Category Archives: New Hire

Senior colorist Nicholas Hasson joins Light Iron’s LA team

Post house Light Iron has added senior colorist Nicholas Hasson to its roster. He will be based in the company’s Los Angeles studio.

Hasson colored the upcoming Tiffany Haddish feature Nobody’s Fool and Season 2 of HBO’s Room 104. Additional past credits include Boo 2! A Madea Halloween, Masterminds, All About Nina and commercial campaigns for Apple, Samsung and Google. He worked most recently at Technicolor, but his long career has included time at ILM, Company 3 and Modern VideoFilm.

“Nicholas has a wealth of experience that makes him a great fit with our team,” says Light Iron GM Peter Cioni. “His background in color, online and VFX ensures success in meeting clients’ creative objectives and enables flexibility in working across both episodic and feature projects.”

Like Lightiron’s other LA-based colorists, led by Ian Vertovec, Hasson is able to support cinematographers working in other regions through virtual DI sessions in Panavision’s network of connected facilities. (Light Iron is a Panavision company.)

Hasson joins Light Iron during a time of high-profile streaming releases including Netflix’s Maniac and Facebook’s Sorry For Your Loss, as well as feature releases garnering awards buzz, such as Can You Ever Forgive Me? and What They Had.

“This is a significant time of growth for Panavision’s post production creative services,” concludes Cioni. “We are thrilled to have Nicholas with us as we enter this next chapter of expansion.”


Company 3 adds television colorist Jeremy Sawyer 

Company 3 in Santa Monica has beefed up its team of colorists with Jeremy Sawyer (Hulu’s The First, Showtime’s I’m Dying Up Here). He will be working on the studio’s expanding slate of TV projects — they currently have more than 20 series in the facility, including Lost in Space (Netflix), Insecure (HBO) and Jack Ryan (Amazon).

For Sawyer, who has also worked on The Walking Dead (AMC), this move brings him back to Company 3, where he had worked as an assistant and then colorist and where he learned a great deal about his craft from CEO/founder Stefan Sonnenfeld.

He returns to the company following a tenure at Light Iron, and was at MTI before that. Prior to his initial stint at Company 3, Sawyer worked at the now-defunct Syndicate. He started his career at Finish Post in his native Boston.

“We’re very excited to welcome Jeremy back,” Sonnenfeld says. “He is an excellent artist and he has a keen understanding of the unique challenges involved in coloring episodic programming. He’s a perfect addition to our team, especially as demand for top-notch TV post continues to explode.”

Sawyer will continue his work on the third season of Netflix series Easy, for which he’s colored every episode to date.

DG 7.9, 8.27, 9.26

Cinesite London promotes Caroline Garrett to head of VFX

Cinesite in London has upped Caroline Garrett to head of its London VFX studio. She will oversee day-to-day operations at the independent VFX facility.  Garrett will work with her colleagues at Cinesite Montreal, Cinesite Vancouver and partner facilities Image Engine and Trixter to increase Cinesite’s global capacity for feature films, broadcast and streaming shows.

Garrett started her career in 1998 as an artist at the Magic Camera Company in Shepperton Film Studios. In 2002 she co-founded the previsualization company Fuzzygoat, working closely with directors at the start of the creative process. In 2009 she joined Cinesite, taking on the position of CG manager and overseeing the management of the 3D department as well as serving as both producer and executive producer. Prior to her most recent promotion, she was head of production, overseeing all aspects of production for the London.

With 20 years of industry experience and her own background as an animator and CG artist, Garrett understands the rigors that artists face while solving technical and creative challenges. Since joining Cinesite in 2009, she worked as senior production executive on high-profile features, including Harry Potter and the Deathly Hallows, Skyfall, World War Z, The Revenant, Fantastic Beasts and Where to Find Them and, most recently, Avengers Infinity War.

Garrett is the second woman to be appointed to a head of sudio role within the Cinesite group following Tara Kemes’ appointment as GM of Cinesite’s Vancouver animation studio earlier this year.


Marian Oliver upped to editor at Cutters Chicago

Cutters Studios has promoted Marian Oliver to editor at its Chicago location. Oliver began her career in client services at Red Car Chicago in 2009. After earning her degree from Columbia College Chicago, she joined Cutters in 2012 as an assistant editor working on advertising projects. Her most recent projects include campaigns for Meijer, Hallmark, Southwest Airlines, Kiwi, Abbott, Chamberlain and Triscuit.

She uses Avid Media Composer as her main tool, but can edit on Adobe Premiere as well.

Oliver has worked a lot with agency The Distillery Project on jobs including Arrow, Meijer, Tropic Sport, Athletico and RetailMeNot. Per Jacobson, founding partner/CD of The Distillery Project, says, “We fell for Marian long ago when she was assisting Chris Claeys — and snickering along with our antics in the back of his edit suite. From day one, she was quick, smart and had great instincts, which is why we started giving her editing assignments long before she scored the sweet official title of editor.”

The Distillery Project’s founder/chief creative officer John Condon adds, “They say what we do isn’t rocket science, but then one day you find yourself doing a spot that is in fact rocket science. Marian put together a story that not only explained what it took for the European Space Agency to land a probe on a comet going 34,000 mph, but that also touched people emotionally.”

Oliver loves the art of editing. “There is something about the problem solving aspect of the job that I love,” she says. “I know it seems like that isn’t a large part, but it’s like a good 70%. You just keep moving forward, keep trying things, keep thinking and rethinking… sometimes you have to step outside of that frame you have painted yourself into. It’s a challenge and it is frustrating but man when you get it, when you solve that problem and it really works, that’s it, you’re hooked.”

Oliver is a member of the Free the Bid database of women in the creative industry. You can check out her profile here. And when not editing? This passionate photographer can be found traveling “in search of the perfect light.”


Patrick Ferguson joins MPC LA as VFX supervisor

MPC’s Los Angeles studio has added Patrick Ferguson to its staff as visual effects supervisor. He brings with him experience working in both commercials and feature films.

Ferguson started out in New York and moved to Los Angeles in 2002, and he has since worked at a range of visual effect houses along the West Coast, including The Mission, where he was VFX supervisor, and Method, where he was head of 2D. “No matter where I am in the world or what I’m working on, one thing has remained consistent since I started working in the industry: I still love what I do. I think that’s the most important thing.”

Ferguson has collaborated with directors such as Stacy Wall, Mark Romanek, Melina Matsoukas, Brian Billow and Carl Rinsch, and has worked on campaigns for big global brands, including Nike, Apple, Audi, HP and ESPN.

He has also worked on high-profile films, including Pirates of the Caribbean and Alice in Wonderland, and he was a member of the Academy Award-winning team for The Curious Case of Benjamin Button.

“In this new role at MPC, I hope to bring my varied experience of working on large scale feature films as well as on commercials that have a much quicker turnaround time,” he says. “It’s all about knowing what the correct tools are for the particular job at hand, as every project is unique.”

For Ferguson, there is no substitute for being on set: “Being on set is vital, as that’s when key relationships are forged between the director, the crew, the agency and the entire team. Those shared experiences go a long way in creating a trust that is carried all the way through to end of the project and beyond.”


Composer and sound mixer Rob Ballingall joins Sonic Union

NYC-based audio studio Sonic Union has added composer/experiential sound designer/mixer Rob Ballingall to its team. He will be working out of both Sonic Union’s Bryant Park and Union Square locations. Ballingall brings with him experience in music and audio post, with an emphasis on the creation of audio for emerging technology projects, including experiential and VR.

Ballingall recently created audio for an experiential in-theatre commercial for Mercedes-Benz Canada, using Dolby Atmos, D-Box and 4DX technologies. In addition, for National Geographic’s One Strange Rock VR experience, directed by Darren Aronofsky, Ballingall created audio for custom VR headsets designed in the style of astronaut helmets, which contained a pinhole projector to display visuals on the inside of the helmet’s visor.

Formerly at Nylon Studios, Ballingall also composed music on brand campaigns for clients such as Ford, Kellogg’s and Walmart, and provided sound design/engineering on projects for AdCouncil and Resistance Radio for Amazon Studios and The Man in the High Castle, which collectively won multiple Cannes Lion, Clio and One Show awards, as well as garnering two Emmy nominations.

Born in London, Ballingall immigrated to the US eight years ago to seek a job as a mixer, assisting numerous Grammy Award-winning engineers at NYC’s Magic Shop recording studio. Having studied music composition and engineering from high school to college in England, he soon found his niche offering compositional and arranging counterpoints to sound design, mix and audio post for the commercial world. Following stints at other studios, including Nylon Studios in NYC, he transitioned to Sonic Union to service agencies, brands and production companies.


Franz Kraus to advisory role at ARRI, Michael Neuhaeuser takes tech lead

The ARRI Group has named Dr. Michael Neuhaeuser as the new executive board member responsible for technology. He succeeds Professor Franz Kraus, who after more than 30 years at ARRI, joins the Supervisory Board and will continue to be closely associated with the company. Neuhaeuser starts September 1.

Kraus, who has been leading tech development at ARRI for the last few decades, played an essential role in the development of the Alexa digital camera system and early competence in multi-channel LED technology for ARRI lighting. During Kraus’ tenure at ARRI, and while he was responsible for research and development, the company was presented with nine Scientific and Technical Awards by the Academy of Motion Picture Arts and Sciences for its outstanding technical achievements.

In 2011, along with two colleagues, Kraus was honored with an Academy Award of Merit, an Oscar statuette for the design and development of the digital film
recorder, the ARRILASER.

Neuhaeuser, who is now responsible for technology at the ARRI Group, previously served as VP of automotive microcontroller development at Infineon Technologies in Munich. He studied electrical engineering at the Ruhr-University Bochum, Germany, and subsequently completed his doctorate in semiconductor devices. He brings with him 30 years of experience in the electronics industry.

Neuhaeuser started his industrial career at Siemens Semiconductor in Villach, Austria, and also took over leadership development at Micram Microelectronic in Bochum. He joined Infineon Technologies in 1998, where he performed various management functions in Germany and abroad. Some of his notable accomplishments include being responsible for the digital cordless business since 2005 and, together with his team, having developed the world’s first fully integrated DECT chip. In 2009, he was appointed to VP/GM at Infineon Technologies Romania in Bucharest where, as country manager, he built up various local activities with more than 300 engineers. In 2012, he was asked to head up the automotive microcontroller development division for which he and his team developed the highly successful Aurix product family, which is used in every second car worldwide.

Main Image: L-R: Franz Kraus and Michael Neuhaeuser.


Mark Thorely joins Mill Film Australia as MD

Mill Film in Australia, a Technicolor VFX studio, has named Mark Thorley as managing director.Hi appointment comes in the wake of the February launch of Mill Film in Adelaide, Australia.

Thorley brings with him more than 15 years of executive experience, working at such studios as Lucas Film, Singapore, where he oversaw studio operations and production strategies. Prior to that, Thorley spent nine years at Animal Logic, at both their Los Angeles and Sydney locations, as head of production. He also held senior positions at Screen Queensland and Omnicom.

Throughout his career, Thorley has received credits on numerous blockbuster feature films, including Kong: Skull Island, Rogue One, Jurassic World and Avengers: Age of Ultron. Thorley will drive all aspects of VFX production, client relations and business development for Australia, reporting into the global head of Mill Film, Lauren McCallum.


Luke Morrison joins Electronic Theatre Collective as head of color

Electric Theatre Collective has added Luke Morrison to its London of office as head of color. He will lead a team that already includes Jason Wallis, Lewis Crossfield, Kaitlyn Battistelli, Ruth Wardell, Mathieu Caplanne and Tim Smith.

During his decade-plus career, Morrison has won multiple AICE Awards, including a win in the Color Grading: Over 90 Seconds category for his 2018 Canadian Olympic Committee “Be Olympic” spot directed by Ian Pons Jewell.

Morrison joins Electric Theatre Collective from The Mill, where he spent the past few years setting up the color department at their Chicago office. While there, he led their color team and nurtured up-and-coming talent.

When asked what excited him about joining Electric, Luke had this to say: “Working with and nurturing talent is something that I’m really passionate about, so seeing how Electric holds this as one of their core values is exciting. The opportunity to add my experience and help shape the company whilst building upon their impressive work is inspiring. Having known and worked with many Electric members in the past, I’m looking forward to working alongside them again.”

To date Luke has worked with brands the like of Jeep, Mercedes-Benz, Beats and, most recently, Dollar Shave Club. He has graded for directors such as Wally Pfister, Pete Riski and Mark Romanek.

Sim Post NY expands audio offerings, adds five new staffers

Sim Post in New York is in growth mode. They recently expanded their audio for TV and film services and boosted their post team with five new hires. Following the recent addition of a DI theater to its New York location, Sim is building three audio suites, a voiceover room and support space for the expanded audio capabilities.

Primetime Emmy award-winner Sue Pelino joins Sim as a senior re-recording mixer. Over Pelino’s career, she has been nominated for 10 Primetime Emmy Awards, most recently winning her third Emmy in 2017 for Outstanding Sound Mixing for her work on the 2017 Rock & Roll Hall of Fame Induction Ceremony (HBO). Project highlights that include performance series such as VH1 Sessions at West 54th, Tony Bennett: An American Classic, Alicia Keys — Unplugged, Tupac: Resurrection and Elton John: The Red Piano.

Dan Ricci also joins the Sim audio department as a re-recording mixer. A graduate of the Berklee College of Music, his prior work experience includes time at Sony Music and credits include Comedians in Cars Getting Coffee and the Grammy-nominated Jerry Before Seinfeld Netflix special. Ricci has worked extensively with Dolby Atmos and immersive technologies involved in VR content creation.

Ryan Schumer completes Sim New York’s audio department as an assistant audio engineer. Schumer has a bachelor’s degree from Five Towns College on Long Island in Jazz Commercial Music with a concentration in audio recording technology.

Stephanie Pacchiano joins Sim as a finishing producer, following a 10-year stint at Broadway Video where she provided finishing and delivery services for a robust roster of clients. Highlights include Jerry Seinfeld’s Comedians in Cars Getting Coffee, Atlanta, Portlandia, Documentary Now! and delivering Saturday Night Live to over 25 domestic and international platforms.

Kassie Caffiero joins Sim as VP, business development, east coast sales. She brings with her over 25 years of post experience. A graduate of Queens College with a degree in communication arts, Caffiero began her post career in the mid 1980s and found herself working on the CBS TV series. Caffiero’s experience managing the scheduling, operations and sales departments at major post facilities led her to the role of VP of post production at Sony Music Studios in New York City for 10 years. This was followed by a stint at Creative Group in New York for five years and most recently Broadway Video, also in New York, for six years.

Sim Post is a division of Sim, provides end-to-end solutions for TV and feature film production and post production in LA, Vancouver, Toronto, New York and Atlanta.