Author Archives: postadmin

IBC Blog: color grading, end to end post, more

By Chris Ryan

We had three meetings today: Filmlight, SGO and Rohde & Schwarz. Here’s the rundown…

Nice Shoes currently uses FilmLight’s Baselight system for color grading, so we went to their booth first to touch base on new products and to get a feel for where they’re heading in the future.

Their big product this year is the Daylight (main photo), which allows users to have access to Baselight’s amazing color science technology without having to invest in a full Baselight system. It’s pretty much a Baselight without a timeline. It’s being marketed as FilmLight’s on-set grading Continue reading

Todd-Soundelux, 424 Post combine to keep ‘Black Sails’ sounding authentic

By Jennifer Walden

If you like your pirate stories with peg legs, eye patches, and other cartoon-like pirate stereotypes, then the Starz original series Black Sails isn’t for you. Anything Jack Sparrow-y is strictly prohibited.

“The show’s creators wanted this world to be real, and dirty. There is nothing Continue reading

Framestore takes home VFX BAFTA for work on Gravity

London — Framestore has been awarded its second Special Visual Effects BAFTA, for its work Alfonso Cuarón’s Gravity.

The film was celebrated with numerous awards, including one for Cuaron for Best Director, and Emmanuel Lubezki who won Best Cinematography. Gravity also won Outstanding British Film, Best Original Music and Best Sound.


“It has been a great year for film in general and the other films that were nominated (and many that weren’t) were full of marvelous work, so to be awarded the BAFTA for Best Special Visual Effects is a real privilege and honor. And, having been nominated for four BAFTAs but not won before, it is a very special personal moment for me,” said the film’s VFX supervisor Tim Webber.

Framestore ( oversaw Gravity’s visual effects, which make up around 80 percent of the film, with Tim Webber, CG supervisor Chris Lawrence and animation supervisor David Shirk collecting the award alongside special effects supervisor Neil Corbould and executive producer Nikki Penny.

In his acceptance speech Webber said, “Thanks to Warners for choosing to make this film, which on paper must have seemed like a crazy idea – because it was a crazy idea! Thanks to David Heyman for his support, and a massive thanks to all the crew at Framestore for their incredible talent and dedication. To George and Sandra, because without their amazing performances all the visual effects in the world would have been pointless and empty. And muchas gracias to Emmanuel Lubezki for his genius and his charm, and most of all to Alfonso Cuarón for his unbelievable vision with his son Jonas and his incredible courage in trusting us to make such a large part of the movie.”

Top photo caption: BAFTA winners Chris Lawrence, David Shirk and Tim Webber.

ILM hires new, opens UK office, expands in Vancouver, Singapore

San Francisco — Lucasfilm’s ILM, headquartered here, has expanded its global operations with the opening of ILM London in the United Kingdom, the growth and relocation of ILM Vancouver and the relocation of ILM Singapore to the newly constructed “Sandcrawler” building located in the Fusionopolis business district.

Coupled with the new and expanded facilities, the company has hired key talent to staff the offices.

“We continue to embrace the global opportunities that have come with advances in technology while maintaining a strong operation here in the US,” says ILM president/GM Lynwen Brennan. “ILM has always prided itself on having the industry’s top creative talent. The difference now is that we can access incredible talent where they live and countries such as Singapore, Canada and the United Kingdom have a great deal to offer.”

Located in Central London, ILM London’s creative team will be led by creative director Ben Morris and animation director Michael Eames. The studio’s director of operations, Sue Lyster, will oversee all London-based operations.

ILM London will be working with ILM’s existing offices in San Francisco, Singapore and Vancouver on a number of releases at launch, including the highly anticipated Star Wars: Episode VII and Marvel’s Avengers: Age of Ultron, the sequel to the 2012 film, The Avengers.

Founded in 2006, ILM Singapore is the company’s second largest studio. Recently relocated to the newly constructed Sandcrawler building the location will also serve as the regional headquarters for Lucasfilm Singapore, The Walt Disney Company (Southeast Asia) and ESPN Asia Pacific.

ILM Singapore, under GM Colin Brown, who is also the former head of the UK Film Commission, will continue to work on Hollywood films, including the upcoming Star Wars films, regional projects and feature animation.

In 2011, ILM established its second international office in Vancouver. Initially planned as a temporary, production-based facility ILM has seen great success both in terms of attracting high-level talent and producing impressive visual effects work.

This success has led to ILM making Vancouver a permanent studio that will soon relocate to a larger facility in the Gastown section of the city. Randal Shore, has joined the studio as supervising producer and will manage day-to-day operations. The new facility will officially open in March and allow the company to accommodate the planned expansion of its Canadian workforce to meet the needs of future projects including Star Wars, World of Warcraft and Tomorrowland. The studio’s current projects include Transformers: Age of Extinction and Teenage Mutant Ninja Turtles.

IBC: Day Two


By Simon Ray
Head of Operations and Engineering
Goldcrest Post, London

Today is picture day, and I definitely earned my expenses. A day full of meetings and demos that were all interesting and enlightening in their own ways. Quantel was first. They were showing us the new features in the Pablo Rio, which is their top of the range picture finishing system which now runs on readily available hardware. This differs from their previous systems which ran on their own proprietary hardware. Pablo Rio has some great features (and a lousy name) and performs well at 4k and beyond.  Continue reading

IBC 2013 Day 2: 4K and Monetization


By Tim Spitzer
Managing Director
Goldcrest Post New York

The buzz and bywords of IBC are two dishes which don’t easily fit on the same plate, but were in equally omnipresent display: 4K and monetize. Whoever makes the tasty dish out of those ingredients is my champion.

Things I saw day two that charmed me:

Fraunhofer had three such items at their booth. Continue reading

Two hot items at the electronics circus

By Tim Spitzer
Managing Director
Goldcrest Post, NYC


SGO, manufacturers of Mistika, introduced Mamba FX.  Mamba FX is a stunningly cost-effective node-based, shot-based, Windows-based effects software package.  Mamba FX is effectively the full subset of effects tools that live in Mistika.

Mamba FX allows capture of all the same camera codecs/file formats as Mystika.

Mamba FX has the same stabilizing, speed change, compositing, tracking, text, color, and 3D tools as Mystika. In my understanding the only tools that have been removed are the Stereoscopic toolset. Continue reading

Day One at the IBC conference

By Simon Ray
Head of Operations and Engineering
Goldcrest London

We got to the show around 4pm.

Already managed to see about 4 stands in the 2 hours we were there.  At this rate we will have finished the whole show by sometime in December.

Had a great demo on Resolve, but Blackmagic don’t seem to be too interested in flogging it as a high-end colour corrector with a small area tucked away in the corner of their huge booth and no real way of organizing personal demos.

Quick look at the new Avid S6 console, looks shiny and we have a demo arranged for Sunday – I am hoping for a ‘paradigm shift’, or at least a whoop and a high-five.

Nice post 6pm beers on the Quantel stand.

The thoughts and opinions here don’t necessarily reflect those of postPerspective.

Why I am going to IBC 2013

By Simon Ray
Head of Operations & Engineering

Goldcrest Post Production On the train on the way to Amsterdam for IBC 2013.  What is the point of this visit? This seems to be an interesting time to look to be investing picture post.  File-based workflows are much more mature and there are lots of vendors competing for your business. Having the opportunity to visit them all within in few hours of each other is a great way to help you make informed decisions.  Also, it is fun to look at expensive shiny boxes with flashing knobs on. Continue reading

Quantel releases 64-bit software for eQ, iQ and Pablo

AMSTERDAM — At IBC 2013 Quantel ( announced a new 64-bit software release for its eQ, iQ and Pablo systems. The new software takes advantage of the modern PC within the eQ, iQ or Pablo to enable the system to take advantage of all the latest tools already delivered on Pablo Rio this year.

Major highlights of the package include: Support for all the new formats announced for Pablo Rio; Mocha tracker enhancements; Larger than 2GB WAV file support; Sony F65 soft-mount; Support for Sony F55 and F5; Video stretch render format choices; Audio loudness monitoring via NuGen VisLM plug-in; Support for P2 and AVCi encoding for MXF; Color ranges – highlights active modes

Aperture – separate RGB channel defocus and sharpen.

Quantel has also reached an agreement with Fraunhofer IIS to integrate its DCP creation and importing software into the Pablo Rio, Pablo, iQ and eQ toolsets. The software offers the most requested functionality of Fraunhofer IIS’s standalone easyDCP toolset as a fully integrated resource in the Quantel GUI.

In other news, Quantel announced integration of Adobe Premiere Pro into the Enterprise sQ workflow. The new Quantel Panel in Adobe Premiere Pro allows Premiere users to search and select content on the Quantel system. Selected content is then automatically transferred to the current project bin in the Premiere system ready for use. The development is underpinned by Quantel’s QTube technology, which delivers the necessary connectivity.

When the job is completed on Premiere, it is delivered back to the Enterprise sQ system via a second new Panel for playout. This Panel allows the Premiere user to select the destination system and to add appropriate metadata to integrate into the sQ workflow.

Adobe Premiere Pro integration will be available at the end of October 2013 and will be free to all Enterprise sQ customers.

Facilis TerraBlock 6.0 will support Adobe Anywhere for video

HUDSON, MA — The newest release of Facilis’s TerraBlock Shared Storage System, V.6.0, is set to support Adobe Anywhere for video a modern platform that empowers virtual teams using Adobe professional video tools to collaborate more efficiently on video productions. As a result, Adobe Anywhere users working from a centralized server connected to TerraBlock will be able to seamlessly use media across the network at advanced bit rates without moving files.

Facilis TerraBlock is a high-performance, high-capacity shared storage system with multi-platform compatibility that offers Fibre Channel and Ethernet connectivity. Facilis will showcase Adobe Premiere Pro CC in its IBC booth as part of a collaborative workflow demonstration including TerraBlock and Empress eMAM Asset Management solution.

HP intros, enhances products across three ‘Z’ family li

NEW YORK — Last week, HP ( held a press and analyst event in New York City, where they introduced new products in its mobile, desktop and monitor lines.

They also brought in customers from around the world to talk about how HP fits into their workflows, including Henric Larsson, CEO/Founder of Sweden’s Chimney VFX house, which also has offices in Berlin, Copenhagen, Kiev, Oslo and Warsaw, and New York-based director/VFX supervisor Mark Russell, who is currently working on Martin Scorsese’s The Wolf of Wall Street.

When HP’s Jim Zafarana, VP/GM, Commercial Solutions, PC Global Business Unit, took the stage to kick off the event, he referenced HP’s 30 years in the business and said, the company is still focusing on performance, innovation and reliability.  That while there have been ebbs and flows over the years, HP has transitioned and redefined itself through ebbs and flows.“But we are not changing direction,” he emphasized. “We are all about recommitting to the high performance user; we are not retreating from high end.” He added that the workstation market is growing once more.


With that he introduced the company’s new mobile workstations, which were completely redesigned from the ground up, including the thin and light ZBook 14, 15 and 17, all featuring the latest 4th generation IntelCorei5 or i7processors.

According to Zafarina, these laptops are 33 percent lighter than typical existing mobile workstations. The ZBook 14 is the lightest of the mobile line and well suited for pro users needing long battery life. It also features the latest AMD FirePro graphics feature ISV certifications and Eyefinity technology that lets you run multiple display configurations with a single graphics card.

The ZBook 15 features Thunderbolt I/O, Nvidia Quadro 3D graphics, and optional Quad Core CPUs. Users can customize the ZBook 15 with up to 1.8TB of storageand up to 32GB of memory.It also offers USB 3.0, and sports an HP DreamColor display

The ZBook 17 also offers Thunderbolt,Nvidia Quadro 3D graphics, and optional Quad Core CPUs. Users can customize the system with up to 2.75TB of storageand up to 32GB of memory.It also features USB 3. The 15 and 17 are available now and the 14 will be shipping end of October.


The HP Z420, Z620 and Z820 Workstations have been updated to include the latest Jim Zafarina with the ZBooksIntel Xeon E5-1600v2 and E5-2600v2 families of processors—also called Ivy Bridge—as well as new memory running 16 percent faster and 2nd generation Thunderbolt ports for creative work flows.

The addition of Thunderbolt will accelerate creative projects with data transfer speeds four times faster than the bandwidth of USB 3.0, easily connecting multiple devices with one compact Thunderbolt port.

The HP Z820 offers up to 24 processing cores, up to 512GB of ECC memory, (5) up to 15 TB of high-speed storage, (6) and up to two Nvidia K6000 graphics.

The HP Z620 provides up to 24 discrete processing cores, up to 192GB of ECC memory, up to 12 TB of high-speed storage, and up to Nvidia K6000 or dual Nvida K5000 graphics for high-speed graphics performance.

The HP Z420, includes up to eight processing cores using the latest Intel Xeon processor E5-1600 v2 and E5-2600 v2 product families, providing up to 64GB of ECC memory, up to 12 TB of high-speed storage, and Nvidia Quadro K6000 or AMD W7000, or dual Nvidia K2000 graphics.

All workstations offer a tool-free mini-tower form factor.The enhanced HP Z420, Z620 and Z820 workstations are planned to be available worldwide in October starting $1,399, $1,689 and $2,439, respectively.


There is a new family of Z displays, five in all, and they all feature IPS 2 generation panels and a lower power envelop.  All offer IPS Gen 2 panels; they are easily adjustable and offer ultra thin design to take up less space. There is the HP Z 22i, 23i, 24i, 27i and 30i.

Autodesk offers pay as you go access to range of software

SAN FRANCISCOAutodesk customers will now be able to pay as they go for all of the company’s latest Design and Creation Suites, Autodesk 3ds Max, Autodesk Maya, and the new Autodesk Maya LT.

Customers can purchase access to a range of Autodesk desktop software on a monthly, quarterly or annual basis, in addition to traditional licenses, expanding choices in how to access and pay for Autodesk software. Users can now get started with Autodesk software with virtually no up-front capital costs.

Customers who choose to purchase monthly, quarterly or annual rental plans will receive similar benefits to Autodesk Subscription customers including staying current with the latest product updates, access to select Autodesk 360 cloud services and basic support.

“Our customers wanted more choices and flexibility in how they access our portfolio of design, engineering and entertainment creation tools. We expect rental plans to be attractive across all the industries we serve, especially for freelancers, startups or businesses that are project-based in nature,” said Andrew Anagnost, senior VP of Industry Strategy and Marketing at Autodesk. “This model allows customers to compete with the highest quality, industry leading software, while using only what they need when they need it.”

People are increasingly seeking out experiences with less financial or time investment, and consuming products and services through renting, sharing and purchasing subscriptions. “It’s no secret; it has been a challenging time to be in the visual effects business,” said CEO and Executive Producer Will Cohen from UK-based VFX start-up Milk. “Everyone needs to rethink the business model, and Autodesk launching rental plans will really help change the industry. Having scalability — the flexibility to easily ramp up or back depending on the project — means we can better compete in the modern visual effects industry.”

The option to purchase a monthly, quarterly or annual rental plan will be available starting September 16, 2013 (

New rental plans apply to products including Autodesk AutoCAD Design Suite, Autodesk AutoCAD Inventor LT Suite, Autodesk AutoCAD Revit LT Suite, Autodesk Building Design Suite, Autodesk Entertainment Creation Suite, Autodesk Factory Design Suite, Autodesk Infrastructure Design Suite, Autodesk Plant Design Suite, Autodesk Product Design Suite, Autodesk Maya, Autodesk 3ds Max, and Autodesk Maya LT.

Nugen’s new MultiMonitor also available in SSL’s LMS-16

LEEDS, UK — NuGen Audio has expanded its portfolio of loudness solutions with MultiMonitor, a new loudness and true-peak monitoring software application. Also, a custom version of the MultiMonitor is available within SSL’s LMS-16, a new turnkey, PC-based system to be launched at IBC 2013.

MultiMonitor offers up to 16 individual loudness and true-peak meters in mono, stereo, and 5.1 formats for up to 96 individual audio channels. MultiMonitor is standalone software for Windows® or OS X that provides flexible, real-time monitoring in full compliance with the U.S. CALM Act legislation, ITU-R BS. 1770/1, ATSC A/85, EBU R128, and other global loudness regulations and standards.

Each MultiMonitor meter displays dedicated momentary, short-term, and integrated program loudness alongside true-peak levels in a highly configurable environment that enables individual or group/subgroup operation as required. The multiple meter configurations allow numerous sources, groups, and playout streams to be monitored simultaneously, in any combination, and to individual specifications. In addition, MultiMonitor features short-term loudness-level alerts and color-coded meter groups. MultiMonitor is available now for $2,000.

Jon Schorah, creative director of NuGen Audio, says, “MultiMonitor is the latest example of how we’re supporting our customers by making compliance more straightforward and efficient, which makes it easier to measure program levels without interfering with the creative process. Using a visual metering tool such as MultiMonitor, audio engineers can keep an eye on the meter and loudness profile while relying on their trained ears to make most of the mixing decisions.”

In regard to the strategic partnership with Solid State Logic, the MultiMonitor is also available through the LMS-16 turnkey system. Through LMS-16, SSL is providing the MultiMonitor software preinstalled and configured on an industrial-strength, 1-RU PC fitted with the SSL MadiXtreme 128 audio interface. An optional monitor arm is available to facilitate convenient side-mounting of a screen on SSL’s C100 HDS or C10 HD consoles.

Meet The Artist: Sandra Dow

Behind the Title…

The 20-year vet of The Mill couldn’t live without a kettle, DVR and an encoder… oh, and she likes sleep!


NAME: Sandra Dow

COMPANY: The Mill (@millvfx) in Los Angeles

The Mill in Los Angeles has been producing visual effects content and imagery for commercials and films since 2007

Head of MCR  (Master Control Room)

The Machine Room is responsible for everything that enters or leaves The Mill. I would like to think we are the heart of The Mill, without us, the building couldn’t run. It might not be the most glamorous job, but we make sure that all the months/day/hours of creative hard work actually reach your TV/computer screen looking the best they possibly can and on time.

Continue reading

Adobe updating video tools in Creative Cloud, Anywhere

SAN JOSE, CA — Adobe is talking updates, to be available in October, to video tools within its Adobe Creative Cloud — there will be over 150 new features that include new capabilities in Adobe Premiere Pro CC, Adobe After Effects CC, Adobe SpeedGrade CC, Adobe Prelude CC, Adobe Media Encoder CC and Adobe Story CC Plus.

These updates are meant to help video pros collaborate and deliver high-quality productions across multiple screens. Important updates will also be added to Adobe Anywhere for video, which enables large virtual teams of talent to efficiently shoot, log, edit, share and finish video productions together.

Continue reading

DS is dead, long live DS


By Barry Goch

LOS ANGELES — When the news came of DS’s demise I was in shock. It’s as if a dear friend who’s been sick for a while finally passes. I knew it was inevitable, but that doesn’t take away the pain. Who am I to speak of pain when it’s just a software application, right? Well, for the folks that got it, and unfortunately there aren’t enough of us, it’s a huge loss. Not just professionally, but on a deeper level.
“…the passion comes from being so impressed with an all-encompassing bit of software.”Tony Quinsee-Jover , Continue reading

Behind the Camera: Randall Dark

Choosing the right tools for the right job is key for this filmmaker.


NAME: Randall Dark @RandallPDark

COMPANY: Austin, Texas-based Randall Dark Productions ( Dark and his companies have been involved in over 3,000 projects, including feature films, docs, commercials, music videos, corporate presentations and live events. Continue reading

Meet The Artist: Ron DiCesare

Behind the Title…

An audio engineer with music in his heart.

NAME: Ron DiCesare (


Freelance Audio Engineer, based in NYC


I work mainly on audio for TV and radio commercials. There are three main areas of audio for commercials, films, and TV. They are dialog, music, and sound effects. Continue reading

Maya LT for indie, mobile game developers

SAN FRANCISCO — Autodesk has introduced Autodesk Maya LT 2014, a new 3D modeling and animation tool tailored for independent and mobile game developers.

Available immediately and compatible with certain industry-standard game engines, Maya LT draws upon from Autodesk Maya software to bring an affordable new tool-set for the creation of pro-grade 3D mobile, PC and Web-based game assets.

Maya LT offers an easy-to-navigate user interface (UI) and 3D modeling and animation tools that enable independent game developers to rapidly deliver 3D assets into game engines.

The software integrates seamlessly into game development workflows with out-of-the box mediadesktop2support for Unity 3D Engine and Unreal Engine™ through the FBX file format for primary data exchange, and the ability to import certain 3D asset formats [Maya (.ma, .mb), Maya LT (.mlt), OBJ, FBX, AI, EPS] and texture formats (BMP, PNG, DDS, EXR, TGA, TIFF), as well as export 3D assets in FBX and .mlt.

Maya LT has a number of features customized specifically for the needs of mobile and independent game developers: powerful modeling tools to help create and alter 3D assets of any size and export FBX files containing up to 25,000 polygons per object, animation tools that include a skeleton generator and inverse kinematics with Autodesk HumanIK, and high-quality viewport previews to help developers view assets as they would appear in game, reducing iteration and asset creation time. Other key features are lighting and texture baking, giving designers professional global illumination tools to help simulate near realistic lighting through baking lighting data into texture maps, and vertex maps.

Autodesk Maya LT 2014 is now available for Mac and Windows at a starting price of $795 SRP per perpetual license. Term licenses will also be available as part of a monthly, quarterly or annual rental plan in the near future, starting at $50 SRP, $125 SRP and $400 SRP, respectively.

Fox Sports 1 debuts first spot

FREMONT, Calif. —Fox Sports 1’s first commercial, Happy Days Are Here Again, was directed by HSI Productions’ Joseph Kahn with aerial footage being shot with the Blackmagic Cinema Camera.

Launched on August 17, Fox Sports 1 includes coverage of NASCAR, UFC, college football, college basketball and soccer coverage, along with studio shows, such as Fox Football Daily and Fox Sports Live.

The commercial called for aerial shots of a NASCAR race, and HSI Productions turned to Mi6 Films, an aerial photography and video company based in Southern California. Because the NASCAR shoot took place at Charlotte Motor Speedway in Charlotte, NC, Mi6 Films partnered with Beaufort, SC-based Wollwerthfilms for the aerial shots.

Wollwerthfilms specializes in aerial cinematography and provided a high-tech RC aerial cinematography rig equipped with a Blackmagic Cinema Camera in order to help capture the intensity of a 200mph NASCAR race during the first day of shooting at Charlotte Motor Speedway.

“The director, Joseph Kahn, was looking for a really dramatic wipe reveal of the stadium and motor speedway with fans cheering and waving,” said Stephen Wollwerth, owner wollwerthfilms. “We were also able to capture a long straight high speed shot where we cleared the fence and dropped down to just over the track level as cars were passing underneath.”

In order to achieve these shots, they mounted a Blackmagic Cinema Camera on a 3X Pro v3 gimbal from PhotoShip One, which was then mounted on an aerial cinematography rig Wollwerth built himself. A Blackmagic Design Mini Converter SDI to Analog was also mounted on the helicopter to convert the video feed to analog and send it downlink from the helicopter wirelessly for ground viewing.

“We needed really high video quality to match the other high-end cameras that were used for shooting, and the Blackmagic Cinema Camera fit right in,” said Wollwerth. “The footage was shot in 2.5K CinemaDNG RAW format for optimum image quality, and the 13 stops of dynamic range really gave us the latitude we needed. Even DIT Jeremy Ball commented that the latitude of the footage was amazing.”

Jeremy Ball, colorist/DIT/post supervisor/owner of A Grade, a Charlotte-based post production facility, worked with Jeremy and Bryan Scibelli, of production and post facility Cinemanix, who were the DITs for the Charlotte location, They used the Blackmagic DaVinci Resolve color corrector for setting up look-up tables, data management, transcoding and rendering out on set dailies.

“We had a mix of Resolve and Resolve Lite, and we couldn’t have asked for a better organizational tool. Resolve’s ability to add in different types of metadata carried through the post process was invaluable, especially with the multi camera, multi location and multi day shoot,” said Ball.

Meet The Artist: Matt Silverman

Behind The Title…


This industry vet started up his own design studio last year. He heads creative but isn’t above encouraging good hygiene habits as well.

NAME:  Matt Silverman

COMPANY: Swordfish


Swordfish is a motion design studio based in San Francisco. Our team of directors, designers, animators, and technologists work with direct clients and ad agencies to design memorable pictures in motion. Continue reading

Meet The Artist: Rob Ashe


Rob Ashe is one of three editors who work on the TBS late night show Conan. He is also an active participant on Twitter (@robashejr).

NAME: Rob Ashe


We are a rag tag group of varmints who come together Monday through Thursday to make a hour of late night television for enjoyable consumption by the general public. That show being Conan O’Brien’s Conan on TBS. Continue reading

Meet The Artist: Meetal Gokul

Behind the Title….


Dark rooms, polorized glasses and making 3D visions a reality

NAME: Meetal Gokul

COMPANY: Park Road Post Production ( in Wellington, New Zealand


Park Road Post Production is a post production facility located five minutes from Stone Street Studios. Park Road was established as a one-stop shop and offers all post services for a feature from digital rushes, stereoscopic alignment, digital intermediate, Foley, ADR and sound mixing through to the final completion of all film and digital deliverables for distribution. Continue reading

Meet The Artist: Brady Betzel

Behind the title….

Brady Drinking Margarita

This post pro enjoys pressure, early mornings and getting home in time to hang with his son.

NAME: Brady Betzel

COMPANY: Bunim/Murray Productions in Van Nuys, California.


We are a production and post facility wrapped in a family of professionals. Continue reading

Meet The Artist: John Kleber

Behind the title…


Bridging the gap between the technical and creative.

NAME: John Kleber

COMPANY: Harbor Picture Company 


Harbor is an artist-built, talent-driven company providing a full range of services to the film and television community in New York City. We built our facility to foster creativity and encourage collaboration. By working with the best talent and technology, we are able to provide an elegant production pipeline that is sufficiently flexible and scalable to meet the needs of any production. Continue reading

Meet The Artist: Walter Werzowa

Behind the title…


Owning a company means wearing many different hats, including one that says “therapist” on it.

NAME: Walter Werzowa

COMPANY: MusikVergnuegen 


We are an audio concept entity based in Hollywood. Our goal: that every 20 seconds, someone in the world is enjoying our music. We are currently at 58 seconds. Continue reading