which earned him a 2015 HPA Award nomination for Best TV Series Color Correction. Daley brings a deep knowledge of color finishing techniques to Deluxe, including the nuances of working in Dolby Vision and HDR10.

Daley will be based out of Deluxe’s New York location on West 18th Street. In addition to final HDR and SDR color, the facility also provides dailies color (including UHD dailies), online editorial and various deliverables. Visual effects services are available through co-located sister company Method Studios.


Sound editor/re-recording mixer Will Files joins Sony Pictures Post

Sony Pictures Post Production Services has added supervising sound editor/re-recording mixer Will Files, who has spent a decade at Skywalker Sound. His brings with him credits on more than 80 feature films, including Passengers, Deadpool, Star Wars: The Force Awakens and Fantastic Four.

Files won a 2018 MPSE Golden Reel Award for his work on War for the Planet of the Apes. His current project is the upcoming Columbia Pictures release Venom out in US theaters this October.

He adds that he was also attracted by Sony Pictures’ ability to support his work both as a sound editor/sound designer and as a re-recording mixer. “I tend to wear a lot of hats. I often supervise sound, create sound design and mix my projects,” he says. “Sony Pictures has embraced modern workflows by creating technically-advanced rooms that allow sound artists to begin mixing as soon as they begin editing. It makes the process more efficient and improves creative storytelling.”

Files will work in a new pre-dub mixing stage and sound design studio on the Sony Pictures lot in Culver City. The stage has Dolby Atmos mixing capabilities and features two Avid S6 mixing consoles, four Pro Tools systems, a Sony 4K digital cinema projector and a variety of other support gear.

Files describes the stage as a sound designer/mixer’s dream come true. “It’s a medium-size space, big enough to mix a movie, but also intimate. You don’t feel swallowed up when it’s just you and the filmmaker,” he says. “It’s very conducive to the creative process.”

Files began his career with Skywalker Sound in 2002, shortly after graduating from the University of North Carolina School of the Arts. He earned his first credit as supervising sound editor on the 2008 sci-fi hit Cloverfield. His many other credits include Star Trek: Into Darkness, Dawn of the Planet of the Apes and Loving.


VFX vet Andrew Bell Joins Method Advertising

Long-time VFX executive Andrew Bell has joined LA-based Method Studios as senior EP/VP of its Advertising division. He will report to Method Advertising MD/EVP Stuart Robinson.

Bell moves to Method after spending nearly two decades with MPC, first as a producer in London and then as head of production and managing director, spearheading MPC’s initial foray, then expansion and relocation, into Los Angeles. There he oversaw all operations, from bidding to building to managing the talent and client rosters in addition to working with directors producing large-scale VFX projects for Coca-Cola, Nike, DirecTV and other brands. Bell also previously served as managing director for Brickyard VFX in Boston and has consulted on VFX operations for Apple.

In LA, Bell will work alongside Method Commercials VFX senior EP/VP Stephanie Gilgar and Digital Studio head Jeff Werner to drive operations, curate talent and bring clients on the West Coast. Method is a Deluxe company.


Framestore London adds joint heads of CG

Framestore has named Grant Walker and Ahmed Gharraph as joint heads of CG at its London studio. The two will lead the company’s advertising, television and immersive work alongside head of animation Ross Burgess.

Gharraph has returned to Framestore after a two-year stint at ILM, where he was lead FX artist on Star Wars: The Last Jedi, receiving a VES nomination in Outstanding Effects Simulations in a Photoreal Feature. His credits on the advertising-side as CG supervisor include Mog’s Christmas Calamity, which was Sainsbury’s 2015 festive campaign, and Shell V-Power Shapeshifter, directed by Carl Erik Rinsch.

Walker joined Framestore in 2009, and in his time at the company he has worked across film, advertising and television, building a portfolio as a CG artist with campaigns, including Freesat’s VES-nominated Sheldon. He was also instrumental in Framestore’s digital recreation of Audrey Hepburn in Galaxy’s 2013 campaign Chauffeur for AMV BBDO. Most recently, he was BAFTA-nominated for his creature work in the Black Mirror episode, “Playtest.”

Freefolk New York hires Flame artist Brandon Danowski

Freefolk’s New York studio has beefed up its staff with the addition of Brandon Danowski as lead Flame artist. Danowski joins Freefolk after spending four years at The Mill’s New York City office, where he worked on the NFL’s 2015 Super Bowl Babies spot, among other things.

His resume includes working on brand campaigns for Samsung, The New York Times, HBO, Verizon, Cadillac, Lincoln and TD Ameritrade. “I learned so much at The Mill, and it was brilliant being part of a global company of that scale. I’m now excited about working in the atmosphere of a boutique and am delighted to have joined the roster at Freefolk”.

Danowski started in the industry in 2010 as an intern with Beast, Company 3 and Method in Atlanta. He was brought on full time when his internship ended.

Working in TV, film and commercial projects, Freefolk provides full-service post and VFX, including 2D & 3D visual effects, high-end color grading, shoot supervision, animation, design, concept and direction.