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Category Archives: New Hire

Carbon New York grows with three industry vets

Carbon in New York has grown with two senior hires — executive producer Nick Haynes and head of CGI Frank Grecco — and the relocation of existing ECD Liam Chapple, who joins from the Chicago office.

Chapple joined Carbon in 2016, moving from Mainframe in London to open Carbon’s Chicago facility.  He brought in clients such as Porsche, Lululemon, Jeep, McDonald’s, and Facebook. “I’ve always looked to the studios, designers and directors in New York as the high bar, and now I welcome the opportunity to pitch against them. There is an amazing pool of talent in New York, and the city’s energy is a magnet for artists and creatives of all ilk. I can’t wait to dive into this and look forward to expanding upon our amazing team of artists, and really making an impression in such a competitive and creative market.”

Chapple recently wrapped direction and VFX on films for Teflon and American Express (Ogilvy) and multiple live-action projects for Lululemon.  The most recent shoot, conceived and directed by Chapple, was a series of eight live-action films focusing on Lululemon’s brand ambassadors and their new flagship store in Chicago.

Haynes joins Carbon from his former role as EP of MPC Creative, bringing over 20 years of experience earned at The Mill, MPC and Absolute.  Haynes most recently wrapped the launch film for the Google Pixel Phone and the Chromebook, as well as an epic Middle Earth: Shadow of War Monolith Gamestrailer combining photo-real CGI elements with live-action shot on the frozen Black Sea in Ukraine.  “We want to be there at the inception of the creative and help steer it, ideally lead it and be there the whole way through the process, from concept & shoot to delivery.  Over the years, whether working for the world’s most creative agencies or directly with prestigious clients like Google, Guinness and IBM, I aim to be as close to the project as possible from the outset, allowing my team to add genuine value that will garner the best result for everyone involved.”

Grecco joins Carbon from Method Studios, where he most recently led projects for Google, Target, Microsoft, Netflix and Marvel’s Deadpool 2.  With a wide range of experience from Emmy-nominated television title sequences to feature films and Super Bowl commercials, Grecco looks forward to helping Carbon continue to push their visuals beyond the high bar that has already been set.

In addition to New York and Chicago, Carbon has a studio in Los Angeles.

Main Image: (L-R) Frank Grecco, Liam Chapple, Nick Haynes

Final Cut ups Zoe Schack to editor

Final Cut Edit in LA has promoted Zoe Schack to editor, after working at the studio as an assistant editor for three years. While at Final Cut, Schack was mentored by Final Cut editors Crispin Struthers, Joe Guest, Jeff Buchanan and Rick Russell.

Schack has edited branded content and commercials for Audi, Infiniti, Doritos and Dollar Shave Club as well as music videos for Swae Lee and Whitney Woerz. She has also worked with a number of high-profile directors, including Dougal Wilson, Ava DuVernay, Michel Gondry, Craig Gillespie and Steve Ayson.

Originally from a small town north of New York, Schack studied film at RISD and NYU’s Tisch School of the Arts. Her love for documentaries led her to intern with renowned filmmaker Albert Maysles and then on to produce the Bicycle Film Festival in Portland, Oregon. She edited several short documentaries and a pilot series that were featured in many film festivals.

“It’s been amazing watching Zoe’s growth the last few years,” says Final Cut executive producer Suzy Ramirez. “She’s so meticulous, always doing a deep dive into the footage. Clients love working with her because she makes the process fun. She’s grown here at Final Cut so much already under the guidance of our editors, and her craft keeps evolving. I’m excited to see what’s ahead”

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James Norris joins Nomad in London as editor, partner

Nomad in London has added James Norris as editor and partner. A self-taught, natural editor, James started out running for the likes of Working Title, Partizan and Tomboy Films. He then moved to Whitehouse Post as an assistant where he refined his craft and rose through the ranks to become an editor.

Over the past 15 years, he’s worked across commercials, music videos, features and television. Norris edited Ikea’s Fly Robot Fly spot and Asda’s Get Possessed piece, and has recently cut a new project for Nike. Working within television and film, he also cut an episode of the BAFTA-nominated drama Our World War and feature film We Are Monster.

“I was attracted to Nomad for their vision for the future and their dedication to the craft of editing. They have a wonderful history but are also so forward-thinking and want to create new, exciting things. The New York and LA offices have seen incredible success over the last few years, and now there’s Tokyo and London too. On top of this, Nomad feels like home already. They’re really lovely people — it really does feel like a family.”

Norris will be cutting on Avid Media Composer at Nomad.

 


VFX house Blacksmith now offering color grading, adds Mikey Pehanich

New York-based visual effects studio Blacksmith has added colorist Mikey Pehanich to its team. With this new addition, Blacksmith expands its capabilities to now offer color grading in addition to VFX.

Pehanich has worked on projects for high-profile brands including Amazon, Samsung, Prada, Nike, New Balance, Marriott and Carhartt. Most recently, Pehanich worked on Smirnoff’s global “Infamous Since 1864” campaign directed by Rupert Sanders, Volkswagen’s Look Down in Awe spot from Garth Davis, Fisher-Price’s “Let’s Be Kids” campaign and Miller Lite’s newly launched Followers spot, both directed by Ringan Ledwidge.

Prior to joining Blacksmith, Pehanich spent six years as colorist at The Mill in Chicago. Pehanich was the first local hire when The Mill opened its Chicago studio in 2013. Initially cutting his teeth as color assistant, he quickly worked his way up to becoming a full-fledged colorist, lending his talent to campaigns that include Michelob’s 2019 Super Bowl spot featuring Zoe Kravitz and directed by Emma Westenberg, as well as music videos, including Regina Spektor’s Black and White.

In addition to commercial work, Pehanich’s diverse portfolio encompasses several feature films, short films and music videos. His recent longform work includes Shabier Kirchner’s short film Dadli about an Antiguan boy and his community, and Andre Muir’s short film 4 Corners, which tackles Chicago’s problem with gun violence.

“New York has always been a creative hub for all industries — the energy and vibe that is forever present in the air here has always been a draw for me. When the opportunity presented itself to join the incredible team over at Blacksmith, there was no way I could pass it up,” says Pehanich, who will be working on Blackmagic’s DaVinci Resolve.

 


Jacki Sextro opens commercial production company Kin

Founder and executive producer Jacki Sextro has launched LA-based production company Kin. For over a decade, Sextro has been part of award-winning teams at production companies including Hungry Man, Biscuit and The Directors Bureau. In making the leap from executive producer to business owner, Sextro, says, “I had a list of goals — a commitment to diversity, green practices and creating memorable original content. I looked around for a company that shared these goals but didn’t see it. I knew that if I felt that way, directors must be searching for it too.”

Kin’s directorial lineup includes Ric Cantor, a D&AD, British Arrow and Cannes Lions-winning director who is known industry wide for elevating lifestyle, auto and comedy campaigns with a cinematic eye; Jeff Baena, a Lions-winning comedy filmmaker whose features have starred Alison Brie, Thomas Middleditch and Aubrey Plaza; Minhal Baig, a writer (BoJack Horseman, Dune: The Sisterhood) and director whose feature, Hala, about a Muslim teenager coping with the unraveling of her family as she comes into her own, will be released by Apple TV+; JD Dillard, who weaves genre with emotional, character-driven stories as showcased in his Sundance-premiering features Sleight and Sweetheart; Liza Mandelup, an award-winning documentary filmmaker whose work has explored what it means to be a mom, athlete, coder and fangirl; and Ryan Reichenfeld, who connects viewers with dynamic subjects, from skaters to footballers, by creating vivid scenes in everyday moments.

As for the directors she’s drawn to Sextro says they are makers “whose ideas and work surprise me. The biggest error you can make is to be forgettable or average.

“I love that we’re in an era where there is a spectrum of tone in advertising,” she continues. “Ultimately, my role is to help the directors shape ideas in a way where creative teams walk away with an elevated finished product.”

Main Image: (top L to R) Minhal Baig, Ric Cantor, JD Dillard
(Bottom L to R) Ryan Reichenfeld, Jeff Baena, Liza Mandelup


Nice Shoes Toronto adds colorist Yulia Bulashenko

Creative studio Nice Shoes has added colorist Yulia Bulashenko to its Toronto location. She brings over seven years of experience as a freelance colorist, working worldwide across on projects with such top global clients as Nike, Volkswagen, MTV, Toyota, Diesel, Uniqlo, Uber, Adidas and Zara, among numerous others.

Bulashenko’s resume includes work across commercials, music videos, fashion, and feature films. Notable projects include Sia and Diplo’s (LSD) music video for “Audio,” “Sound and Vision” a tribute to the late singer David Bowie directed by Canada for whom she has been a colorist of choice for the past five years; and feature films The Girl From The Song and Gold.

Toronto-based Bulashenko is available immediately and also available remotely via Nice Shoes’s New York, Boston, Chicago, and Minneapolis spaces.

Bulashenko began her career as a fashion photographer before transitioning into creating fashion films. Through handling all of the post on her own film projects, she discovered a love for color grading. After building relationships with a number of collaborators, she began taking on projects as a freelancer, working with clients in Spain and the UK working on a wide range of projects throughout Europe, Mexico, Qatar and India.

Managing director Justin Pandolfino notes, “We’re excited to announce Yulia as the first of a number of new signings as we enter our fourth year in the Toronto market. Bringing her onboard is part of our ongoing efforts to unite the best talent from around the world to deliver stunning design, animation, VFX, VR/AR, editorial, color grading and finishing for our clients.”


Good Company adds director Daniel Iglesias Jr.

Filmmaker Daniel Iglesias Jr., whose reel spans narrative storytelling to avant-garde fashion films with creativity and an eccentric visual style, has signed with full-service creative studio Good Company.

Iglesias’ career started while attending Chapman University’s renowned film school, where he earned a BFA in screen acting. At the same time, Iglesias and his friend Zack Sekuler began crafting images for his friends in the alt-rock band The Neighbourhood. Iglesias’ career took off after directing his first music video for the band’s breakout hit “Sweater Weather,” which reached over 310 million views. He continues working behind the camera for The Neighbourhood and other artists like X Ambassadors and AlunaGeorge.

Iglesias uses elements of surrealism and a blend of avant-garde and commercial compositions, often stemming from innovative camera techniques. His work includes projects for clients like Ralph Lauren, Steve Madden, Skyy Vodka and Chrysler and the Vogue film Death Head Sphinx.

One of his most celebrated projects was a two-minute promo for Margaux the Agency. Designed as a “living magazine,” Margaux Vol 1 merges creative blocking, camera movement and effects to create a kinetic visual catalog that is both classic and contemporary. The piece took home Best Picture at the London Fashion Film Festival, along with awards from the Los Angeles Film Festival, the International Fashion Film Awards and Promofest in Spain.

Iglesias’ first project since joining Good Company was Ikea’s Kama Sutra commercial for Ogilvy NY, a tongue-in-cheek exploration of the boudoir. Now he is working on a project for Paper Magazine and Tiffany.

“We all see the world through our own lens; through film, I can unscrew my lens and pop in onto other people and, by effect, change their point of view or even the depth of culture,” he says. “That’s why the medium excites me — I want to show people my lens.”

We reached out to Iglesias to learn a bit more about how he works.

How do you go about picking the people you work with?
I do have a couple DPs and PDs I like to work with on the regular, depending on the job, and sometimes it makes sense to work with someone new. If it’s someone new that I haven’t worked with before, I typically look at three things to get a sense of how right they are for the project: image quality, taste and versatility. Then it’s a phone call or meeting to discuss the project in person so we can feel out chemistry and execution strategy.

Do you trust your people completely in terms of what to shoot on, or do you like to get involved in that process as well?
I’m a pretty hands-on and involved director, but I think it’s important to know what you don’t know and delegate/trust accordingly. I think it’s my job as a director to communicate, as detailed and effectively as possible, an accurate explanation of the vision (because nobody sees the vision of the project better than I do). Then I must understand that the DPs/PDs/etc. have a greater knowledge of their field than I do, so I must trust them to execute (because nobody understands how to execute in their fields better than they do).

Since Good Company also provides post, how involved do you get in that process?
I would say I edit 90% of my work. If I’m not editing it myself, then I still oversee the creative in post. It’s great to have such a strong post workflow with Good Company.


Harbor adds talent to its London, LA studios

Harbor has added to its London- and LA-based studios. Marcus Alexander joins as VP of picture post, West Coast and Darren Rae as senior colorist. He will be supervising all dailies in the UK.

Marcus Alexander started his film career in London almost 20 years ago as an assistant editor before joining Framestore as a VFX editor. He helped Framestore launch its digital intermediate division, producing multiple finishes on a host of tent-pole and independent titles, before joining Deluxe to set up its London DI facility. Alexander then relocated to New York to head up Deluxe New York DI. With the growth in 3D movies, he returned to the UK to supervise stereo post conversions for multiple studios before his segue into VFX supervising.

“I remember watching It Came from Outer Space at a very young age and deciding there and then to work in movies,” says Alexander. “Having always been fascinated with photography and moving images, I take great pride in thorough involvement in my capacity from either a production or creative standpoint. Joining Harbor allows me to use my skills from a post-finishing background along with my production experience in creating both 2D and 3D images to work alongside the best talent in the industry and deliver content we can be extremely proud of.”

Rae began his film career in the UK in 1995 as a sound sync operator at Mike Fraser Neg Cutters. He moved into the telecine department in 1997 as a trainee. By 1998 he was a dailies colorist working with 16mm and 35mm film. From 2001, Rae spent three years with The Machine Room in London as telecine operator and joined Todd AO’s London lab in 2014 as colorist working on drama and commercials 35mm and 16mm film and 8mm projects for music videos. In 2006 Rae moved into grading dailies at Todd AO parent company Deluxe in Soho London, moving to Company 3 London in 2007 as senior dailies colorist. In 2009, he was promoted to supervising colorist.

Prior to joining Harbor, Rae was senior colorist for Pinewood Digital, supervising multiple shows and overseeing a team of four, eventually becoming head of grading. Projects include Pokemon Detective Pikachu, Dumbo, Solo: A Star Wars Story, The Mummy, Rogue One, Doctor Strange and Star Wars Episode VII — The Force Awakens.

“My main goal is to make the director of photography feel comfortable. I can work on a big feature film from three months to a year, and the trust the DP has in you is paramount. They need to know that wherever they are shooting in the world, I’m supporting them. I like to get under the skin of the DP right from the start to get a feel for their wants and needs and to provide my own input throughout the entire creative process. You need to interpret their instructions and really understand their vision. As a company, Harbor understands and respects the filmmaker’s process and vision, so for me, it’s the ideal new home for me.”

Harbor has also announced that colorists Elodie Ichter and Katie Jordan are now available to work with clients on both the East and West Coasts in North America as well as the UK. Some of the team’s work includes Once Upon a Time in Hollywood, The Irishman, The Hunger Games, The Maze Runner, Maleficent, The Wolf of Wall Street, Anna, Snow White and the Huntsman and Rise of the Planet of the Apes.


Quick Chat: Frame.io’s new global SVP of innovation, Michael Cioni

By Randi Altman

Production and post specialist Michael Cioni, whom many of you might know from his years at Light Iron and Panavision, has joined Frame.io as global SVP of innovation. He will lead a new LA-based division of Frame.io that is focused on continued investment into cloud-enabled workflows for films and episodics — specifically, automated camera-to-cutting room technology.

Frame.io has been 100 percent cloud-based since the company was formed, according to founder Emery Wells. “We started seeding new workflows around dailies, collaborative review and realtime integration with NLEs for parallel work and approvals. Now, with Michael, we’re building Frame.io for the new frontier of cloud-enabled professional workflows. Frame.io will leverage machine learning and a combination of software and hardware in a way that will truly revolutionize collaboration.”

Quoted in a Frame.io release that went out today, Cioni says, “A robust camera-to-cloud approach means filmmakers will have greater access to their work, greater control of their content, and greater speed with which to make key decisions,” says Cioni. “Our new roadmap will dramatically reduce the time it takes to get original camera negative into the hands of editors. Directors, cinematographers, post houses, DITs and editors will all be able to work with recorded images in real time, regardless of location.”

We reached out to Cioni with some questions about Frame.io and the cloud.

Why was now the right time for you to move on from Light Iron — which you helped to establish — and Panavision to join Frame.io?
After 10 years at Light Iron and over four at Panavision, I have been very fortunate to spend large portions of my career focused on both post and production. Being at both these groups gave me more access to the unique challenges our industry collaborators face, especially with more productions operating on global schedules. Light Iron and Panavision equipped me with the ideal training to explore something entirely new that couples production and post together in an entirely new way. Frame.io is the right foundation for this change.

What will your day-to-day look like at the company?
I will be based in LA and helping build out Frame.io’s newest division in Los Angeles. I will also be traveling regularly to New York to work directly with the engineers and security teams on our roadmap development. This is great for me because I loved living in New York when we opened up Light Iron NY, but I also love working in LA, where so many post and production infrastructures call home.

Frame.io was founded by post pros. Why is it so important for the company to continue that tradition with your hire?
I find that the key to success in any industry is largely dependent on how deep your knowledge well goes. Even though we in media and entertainment serve the world through creative means, the filmmaking process is inherently complex and inherently technical. It always has been.

The best technologies are the ones that are invisible and let the creative process flow without thought about the technology behind what is happening in your mind. Frame.io CEO Emery Wells and I have a profound respect for post production because we were both entrepreneurs and experts in the post space. Anyone who has built or operated a post facility (big or small) knows that post is a hub linking together nearly all workflow components for both creative and technical team members.

Because post lives at the core of Emery and myself, Frame.io will always be grounded in the professional workflow space, which enables us to better evolve our technology into markets of every type and scale.

Your roadmap seems in line with the MovieLabs white paper on the future of production, which is cloud-based. Can you address that?
MovieLabs is arguably the best representation of a technological roadmap for the media and entertainment industry. I was thrilled to see an early copy because it parallels a similar vision I have been exploring since 2013. I believe MovieLabs paints an accurate picture of the great things we are going to be able to do using cloud and machine learning technology, but it also demonstrates how many challenges there are before we can enjoy all the benefits. Frame.io not only supports the conclusions of the MovieLabs white paper, we have already begun deploying solutions to bring a new virtual creative world to reality.

Main Image: (L-R) Michael Cioni and Emery Wells

Uppercut ups Tyler Horton to editor

After spending two years as an assistant at New York-based editorial house Uppercut, Tyler Horton has been promoted to editor. This is the first internal talent promotion for Uppercut.

Horton first joined Uppercut in 2017 after a stint as an assistant editor at Whitehouse Post. Stepping up as editor he’s cut notable projects, such as a recent Nike campaign “Letters to Heroes,” a series launched in conjunction with the US Open that highlights young athletes meeting their role models, including Serena Williams and Naomi Osaka. He also has cut campaigns for brands such as Asics, Hypebeast, Volvo and MOMA.

“From the beginning, Uppercut was always intentionally a boutique studio that embraced a collaborative of visions and styles — never just a one-person shop,” says Uppercut EP Julia Williams. “Tyler took initiative from day one to be as hands-on as possible with every project and we’ve been proud to see him really grow and refine his own voice.”

Horton’s love of film was sparked by watching sports reels and highlight videos. He went on to study film editing, then hit the road to tour with his band for four years before returning to his passion for film.

Cinelab London adds sound mastering supervisor and colorist

Cinelab London, which provides a wide range of film and digital restoration services, has added two new creatives to its staff — sound mastering supervisor Jason Stevens and senior colorist Mike David.

Stevens brings with him over 20 years of experience in sound and film archive restoration. Prior to his new role, he was part of the archive and restoration team at Pinewood Studios. Having worked there his whole career, Stevens’ worked on many big films, including the recent Yesterday, Rocketman and Judy. His clients have included the BFI, Arrow Films, Studio Canal and Fabulous Films.

During his career, Stevens has also been involved in short films, commercials and broadcast documentaries, recently completing a three-year project for Adam Matthew, the award-winning digital publisher of unique primary source collections from archives around the world.

“We have seen Jason’s enviable skills and talents put to their best use over the six years we have worked together,” says Adrian Bull, co-founder and CEO of Cinelab London. “Now we’re thrilled to have him join our growing in-house team. Talents like Jason’s are rare. He brings a wealth of creative and technical knowledge, so we feel lucky to be able to welcome him to our film family.”

Colorist Mike Davis also joins from Pinewood Studios (following its recent closure) where he spent five years grading feature films and episodic TV productions and specializing in archive and restoration. He has graded over 100 restoration titles for clients such as BFI, Studio Canal and Arrow Films on projects such as A Fish Called Wanda, Rita, Sue & Bob Too and Waterworld.

Davis has worked with the world’s leading DPs, handling dailies and grading major feature films including Mission Impossible, Star Wars: Rogue One and Annihilation. He enjoys working on a variety of content including short films, commercials, broadcast documentaries and Independent DI projects. He recently worked on Adewale Akinnuoye-Agbaje’s Farming, which won Best British Film at the Edinburgh Film Festival in June.

Davis started his career at Ascent Media, assisting on film rushes, learning how to grade and operate equipment. By 2010, he segued into production, spending time on set and on location working on stereoscopic 3D projects and operating 3D rigs. Returning to grading film and TV at Company 3, Davis then strengthened his talents working in long format film at Pinewood Studios.

Main Image: (L-R) Stevens and Davis

Flavor adds Joshua Studebaker as CG supervisor

Creative production house Flavor has added CG supervisor Joshua Studebaker to its Los Angeles studio. For more than eight years, Studebaker has been a freelance CG artist in LA, specializing in design, animation, dynamics, lighting/shading and compositing via Maya, Cinema 4D, Vray/Octane, Nuke and After Effects.

A frequent collaborator with Flavor and its brand and agency partners, Studebaker has also worked with Alma Mater, Arsenal FX, Brand New School, Buck, Greenhaus GFX, Imaginary Forces and We Are Royale in the past five years alone. In his new role with Flavor, Studebaker oversees visual effects and 3D services across the company’s global operations. Flavor’s Chicago, Los Angeles and Detroit studios offer color grading, VFX and picture finishing using tools like Autodesk Lustre and Flame Premium.

Flavor creative director Jason Cook also has a long history of working with Studebaker and deep respect for his talent. “What I love most about Josh is that he is both technical and a really amazing artist and designer. Adding him is a huge boon to the Flavor family, instantly elevating our production capabilities tenfold.”

Flavor has always emphasized creativity as a key ingredient, and according to Studebaker, that’s what attracted him. “I see Flavor as a place to grow my creative and design skills, as well as help bring more standardization to our process in house,” he explained. “My vision is to help Flavor become more agile and more efficient and to do our best work together.”

Colorist Jimmy Hsu joins Encore Vancouver

Seasoned colorist Jimmy Hsu has joined Encore Vancouver, bringing with him experience in content creation and color science. He comes to Encore Vancouver from Side Street Post Production, where he began as an online editor in 2012 before focusing on color grading.

Hsu’s work spans live action and animated projects across genres, including features, video game cinematics and commercials for clients such as Universal Studios, Disney and Lifetime.

Upon graduating from British Columbia’s Simon Fraser University with a bachelor’s in interactive arts and film production, Hsu held various roles in production and post production, including as a creative editor and motion graphics artist. Having edited more than a hundred movie trailers, Hsu is well-versed in project deliverables and specs, which helps inform his color process. He also draws from his artistic background, leveraging the latest capabilities of Blackmagic DaVinci Resolve to incorporate significant compositing and visual effects work into his projects.


Senior colorist Maria Carretero joins Nice Shoes

NYC-based post studio Nice Shoes has hired senior colorist Maria Carretero, who comes to Nice Shoes with nearly two decades of global experience in color grading under her belt. Her portfolio includes a wide range of feature films, short films, music videos and commercials for brands like Apple, Jeep, Porsche, Michael Kors, Disney and Marriott, among many others. She will be based at Nice Shoes’ NYC studio, also working across Nice Shoes’s Boston, Chicago, Toronto and Minneapolis spaces and through its network of remote partnerships globally.

She comes to Nice Shoes from Framestore in Chicago, where she spent nearly two years establishing relationships with agencies such as BBDO, FCB, DDB, Leo Burnett Chicago and Media Arts Lab LA.

Carretero is originally from Spain, where she received an education in fine arts. She soon discovered the creative possibilities in digital color grading, quickly establishing a career for herself as an international artist. Her background in painting, coupled with her natural eye for nuanced visuals, are the tools that help her maximize her clients’ creative visions. Carretero’s ability to convey a brand story through her work has earned her a long list of awards, including Cannes Lions and a Clio.

Carretero’s recent work includes Jeep’s Recalculating, Disney’s You Can Fly and Bella Notte, Porsche’s The Fix and Avocados From Mexico’s Top Dog spot for Super Bowl 2019.

“Nice Shoes brings together the expertise backed by 20 years of experience with a personal approach that really celebrates female talent and collaboration,” adds Carretero. “I’m thrilled to be joining a team that truly supports the creative exploration process that color takes in storytelling. I’ve always wanted to live in New York. Throughout my whole life, I visited this city again and again and was fascinated by the diversity, the culture, and incredible energy that you breathe in as you walk the city’s streets.”

Nigel Bennett upped to managing director at UK’s Molinare

Molinare has promoted Nigel Bennett to the role of managing director. He joined the studio earlier this year from Pinewood Studios, where over a 20-year period he worked his way up from re-recording mixer to group director of creative services, a position that he held since 2014.

Bennett’s responsibilities include growing revenue across feature film, TV drama, feature documentaries and reality TV. Over the coming months he will work with the existing senior team at Molinare to implement a new business growth and investment plan with the full support of Molinare’s shareholders, Saphir Capital and Next Wave Partners.

Bennett replaces Julie Parmenter, who has left the company after seven years. While at Molinare, Parmenter was integral to maintaining the successful Molinare brand, subsequent acquisition of Hackenbacker and expansion into Hoxton.

Danielle Katvan joins 1stAveMachine’s directorial roster

Film and commercial director Danielle Katvan has joined the roster at Brooklyn-based production company 1stAveMachine. Her work includes the Clio-winning spot for Vogue and Free People, as well as commercials for The Venetian Resort Las Vegas and Service Now’s The Future of Work. Her short film, The Foster Portfolio, premiered at the 2017 Tribeca Film Festival.

Katvan grew up in her parents photography studio in New York City, so she was exposed to the art of storytelling from a young age. She began by taking 35mm photographs, developing the film in their home’s darkroom. This fascination evolved into an interest in moving images, and she bought her first video camera at age 12.

Katvan’s style includes adding offbeat humor into highly stylized, cinematic worlds. “It’s like our world, but with the volume turned up a bit,” she explains. “The beauty of filmmaking is that you can escape to another place but still feel emotionally connected to what you’re watching – and good performances are such a huge part of making that connection.”

“We have been big fans of Danielle’s work for some time. Her eye for authentic performances and beautiful cinematography, set against thoughtful art direction, have made for some incredibly compelling films,” says Sam Penfield, a partner at 1stAveMachine.

Technicolor adds Patrick Smith, Steffen Wild to prepro studio

Technicolor has added Patrick Smith to head its visualization department, partnering with filmmakers to help them realize their vision in a digital environment before they hit the set. By helping clients define lensing, set dimensions, asset placement and even precise on-set camera moves, Smith and his team will play a vital role in helping clients plan their shoots in the virtual environment in ways that feel completely natural and intuitive to them. He reports to Kerry Shea, who heads Technicolor’s Pre-Production Studio.

“By enabling clients to leverage the latest visualization technologies and techniques while using hardware similar to what they are already familiar with, Patrick and his team will empower filmmakers by ensuring their creative visions are clearly defined at the very start of their projects — and remain at the heart of everything they do from their first day on set to take their stories to the next level,” explains Shea. “Bringing visualization and the other areas of preproduction together under one roof removes redundancy from the filmmaking process which, in turn, reduces stress on the storytellers and allows them as much time as possible to focus on telling their story. Until now, the process of preproduction has been a divided and inefficient process involving different vendors and repeated steps. Bringing those worlds together and making it a seamless, start-to-finish process is a game changer.”

Smith has held a number of senior positions within the industry, including most recently as creative director/senior visualization supervisor at The Third Floor. He has worked on titles such as Bumblebee, Avengers: Infinity War, Spider-Man: Homecoming, Guardians of the Galaxy Vol. 2 and The Secret Life of Walter Mitty.

“Visualization used to involve deciding roughly what you plan to do on set. Today, you can plan out precisely how to achieve your vision on set down to the inch – from the exact camera lens to use, to exactly how much dolly track you’ll need, to precisely where to place your actors,” he says. “Visualization should be viewed as the director’s paint brush. It’s through the process of visualization that directors can visually explore and design their characters and breathe life into their story. It’s a sandbox where they can experiment, play and perfect their vision before the pressure of being on set.”

In other Technicolor news, last week the studio announced that Steffen Wild has joined as head of its virtual production department. “As head of virtual production, Wild will help drive the studio’s approach to efficient filmmaking by bringing previously separate departments together into a single pipeline,” says Shea. “We currently see what used to be separate departments merge together. For example, previz, techviz and postviz, which were all separate ways to find answers to production questions, are now in the process of collaborating together in virtual production.”

Wild has over 20 years of experience, including 10 years spearheading Jim Henson’s Creature Shop’s expending efforts in innovative animation technologies, virtual studio productions and new ways of visual storytelling. As SVP of digital puppetry and visual effects at the Creature Shop, Wild crafted new production techniques using proprietary game engine technologies. He brings with him in-depth knowledge of global and local VFX and animation production, rapid prototyping and cloud-based entertainment projects. In addition to his role in the development of next-generation cinematic technologies, he has set up VFX/animation studios in the US, China and southeast Europe.

Main Image: (L-R) Patrick Smith and Steffen Wild

Harbor expands to LA and London, grows in NY

New York-based Harbor has expanded into Los Angeles and London and has added staff and locations in New York. Industry veteran Russ Robertson joins Harbor’s new Los Angeles operation as EVP of sales, features and episodic after a 20-year career with Deluxe and Panavision. Commercial director James Corless and operations director Thom Berryman will spearhead Harbor’s new UK presence following careers with Pinewood Studios, where they supported clients such as Disney, Netflix, Paramount, Sony, Marvel and Lucasfilm.

Harbor’s LA-based talent pool includes color grading from Yvan Lucas, Elodie Ichter, Katie Jordan and Billy Hobson. Some of the team’s projects include Once Upon a Time … in Hollywood, The Irishman, The Hunger Games, The Maze Runner, Maleficent, The Wolf of Wall Street, Snow White and the Huntsman and Rise of the Planet of the Apes.

Paul O’Shea, formerly of MPC Los Angeles, heads the visual effects teams, tapping lead CG artist Yuichiro Yamashita for 3D out of Harbor’s Santa Monica facility and 2D creative director Q Choi out of Harbor’s New York office. The VFX artists have worked with brands such as Nike, McDonald’s, Coke, Adidas and Samsung.

Harbor’s Los Angeles studio supports five grading theaters for feature film, episodic and commercial productions, offering private connectivity to Harbor NY and Harbor UK, with realtime color-grading sessions, VFX reviews and options to conform and final-deliver in any location.

The new UK operation, based out of London and Windsor, will offer in-lab and near-set dailies services along with automated VFX pulls and delivery through Harbor’s Anchor system. The UK locations will draw from Harbor’s US talent pool.

Meanwhile, the New York operation has grown its talent roster and Soho footprint to six locations, with a recently expanded offering for creative advertising. Veteran artists on the commercial team include editors Bruce Ashley and Paul Kelly, VFX supervisor Andrew Granelli, colorist Adrian Seery, and sound mixers Mark Turrigiano and Steve Perski.

Harbor’s feature and episodic offering continues to expand, with NYC-based artists available in Los Angeles and London.

Cabin adds two editors, promotes another

LA-based editorial studio Cabin Editing Company has grown its editing staff with the addition of Greg Scruton and Debbie Berman. They have also promoted Scott Butzer to editor. The trio will work on commercials, music videos, branded content and other short-form projects.

Scruton, who joins Cabin from Arcade Edit, has worked on dozens of high-profile commercials and music videos throughout his career, including Pepsi’s 2019 Grammy’s spot Okurrr, starring Cardi B; Palms Casino Resort’s star-filled Unstatus Quo; and Kendrick Lamar’s iconic Humble music video, for which he earned an AICE Award. Scruton has worked with high-profile ad agencies and directors, including Anomaly; Wieden + Kennedy; 72andSunny; Goodby, Silverstein & Partners; Dave Meyers; and Nadia Lee Cohen. He uses Avid Media Composer and Adobe Premiere.

Feature film editor Berman joins Cabin on the heels of her successful run with Marvel Studios, having recently served as an editor on Spider-Man: Homecoming, Black Panther and Captain Marvel. Her work extends across mediums, with experience editing everything from PSAs and documentaries to animated features. Now expanding her commercial portfolio with Cabin, Berman is currently at work on a Toyota campaign through Saatchi & Saatchi. She will continue to work in features as well. She mostly uses Media Composer but can also work on Premiere.

Cabin’s Butzer was recently promoted to editor after joining the company in 2017 and honing his talent across many platforms, including commercials, music videos and documentaries. His strengths include narrative and automotive work. Recent credits include Every Day Is Your Day for Gatorade celebrating the 2019 Women’s World Cup, The Professor for Mercedes Benz and Vince Staples’ Fun! music video. Butzer has worked with ad agencies and directors, including TBWA\Chiat\Day; Wieden + Kennedy; Goodby, Silverstein & Partners; Team One; Marcus Sonderland; Ryan Booth; and Rachel McDonald. Butzer previously held editorial positions at Final Cut and Whitehouse Post. He studied film at the University of Colorado at Boulder. He also uses Media Composer and Premiere.

Matthew Bristowe joins Jellyfish as COO

UK-based VFX and animation studio Jellyfish Pictures has hired Matthew Bristowe as director of operations. With a career spanning over 20 years, Bristowe joins Jellyfish Pictures after a stint as head of production at Technicolor.

During his 20 years in the industry, Bristowe has overseen hundreds of productions, including; Aladdin (Disney), Star Wars: The Last Jedi (Lucasfilm/Disney), Avengers: Age of Ultron (Marvel) and Guardians of the Galaxy (Marvel). In 2014 he was honored with the Advanced Imaging Society’s Lumiere Award for his work on Alfonso Cuarón’s Academy Award-winning Gravity.

Bristowe led the One Of Us VFX team to success in the category of Special, Visual and Graphic Effects at the BAFTAs and Best Digital Effects at the Royal Television Society Awards for The Crown Season 1. Another RTS award and BAFTA nomination followed in 2018 for The Crown Season 2. Prior to working with Technicolor and One of Us, Bristowe held senior positions at MPC and Prime Focus.

“Matt joining Jellyfish Pictures is a substantial hire for the company,” explains CEO Phil Dobree. “2019 has seen us focus on our growth, following the opening of our newest studio in Sheffield, and Matt’s extensive experience of bringing together creativity and strategy will be instrumental in our further expansion.”

Post vet Chris Peterson joins NYC’s Chimney North

Chimney’s New York studio has hired Chris Peterson as its new EP of longform entertainment, building on the company’s longform credits, which include The Dead Don’t Die, Atomic Blonde, Chappaquiddick, The Wife and Her.

Chimney is a full-service company working in feature films, television, commercials, digital media, live events and business-to-business communications. The studio has offices in 11 cities and eight countries worldwide.

In his new role, Peterson will be using his expertise in film finance, tax credit maximization and technical workflows to grow Chimney’s feature film and television capabilities. He brings over 20 years of experience in production and post, including a stint at Mechanism Digital and Post Factory, NY.

Peterson’s resume is diverse and spans the television, film, technology, advertising, music, video game and XR industries. Projects include the Academy Award-winning feature Spotlight, the Academy Award-winning documentary OJ: Made in America, and the Grammy-nominated Roger Waters: The Wall. For E! Entertainment’s travel series Wild On, he produced shows in Argentina, Brazil, Trinidad and across the United States. He was also a post producer on Howard Stern on Demand.

“Chimney combines the best of both worlds: a boutique feel and global resources,” says Peterson. “Add to that the company’s expertise in financing and tax credits, and you have a unique resource for producers and filmmakers.”

For the past eight years, Peterson has been board secretary of the Post New York Alliance, which was co-founded by Chimney North America CEO Marcelo Gandola. The PNYA is a trade association that lobbied for and passed the first post-only tax credit, which was recently extended for two years. Peterson is also a member of SMPTE.

UK’s Molinare adds two to its VFX team

Molinare has boosted its visual effects team with the addition of head of VFX production Kerrie Bryant and VFX supervisor Andy Tusabe.

Bryant comes to Molinare after working at DNeg TV and Technicolor, where she oversaw all projects within the studio, as well as supervising line producers and coordinators on their projects.

Tusabe joins Molinare with over 26 years’ experience across TV, film and commercials production and post production. He knows the Molinare VFX team well, having worked with them as a freelancer over the past two years, on titles such as Good Omens, The Crown, A Discovery of Witches, King Lear and Yardie.

So far this year, Molinare has completed VFX post on high-end dramas such as Good Omens, Strike Back: Silent War, Beecham House and the next series of The Crown, as well as Gurinder Chadha‘s new feature film Blinded by the Light, which will be released internationally in August.

Point.360 adds senior colorist Patrick Woodard

Senior colorist Patrick Woodard has joined the creative team at Point.360 in Burbank. He was most recently at Hollywood’s DigitalFilm Tree, where he colored dozens of television shows, including ABC’s American Housewife, CBS’ NCIS: Los Angeles, NBC’s Great News and TBS’ Angie Tribeca. Over the years, he also worked on Weeds, Everybody Hates Chris, Cougar Town and Sarah Silverman: We Are Miracles.

Woodard joins Point.360 senior colorist Charlie Tucker, whose recent credits include the final season of the Netflix’s Orange Is the New Black, CW’s Legacies and Roswell, New Mexico, YouTube’s Cobra Kai, as well as the Netflix comedy Medical Police.

“Patrick is an exceptional artist with an extensive background in photography,” says Point.360’s SVP of episodic Jason Kavner. “His ability to combine his vast depth of technical expertise and his creative vision to quickly create a highly-developed aesthetic has the won the loyalty of many DPs and creatives alike.”

Point360 has four color suites at its Burbank facility. “Although we have the feel of a boutique episodic facility, we are able to offer a robust end to end pipeline thanks to our long history as a premier mastering company,” reports Kavner. “We are currently servicing 4K Dolby Vision projects for Netflix such as the upcoming Jenji Kohan series currently being called Untitled Vigilante Project, as well as the UHD SDR Sony produced YouTube series Cobra Kai. We also continue to offer the same end-to-end service to our traditional studio and network clients on series such as Legacies for the CW, Fresh Off The Boat, Family Guy and American Dad for 20th Century Fox, and Drunk History and Robbie for Comedy Central.

Woodard, who will be working on Resolve at Point360, was also a recent subject of our Behind the Title series. You can read that here.

Jody Madden upped to CEO at Foundry

Jody Madden, who joined Foundry in 2013 and has held positions as chief operating officer and, most recently, chief customer officer and chief product officer, has been promoted to chief executive officer. She takes over the role from Craig Rodgerson.

Madden, who has a rich background in VFX, has been with Foundry for six years. Prior to joining the company, she spent more than a decade in technology management and studio leadership roles at Industrial Light & Magic, Lucasfilm and Digital Domain after graduating from Stanford University.

“During a time of rapid change in creative industries, Foundry is committed to delivering innovations in workflow and future looking research,” says Madden.  “As the company continues to grow, delivering further improvements in speed, quality and user-experience remains a core focus to enable our customers to meet the demands of their markets.”

“Jody is well known for her collaborative leadership style and this has been crucial in enabling our engineering, product and research teams to achieve results for our customers and build the foundation for the future,” says Simon Robinson, co-founder/chief scientist. “I have worked closely with Jody and have seen the difference she has made to the business so I am extremely excited to see where she will lead Foundry in her new role and look forward to continuing to work with her.”

a52 Color adds colorist Gregory Reese

Colorist Gregory Reese has joined LA-based grading and finishing studio a52 Color, which is led by executive producer Thatcher Peterson and includes colorists Paul Yacono and Daniel de Vue.

Reese comes to a52 Color after eight years at The Mill. While there he colored a spectrum of commercials for athletic brands, including Nike and Reebok, as well as campaigns for Audi, Apple, Covergirl, GMC, Progressive and Samsung. He worked with such directors as AG Rojas, Matt Lambert and Harold Einstein while developing the ability to grade for any style.

Reese contributed to several projects for Apple, including the History of Sound spot, which sonically chronicles the decades from the late 1800s to 2015. The spot earned Reese an HPA Award nomination for Outstanding Color Grading in a Commercial.

“Color is at the center of how audiences engage with a picture in motion,” explains Reese. “Some of its technical components may not always be instantly recognized by the audience, but when it’s done right, it can make for an emotional experience.”

Merging his love for music with the passion for his craft, Reese has collaborated with artists like Jack Ü, Major Lazer, Arctic Monkeys, Run The Jewels, Jack White, Pharrell Williams and many more. Peterson and Reese previously worked together at The Mill in LA. “Having had the fortunate experience of working with Gregory at The Mill, I knew he was the real deal when it came to a seasoned colorist,” says Peterson.

The all-new facility was yet another perk that sealed the deal for Reese, as he explains: “One of the biggest barriers for entry to color is not having access to theaters. a52 Color solves that problem with having the ability to grade both broadcast and theatrical formats as well as giving us a high level of creative freedom. It left me immediately impressed by how invested they are in making it the absolute best place to go for color grading.”

He will be working on FilmLight Baselight.

Biff Butler joins Work as editor, creative partner

Work Editorial has added Biff Butler to its roster as editor and creative partner. Currently based in Los Angeles, Butler will be available to work in all of the company’s locations, which also include New York and London.

Originally from the UK, Butler moved to Los Angeles in 1999 to pursue a career as a musician, releasing albums and touring the country. Inspired by the title sequence for the movie Se7en cut by Angus Wall at Rock Paper Scissors (RPS), he found himself intrigued by the craft of editing. Following the breakup of his band in 2005 Butler got a job at RPS and, as he puts it, RPS was his film school. There he found his editorial voice and satiated another interest — advertising.

(Check out an interview we did with Butler recently while he was still at RPS.)

Within a couple years, he was cutting spots for Nike, Microsoft, Lexus and Adidas, and in 2008 he made a breakthrough with the Emmy Award-winning will.i.am video Yes We Can video by then-presidential candidate Barack Obama. By 2012 his clientele spanned across both coasts and after moving to New York, he went on to collaborate on some of the era-defining work coming out of the US at the time, with Wieden +Kennedy NY, Anomaly and BBDO amongst others. Perhaps, most notably, was his involvement in the Derek Cianfrance/Dicks Sporting Goods campaign that defined a style in sports commercials.

“I’ve always had an interest in advertising and the process,” says Butler. “I love watching a campaign roll out, seeing it permeate the culture. I still get such a kick out of coming out of the subway and seeing a huge poster from something I’ve been involved with.”

Butler has been recognized for his work, winning numerous AICE, the Clio and Cannes Lion awards as well as receiving an Emmy for the six-part documentary Long Live Benjamin, which he edited and co-directed with creative director Jimm Lasser.

Work founding partner Jane Dilworth says, “I have always been aware of Biff and the great work he does. He is an editor with great feeling and instinct that not only works for the director or creative but what is right for the job.”

Veteran episodic colorist Scott Klein joins Light Iron

Colorist Scott Klein has joined post house Light Iron, which has artists working on feature films, episodic series and music videos at its Los Angeles- and New York-based studios. Klein brings with him 40 years of experience supervising a variety of episodic series.

“While Light Iron was historically known for its capabilities with feature films, we have developed an equally strong episodic division, and Scott builds upon our ongoing commitment to providing the talent and technology necessary for supporting all formats and distribution platforms,” says GM Peter Cioni of Light Iron.

Klein’s list of credits include Fox’s Empire, HBO’s Deadwood: The Movie and Showtime’s Ray Donovan. He also collaborated on the series Bosch, True Blood, The Affair, Halt and Catch Fire, Entourage and The Sopranos. Klein is also an associate member of the American Society of Cinematographers (ASC). He will be working on Blackmagic’s DaVinci Resolve.

“I really enjoy the artistic collaboration with filmmakers,” he says. “It is great to be part of a facility with such a pure passion for supporting the creative through technology. Colorists need strong technology that serves as a means to best express the feelings being conveyed in the images and further enhance the moods that draw audiences into a story.”

Also joining Klein are his colleagues and fellow colorists Daniel Yang, Jesús Borrego and Ara Thomassian. They join Light Iron after working together at Warner Bros. and then Technicolor.

In addition to growing its team of artists to support the expanding market and client needs, Light Iron has also expanded its physical footprint with a second Hollywood-based location a short distance from its flagship facility. A full breadth of creative finishing services for feature films and episodic series is available at both locations. Light Iron also has locations in Atlanta, Albuquerque, Chicago and New Orleans.

 

CVLT hires Katya Pavlova as head of post

Bi-coastal video production studio CVLT has added Katya Pavlova as head of post production. She will be based in the studio’s New York location.

Pavlova joins the team after six years at The Mill, where she produced projects that include David Bowie’s Life on Mars music video remake directed by photographer Mick Rock, as well as Steven Klein’s augmented reality experience for W Magazine’s cover, featuring an interactive 3D digital portrait of Katy Perry.

In her new role, Pavlova will focus on growing CVLT’s post production operation and developing new partnerships. She brings career expertise in a broad range of editorial, VFX, design and CG disciplines across digital and broadcast. In her time as a producer at The Mill, she worked on variety of work for brands including Netflix, Facebook, Ralph Lauren, Jimmy Choo and Vogue.

“We have seen post production needs shift focus from traditional media channels to multi-platform requirements, including emerging technology like augmented reality and crafting short-form videos for social media and mobile audiences. At CLVT, I intend to adapt our team to execute post on advanced AR projects as well as quick turnaround videos for social channels.”

Yoomin Lee joins MPC London as senior colorist

Yoomin Lee has joined Moving Picture Company’s color team in London. Lee got her start working for some of Australia’s top post houses including Frame Set & Match, The Lab and Cutting Edge, before joining Jogger Studios London in 2016.

While at Jogger, she worked on many campaigns, including those for Google, Valentino, FIFA and Samsung. A collaboration with director Anton Corbijn has seen her grade projects for Depeche Mode and U2, including the visuals for the latter’s The Joshua Tree Tour in 2017, which played across the world’s largest concert screen.

When asked what brings her inspiration, Lee says, “I get inspired by any visual art form, and often from nature, especially for light. I become more observant of how things are lit. Color grading is such a unique art form and technology, and it’s all about details and finesse. I find it very inspiring when I collaborate with creative people who are always eager to push the boundaries to achieve their craft.”

Lee will be working on FilmLight’s Baselight.

You can check out her work here.

Post vet Jason Mayo named COO of Chimney North America

Chimney Group has hired industry veteran Jason Mayo as chief operating officer for North America. He will be based in the studio’s New York office. Mayo joins at a time of significant growth for Chimney Group, an independently-owned Stockholm-based creative and post company with studios in 11 cities and eight countries worldwide.

“What attracted me is Chimney being able to leverage their full power of resources around the globe. We need to make budgets and schedules work harder for our clients, and having a 24/7 production and post pipeline is a powerful package we can offer clients on a global scale,” says Mayo.

He joins from Postal TV, where he was managing director. Before that, Mayo was managing director/partner at NYC’s Click 3X. He helped grow the studio from a 20-person VFX boutique to a fully integrated digital production company with a staff of over 75 full-time designers, animators, live-action directors, producers, developers, editors, colorists and VFX artists.

The Chimney Group’s recent foray into the North American market includes the opening of studios in New York and Los Angeles and the hiring of over 35 people, including the recent addition of chief client officer Kristen Martini. Mayo will work closely with North American CEO Marcelo Gandola to bring the Swedish operational and creative model to the States, delivering brand strategy as well as full-service production and post capabilities to multiple verticals.

“The work we are doing for our clients is increasingly global and full-service in nature,” says Gandola. “Jason has a great track record building companies and is an ideal operational leader for us to build a team to serve Chimney’s global clientele in the US market.”

Zoic in growth mode, adds VFX supervisor Wanstreet, ups Overstrom

VFX house Zoic Studios has made changes to its creative team, adding VFX supervisor Chad Wanstreet to its Culver City studio and promoting Nate Overstrom to creative director in its New York studio.

Wanstreet has nearly 15 years of experience in visual effects, working across series, feature film, commercial and video game projects. He comes to Zoic from FuseFX, where he worked on television series including NBC’s Timeless, Amazon Prime’s The Tick, Marvel Agents of S.H.I.E.L.D. for ABC and Starz’s Emmy-winning series Black Sails.

Overstrom has spent over 15 years of his career with Zoic, working across the Culver City and New York City studios, earning two Emmy nominations and working on top series including Banshee, Maniac and Iron Fist. He is currently the VFX supervisor on Cinemax’s Warrior.

The growth of the creative department is accompanied by the promotion of several Zoic lead artists to VFX supervisors, with Andrew Bardusk, Matt Bramante, Tim Hanson and Billy Spradlin stepping up to lead teams on a wide range of episodic work. Bardusk just wrapped Season 4 of DC’s Legends of Tomorrow, Bramante just wrapped Noah Hawley’s upcoming feature film Lucy in the Sky, Hanson just completed Season 2 of Marvel’s Cloak & Dagger, and Spradlin just wrapped Season 7 of CW’s Arrow.

This news comes on the heels of a busy start of the year for Zoic across all divisions, including the recent announcement of the company’s second development deal — optioning New York Times best-selling author Michael Johnston’s fantasy novel Soleri for feature film and television adaptation. Zoic also added Daniel Cohen as executive producer, episodic and series in New York City, and Lauren F. Ellis as executive producer, episodic and series in Culver City.

Main Image Caption: (L-R) Chad Wanstreet and Nate Overstrom

UK’s Jellyfish adds virtual animation studio and Kevin Spruce

London-based visual effects and animation studio Jellyfish Pictures is opening of a new virtual animation facility in Sheffield. The new site is the company’s fifth studio in the UK, in addition to its established studios in Fitzrovia, Central London; Brixton; South London; and Oval, South London. This addition is no surprise considering Jellyfish created one of Europe’s first virtual VFX studios back in 2017.

With no hardware housed onsite, Jellyfish Pictures’ Sheffield studio — situated in the city center within the Cooper Project Complex — will operate in a completely PC-over-IP environment. With all technology and pipeline housed in a centrally-based co-location, the studio is able to virtualize its distributed workstations through Teradici’s remote visualization solution, allowing for total flexibility and scalability.

The Sheffield site will sit on the same logical LAN as the other four studios, providing access to the company’s software-defined storage (SDS) from Pixit Media, enabling remote collaboration and support for flexible working practices. With the rest of Jellyfish Pictures’ studios all TPN-accredited, the Sheffield studio will follow in their footsteps, using Pixit Media’s container solution within PixStor 5.

The innovative studio will be headed up by Jellyfish Pictures’ newest appointment, animation director Kevin Spruce. With a career spanning over 30 years, Spruce joins Jellyfish from Framestore, where he oversaw a team of 120 as the company’s head of animation. During his time at Framestore, Spruce worked as animation supervisor on feature films such as Fantastic Beasts and Where to Find Them, The Legend of Tarzan and Guardians of the Galaxy. Prior to his 17-year stint at Framestore, Spruce held positions at Canadian animation company, Bardel Entertainment and Spielberg-helmed feature animation studio Amblimation.

Jellyfish Pictures’ northern presence will start off with a small team of animators working on the company’s original animation projects, with a view to expand its team and set up with a large feature animation project by the end of the year.

“We have multiple projects coming up that will demand crewing up with the very best talent very quickly,” reports Phil Dobree, CEO of Jellyfish Pictures. “Casting off the constraints of infrastructure, which traditionally has been the industry’s way of working, means we are not limited to the London talent pool and can easily scale up in a more efficient and economical way than ever before. We all know London, and more specifically Soho, is an expensive place to play, both for employees working here and for the companies operating here. Technology is enabling us to expand our horizon across the UK and beyond, as well as offer talent a way out of living in the big city.”

For Spruce, the move made perfect sense: “After 30 years working in and around Soho, it was time for me to move north and settle in Sheffield to achieve a better work life balance with family. After speaking with Phil, I was excited to discover he was interested in expanding his remote operation beyond London. With what technology can offer now, the next logical step is to bring the work to people rather than always expecting them to move south.

“As animation director for Jellyfish Pictures Sheffield, it’s my intention to recruit a creative team here to strengthen the company’s capacity to handle the expanding slate of work currently in-house and beyond. I am very excited to be part of this new venture north with Jellyfish. It’s a vision of how creative companies can grow in new ways and access talent pools farther afield.”

 

Phil Kubel named director of HPA

The Hollywood Professional Association (HPA) has appointed Phil Kubel as the organization’s director. He will be the Burbank-based presence of the HPA management team, managing the organization’s day-to-day business as well as supporting strategic planning, membership development and program development.

After his graduation from USC, Kubel worked in a number of production-related positions. In 2003 he became one of the founding members of HRTV, a national television network that featured equestrian and horse racing content. Kubel was instrumental in the design, engineering and production build of the studios and broadcast facility at Santa Anita Park in Arcadia, California. He went on to oversee day-to-day operations of all digital media, production and technology initiatives at HRTV, including creating the subscription-based HRTV.com.

In addition to Kubel’s technical portfolio, he served as VP of post production for HRTV and was the creative force behind the documentary series Inside Information, which earned 10 Emmy wins.

In 2015, Kubel was named VP/EP for a new digital media initiative for The Stronach Group. Under Stronach Digital, he oversaw the launch of XBTV, which is now an industry-leading multi-media horse racing product that provides insight and analysis for wagering customers.

“It’s an exciting time to be joining HPA,” notes Kubel. “We have a rare opportunity to use our accumulated knowledge and relationships to support industry growth by connecting the players and leading the conversation. I look forward to continuing the vision of HPA and developing it as a world-class resource for production professionals.”

He will report to HPA’s executive director, Barbara Lange.

Cutters Studios promotes Heather Richardson, Patrick Casey

Cutters Studios has promoted Heather Richardson to executive producer and Patrick Casey to head of production. Richardson’s oversight will expand into managing and recruiting talent, and in maintaining and building the company’s client base. Casey will focus on optimizing workflows, project management and bidding processes.

Richardson joined Cutters in 2015, after working as a producer for visual effects studio A52 in LA and for editorial company Cosmo Street in both LA and New York for more than 10 years. On behalf of Cutters, she has produced Super Bowl spots for Lifewtr, Nintendo and WeatherTech, and campaigns including Capital One, FCA North America (Fiat, Dodge Ram, and Jeep), Gatorade, Google, McDonald’s and Modelo.

“I’ve been fortunate to have worked with some excellent executive producers during my career, and I’m honored and excited for the opportunity to expand the scope of my role on behalf of Cutters Studios, and alongside Patrick Casey,” says Richardson. “Patrick’s kindness and thoughtfulness in addition to his intelligence and experience are priceless.”

In addition to leading Cutters editors, Casey produced the groundbreaking Always “#LikeAGirl” campaign, Budweiser’s Harry Caray’s Last Call and Whirlpool’s “Care Counts” campaign that won top Cannes Lions, Clio, Effie and Adweek Project Isaac Awards.

Sound Lounge ups Becca Falborn to EP 

New York’s Sound Lounge, an audio post house that provides sound services for advertising, television and feature films, has promoted Becca Falborn to executive producer.

In her new role, Falborn will manage the studio’s advertising division and supervise its team of producers. She will also lead client relations and sales. Additionally, she will manage Sound Lounge Everywhere, the company’s remote sound services offering, which currently operates in Boston and Boulder, Colorado.

“Becca is a smart, savvy and passionate producer, qualities that are critical to success in her new role,” said Sound Lounge COO and partner Marshall Grupp. “She has developed an excellent rapport with our team of mixers and clients and has consistently delivered projects on time and on budget, even under the most challenging circumstances.”

Falborn joined Sound Lounge in 2017 as a producer and was elevated to senior producer last year. She has produced voiceover recordings, sound design, and mixing for many advertising projects, including seven out of the nine spots produced by Sound Lounge that debuted during this year’s Super Bowl telecast.

A graduate of Manhattan College, Falborn has a background in business affairs, client services and marketing, including past positions with the post house Nice Shoes and the marketing agency Hogarth Worldwide.

VFX house a52 launches a52 Color

Santa Monica-based visual effects studio a52 has launched a new custom-built space called a52 Color. It focuses on color grading and finishing. a52 Color is now home to a52 colorist Paul Yacono and new hire Daniel de Vue, who joins from London where he was head of color at Glassworks. a52 Color is able to offer clients access to combined or end-to-end services from its network of affiliated companies, which include Rock Paper Scissors, a52 VFX and Elastic.

“Color has been an offering within a52 with Paul Yacono for over half a decade, so it’s already an established part of the culture here,” explains executive producer Thatcher Peterson, who now runs with a52 after coming over from a four-year stint as EP at The Mill. “And with Daniel joining us from London, the distinction of a52 Color to become a separate entity thrusts our services and talent into its own spotlight.”

Yacono’s first major color project of out a52, was the Netflix series House of Cards, which proved that this boutique facility had the bandwidth to service high-volume 4K projects. Since that time, Yacono has established a body of work that ranges from ads for Target, Nike and BMW to the iconic title sequence for Game of Thrones. Yacono’s latest work includes the feature documentaries Struggle: The Life and Art of Szukalski, 13th, Amanda Knox, the TV miniseries Five Came Back and spots for Toyota, Prada, Samsung and Lexus.

Danish colorist de Vue has worked for directors such as Martin Werner, Martin de Thurah, Andreas Nilsson and Wally Pfister, and crafted the mood for brands such as Nike, Principal Financial, Vans, Mercedes, Toyota, Adidas, H&M and Xbox. Recently he graded an Elliot Rausch-directed TUMI spot featuring Lenny Kravitz and Zoë Kravitz on a journey to their family’s Bahamian roots.

Equipped for theatrical and broadcast color grading, the studio boasts two suites outfitted with FilmLight Baselight grading systems and is equipped for HDR with Dolby Vision certification. Additionally, remote grading services are also available throughout the US and internationally.

EP Peterson was at Company 3 for over 15 years, where he helped grow their core business from commercials to features and television.

As company founder Angus Wall, also an Oscar-winning editor for The Girl With the Dragon Tattoo, explains, “In adding high-end color and DI to our suite of companies, a52 Color completes our offerings for end-to-end, best of breed creative services.”

Goldcrest Post hires industry vet Dom Rom as managing director

Domenic Rom, a veteran of the New York post world, has joined Goldcrest Post as managing director. In this new role, he will oversee operations, drive sales and pursue growth strategies for Goldcrest, a provider of post services for film and television. Rom was most recently president/GM of Deluxe TV Post Production Services in LA.

“Domenic is a visionary leader who brings a client-centric approach toward facility management, and understands the industry’s changing dynamics,” says Goldcrest Films owner/executive director Nick Quested. “He inspires his team to perform at a peak level and deliver the quality services our clients expect.”

In his previous position, Rom led Deluxe’s global services for television, including its subsidiaries Encore and Level 3. Prior to that, he was managing director of Deluxe’s New York studio, which included East Coast operations for Encore, Company 3 and Method. He was SVP at Technicolor Creative Services for three years and an executive at Postworks for 11. Rom began his career as a colorist at DuArt Film Labs, eventually becoming executive VP in charge of its digital and film labs.

Rom says that he looks forward to working with Goldcrest Post’s management team, including head of production Gretchen McGowan and head of picture Jay Tilin. “We intend to be a very client-oriented facility,” he notes. “When clients walk in the door, they should feel at home, feel that this is their place. Jay and Gretchen both get that. We will work together very closely to ensure Goldcrest is a solid, responsive facility.”

He is also very happy about being back in New York City. “New York is my home,” says Rom. “When I decided to come back to the city just walking around town made me feel alive again. The New York market is so tight, the energy so high it just felt right. The people are real, the clients are amazing and the work is equal to anywhere in the world. I don’t regret a second of the past few years… I expanded my knowledge of other markets and made life-long friendships all over the world. At the end of the day though, my family and my work family are in New York.”

Recent projects for Goldcrest include the Netflix series Russian Doll and the independent features Sorry to Bother You, The Miseducation of Cameron Post, Native Son and High Flying Bird.

Tony Dustin joins Efilm as senior colorist

Tony Dustin has joined the Deluxe Creative Services team as senior colorist at Hollywood’s  Efilm. He will also be doing some work for sister company Encore. With more than 20 years of experience in color grading, Dustin’s work spans styles and genres, with a talent for revealing details in the darker palettes of many of his projects. He will be using Blackmagic DaVinci Resolve.

Dustin’s credits include the Netflix dramatic series Sense8, for which he was nominated for an HPA Award; Hulu horror series Castle Rock; Best Picture Academy Award-nominee Silver Linings Playbook, directed by David O. Russell; and Gran Torino, directed by Clint Eastwood.

Dustin’s first project for Efilm is the biographical drama Harriet, working with Oscar-winning cinematographer John Toll, with whom Dustin previously collaborated with on Sense8.

He comes to Efilm from Technicolor, where he spent nearly 17 years. He’s also held various color-centric roles at Westwind Media and Efilm sister company Encore. Dustin got his start in post by discovering the color grading process through his work in the vault at Editel while attending college. Having spent many hours developing negatives in a photo lab as a youth, Dustin has a well-honed eye and deep appreciation for cinematic visuals.

EP Sydney Ferleger joins The Music Playground, The Station

The Music Playground and The Station have brought on Sydney Ferleger as executive producer, East Coast. She joins the team after a two years at NYC-based post house Crew Cuts. Prior to that, she was working with the marketing and sales team at global animatic company Animated Storyboards.

The Station is an integrated content production company and post facility focused on delivering top creative outcomes to advertising agencies and brands. The Music Playground employs composers, sound designers, audio post engineers and music supervisors.

Ferleger has worked on traditional advertising projects and branded content all the way to virtual reality. She has led international teams and has worked with many top brands and networks, including PepsiCo, IKEA and A&E.

“I’m excited to be here at TMP and The Station,” says Ferleger. “Being able to combine my passion for music with my knowledge of production and post is a new and gratifying challenge. There is a rich creative history here, as they were one of the first integrated post houses to prosper. The team really understands the importance of client services and what it takes to drive successful creative outcomes for ‘all-in’ post.”

EP Nick Strange Thye joins The Underground in New York

The Underground in New York City has hired executive producer Nick Strange Thye, who joins the boutique content company after four years at The Mill. Thye’s appointment comes on the heels of veteran production executive Hugh Broder being named as The Underground’s managing director/executive producer at the beginning of the year.

“Nick has an amazing depth of experience and knowledge in production and post production, both in the US market and overseas,” explains Broder. “I’m very excited to have him as a partner as we continue to expand and build our capabilities.”

Thye was most recently senior producer at The Mill, overseeing a range of projects, including spots for the NFL for Super Bowl 50, Cadillac for The Oscars and Samsung for the Olympics, as well as ads for Adidas, the US Marine Corps and PlayStation 4. He’s collaborated with such agencies as Johannes Leonardo, BBDO, Droga5, Rokkan and BBH. Thye, who’s from Denmark, previously worked in Europe as an international executive producer for several companies, including Chimney Group.

At The Underground, he’ll work closely with Broder as well as creative director/lead Flame artist Nic Seresin. Recent projects at the studio include extensive post production on a new Hyundai campaign for Innocean as well as a soon-to-be-released short film for Aston Martin.

“I believe in the flexibility of boutique companies,” says Thye. “They represent the future for this industry. The business is changing to be more project-based, and The Underground has the ability to build the right team for each project. Because of my European background, I have a lot of experience doing this, and I’m eager to put that expertise to work here.”

The Underground is part of the P2P Group, which also includes P2P Retouching, a leading presence in the beauty industry for the past two decades. The expansion of the umbrella group is a concerted effort led by company owner Ben Bettenhausen.

 

Human’s opens new Chicago studio

Human, an audio and music company with offices in New York, Los Angeles and Paris has opened a Chicago studio headed up by veteran composer/producer Justin Hori.

As a composer, Hori’s work has appeared in advertising, film and digital projects. “Justin’s artistic output in the commercial space is prolific,” says Human partner Gareth Williams. “There’s equal parts poise and fun behind his vision for Human Chicago. He’s got a strong kinship and connection to the area, and we couldn’t be happier to have him carve out our footprint there.”

From learning to DJ at age 13 to working Gramaphone Records to studying music theory and composition at Columbia College, Hori’s immersion in the Chicago music scene has always influenced his work. He began his career at com/track and Comma Music, before moving to open Comma’s Los Angeles office. From there, Hori joined Squeak E Clean, where he served as creative director for the past five years. He returned to Chicago in 2016.

Hori is known for producing unexpected yet perfectly spot-on pieces of music for advertising, including his track “Da Diddy Da,” which was used in the four-spot summer 2018 Apple iPad campaign. His work has won top industry honors including D&AD Pencils, The One Show, Clio and AICP Awards and the Cannes Gold Lion for Best Use of Original Music.

Meanwhile, Post Human, the audio post sister company run by award-winning sound designer and engineer Sloan Alexander, continues to build momentum with the addition of a second 5.1 mixing suite in NYC. Plans for similar build-outs in both LA and Chicago are currently underway.

With services ranging from composition, sound design and mixing, Human works in advertising, broadcast, digital and film.

Colorist Peter Doyle joins Warner Bros. De Lane Lea’s picture services division

World-renown and respected supervising colorist Peter Doyle, whose large body of work includes The Lord of the Rings trilogy, has joined London’s Warner Bros. De Lane Lea’s (WBDLL) new picture services division. Doyle brings with him extensive technical and creative expertise acquired over a 40-year career.

Doyle has graded 12 of the 100 highest-grossing films of all time including the Harry Potter film series. His recent credits include Darkest Hour (see our interview with him here), The Ballad of Buster Scruggs and both Fantastic Beasts films.

Doyle will be working alongside BAFTA-winning colorist Asa Shoul (Mission Impossible: Fallout, Baby Driver, Amazon’s Tin Star), who joined WBDLL at the end of last year. The additions of Doyle and Shoul beef up WBDLL’s picture division to match the studio’s sound facilities De Lane Lea.

Speaking of joining the company, Doyle says, “I first worked with Warner Bros. on The Matrix in 1999. Since then, grading and delivering films to Warner Bros. for filmmakers such as Tim Burton, David Yates, Dick Zanuck and David Heyman has always felt like a partnership. Warner Bros. always brought tremendous passion to the projects and a deep desire to best represent the creative intent of the filmmakers. WBDLL represents a third-generation post facility; it’s been conceived with the philosophy that origination and delivery are part of the same process. It’s managed by a newly assembled crew that over the course of their careers have answered some of the most complex post production challenges the industry has devised. WBDLL is an environment and indeed a concept I feel London has needed for many years.”

The new facilities at WBDLL include two 4K HDR FilmLight Baselight X grading theatres, Autodesk Flame online suites, digital dailies facilities, dark fiber connectivity and a mastering and QC department. WBDLL has additional facilities based at Warner Bros. Studios Leavesden, including a 50-seat 4K screening room, 4K VFX review theater and in-facility and on-location digital dailies, offering clients a full end-to-end service.

WBDLL has been the choice for many large features including Dumbo, Wonder Woman, Three Billboards Outside Ebbing, Missouri, Fantastic Beasts, Early Man, Mission Impossible: Fallout and Outlaw King. Its roster of high-end TV clients include Netflix, Amazon, Starz, BBC and ITV.

Last year the company announced it was cementing its future in Soho by moving to the purpose-built Ilona Rose House in 2021, which is currently under construction.

Keep Me Posted adds senior colorist Aidan Stanford

Burbank’s Keep Me Posted, a FotoKem company specializing in creative and technical episodic post services, has brought Aidan Stanford as senior colorist. He will work on episodic and feature projects.

With over 25 years of experience, Stanford’s work history ranges from photochemical color timing to digital color grading and includes DI, broadcast, commercials and shorts. His varied background includes color timing 65mm film for Lawrence of Arabia (IMAX 2002 restoration/release); the DI, HDR and all video deliverables for the Oscar-winning Get Out; and multiple seasons of Emmy Award-winning television series. His credits include the features Happy Death Day, Insidious: The Last Key and Benji and his episodic credits include Modern Family, Drunk History, You’re the Worst and Fresh Off the Boat.

At Keep Me Posted, Stanford will be working on Nucoda and Resolve.

“Aidan brings a deep knowledge of film, an artistic eye and a keen technical ability to help our creative customers bring their vision to reality,” says Mike Brodersen, FotoKem’s chief strategy officer. “His comprehensive skill set in combination with his expertise in color have made him a trusted collaborator with many filmmakers and showrunners.”

Director Hasraf ‘HaZ’ Dulull signs with 1stAvenueMachine, Gotham Group

London-based director Hasraf ‘HaZ’ Dulull is now being repped by 1stAveMachine and The Gotham Group. Dulull recently directed the pilot for Disney’s action comedy miniseries Fast Layne, was also credited as creative consultant on the entire series and directed three additional episodes when he wowed Disney Channel executives with his vision for the eight-part series. See our interview with him here.

Dulull is known for his breakout sci-fi indie feature film The Beyond, which was released by Gravitas Ventures, and premiered at #2 on the iTunes charts before trending on Netflix. His second feature film 2036: Origin Unknown, which starred Katee Sackhoff (Battlestar Galactica) earned a theatrical release in the US.

Dulull began his career as a VFX artist on films such as The Dark Knight and Hellboy 2, as well as shows like America: The Story of the US.

Dulull is also repped by APA and Darren Trattner at Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner & Klein, and is the co-founder of production company Haz Film.

Butter Music and Sound adds new ECDs in NYC and LA

Music shop Butter Music and Sound has expanded its in-house creative offerings with the addition of two new executive creative directors (ECDs): Tim Kvasnosky takes the helm in Los Angeles and Aaron Kotler in New York.

The newly appointed ECDs will maintain creative oversight on all projects going through the Los Angeles and New York offices, managing workflow across staff and freelance talent, composing on a wide range of projects and supporting and mentoring in-house talent and staff.

Kvasnosky and Kotler both have extensive experience as composers and musicians, with backgrounds crafting original music for commercials, film and television. They also maintain active careers in the entertainment and performance spaces. Kvasnosky recently scored the feature film JT LeRoy, starring Kristen Stewart and Laura Dern. Kotler performs and records regularly.

Kvasnosky is a composer and music producer with extensive experience across film, TV, advertising and recording. A Seattle native who studied at NYU, he worked as a jazz pianist and studio musician before composing for television and film. His tracks have been licensed in many TV shows and films. He has scored commercial campaigns for Nike, Google, McDonald’s, Amazon, Target and VW. Along with Detroit-based music producer Waajeed and singer Dede Reynolds, Kvasnosky formed the electronic group Tiny Hearts.

Native New Yorker Kotler holds a Bachelor of Music from Northwestern University School of Music and a Master of Music from Manhattan School of Music, both in jazz piano performance. He began his career as a performer and studio musician, playing in a variety of bands and across genres including neo-soul, avante garde jazz, funk, rock and more. He also music directed Jihad! The Musical to a month of sold-out performances at the Edinburgh Festival Fringe. Since then, he has composed commercials, themes and sonic branding campaigns for AT&T, Coca-Cola, Nike, Verizon, PlayStation, Samsung and Honda. He has also arranged music for American Idol and The Emmys, scored films that were screened at a variety of film festivals, and co-produced Nadje Noordhuis’ debut record. In 2013, he teamed up with Michael MacAllister to co-design and build Creekside Sound, a recording and production studio in Brooklyn.

Main Image: (L-R) Tim Kvasnosky and Aaron Kotler

Veteran VFX supervisor Lindy De Quattro joins MPC Film

Long-time visual effects supervisor Lindy De Quattro has joined MPC Film in Los Angeles. Over the last two and a half decades, which included 21 years at ILM, De Quattro has worked with directors such as Guillermo Del Toro, Alexander Payne and Brad Bird. She also currently serves on the Executive Committee for the VFX branch of the Academy of Motion Picture Arts and Sciences.

De Quattro’s VFX credits include Iron Man 2, Mission Impossible: Ghost Protocol, Downsizing and Pacific Rim, for which she won a VES Award for Outstanding Visual Effects. In addition to supervising visual effects teams, she has also provided on-set supervision.

De Quattro says she was attracted to MPC because of “their long history of exceptional high-quality visual effects, but I made the decision to come on board because of their global commitment to inclusion and diversity in the VFX industry. I want to be an active part of the change that I see beginning to happen all around me, and MPC is giving me the opportunity to do just that. They say, ‘If you can see it, you can be it.’ Girls need role models, and women and other underrepresented groups in the industry need mentors. In my new role at MPC I will strive to be both while contributing to MPC’s legacy of outstanding visual effects.”

The studio’s other VFX supervisors include Richard Stammers (Dumbo, The Martian, X-Men: Days of Future Past), Erik Nash (Avengers Assemble, Titanic), Nick Davis (The Dark Knight, Edge of Tomorrow) and Adam Valdez (The Lion King, Maleficent, The Jungle Book).

MPC Film is currently working on The Lion King, Godzilla: King of the Monsters, Detective Pikachu, Call of the Wild and The New Mutants.

VFX supervisor Christoph Schröer joins NYC’s Artjail

New York City-based VFX house Artjail has added Christoph Schröer as VFX supervisor. Previously a VFX supervisor/senior compositor at The Mill, Schröer brings over a decade of experience to his new role at Artjail. His work has been featured in spots for Mercedes-Benz, Visa, Volkswagen, Samsung, BMW, Hennessy and Cartier.

Combining his computer technology expertise and a passion for graffiti design, Schröer applied his degree in Computer and Media Sciences to begin his career in VFX. He started off working at visual effects studios in Germany and Switzerland where he collaborated with a variety of European auto clients. His credits from his tenure in the European market include lead compositor for multiple Mercedes-Benz spots, two global Volkswagen campaign launches and BMW’s “Rev Up Your Family.”

In 2016, Schröer made the move to New York to take on a role as senior compositor and VFX supervisor at The Mill. There, he teamed with directors such as Tarsem Singh and Derek Cianfrance, and worked on campaigns for Hennessy, Nissan Altima, Samsung, Cartier and Visa.

Vickie Sornsilp joins 1606 Studio as head of production

San Francisco-based 1606 Studio, formerly Made-SF, has hired veteran post producer Vickie Sornsilp to head of production. Sornsilp, whose background includes senior positions with One Union Recording and Beast Editorial, will oversee editorial and post finishing projects for the studio, which was launched last month by executive producer Jon Ettinger, editor/director Doug Walker and editors Brian Lagerhausen and Connor McDonald.

“Vickie represents what 1606 Studio is all about…family,” says Ettinger. “She trained under me at the beginning of her career and is now ready to take on the mantle of head of production. Our clients trust her to take care of business. I couldn’t be prouder to welcome her to our team.”

A graduate of San Francisco’s Academy of Art University, Sornsilp began her career as a copywriter with agency DDB. She got her start in post production in 2014 with Beast Editorial, where she produced work for such brands as Amazon, Clorox, Doritos, HP, Round Table Pizza, Mini Cooper, Toyota, Visa, Walmart and Yahoo! She joined One Union Recording as executive producer in 2018.

Sornsilp is excited to reunite with 1606 Studio’s founders. “It feels like coming home,” she says. “Jon, Doug, Brian and Connor are legends in the business and I look forward to doing more great work with them.”

Launched under the interim name Made-SF, the company is rebranding as 1606 Studio in anticipation of moving into permanent facilities in April at 1606 Stockton Street in San Francisco’s historic North Beach neighborhood. Currently undergoing a build-out, that site will feature five Adobe Premiere editorial suites, two motion graphics suites, and two Flame post finishing suites with room for further expansion.

“We want to underscore that we are a San Francisco-centric company,” explains Walker. “Service companies from outside the area have been moving into the city to take advantage of the boom in advertising and media production. We want to make it clear that we’re already here and grounded in the community.”

Goldcrest adds 4K theater and colorist Marcy Robinson

Goldcrest Post in New York City has expanded its its picture finishing services, adding veteran colorist Marcy Robinson and unveiling a new, state-of-the-art 4K theater that joins an existing theater and other digital intermediate rooms. The moves are part of a broader strategy to offer film and television productions packaged post services encompassing editorial, picture finishing and sound.

Robinson brings experience working in features, television, documentaries, commercials and music videos. She has recently been working as a freelance colorist, collaborating with directors Noah Baumbach and Ang Lee. Her background also includes 10 years at the creative boutique Box Services, best known for its work in fashion advertising.

Robinson, who was recruited to Goldcrest by Nat Jencks, the facility’s senior colorist, says she was attracted by the opportunity to work on a diversity of high-quality projects. Robinson’s first projects for Goldcrest include the Netflix documentary The Grass is Greener and an advertising campaign for Reebok.

Robinson started out in film photography and operated a custom color photographic print lab for 13 years. She became a digital colorist after joining Box Services in 2008. As a freelance colorist, her credits include the features Billy Lynn’s Long Halftime Walk, DePalma and Frances Ha, the HBO documentary Suited, commercials for Steve Madden, Dior and Prada, and music videos for Keith Urban and Madonna.

Goldcrest’s new 4K theater is set up for the dual purposes of feature film and HDR television mastering. Its technical features include a Blackmagic DaVinci Resolve Linux Advanced color correction and finishing system, a Barco 4K projector, a Screen Research projection screen and Dolby-calibrated 7:1 surround sound.

Digital services company Mission hires Mirek Sochor

UK-based Mission, which provides DIT and digital lab/dailies services, has hired Mirek Sochor as manager for Central Europe. Sochor joins Mission from Universal Production Partners (UPP) in Prague where he was the associate producer and supervisor of the film and TV services department. UPP is one of the biggest post facilities in mainland Europe.

Sochor’s recent credits include Crazy Rich Asians, Carnival Row and Genius. Additionally, in 2013 he was named by the Czech Republic’s Minister of Culture as an advising expert in economical and technological aspects in the field of technical development and innovation in cinematography, and in the field of preserving the national film heritage and making it accessible to the public.

At Mission, he will head business and production in Central Europe, spearheading the company’s expansion into Prague and beyond. For the last few months Mission’s DIT Nick Everett has been supporting cinematographers David Moxness, ASC, and Sid Sidell, ASC, on the ABC TV series Whiskey Cavalier. ABC’s Whiskey Cavalier stars Scott Foley and Lauren Cohan.

Mark Purvis, Mission’s managing director, saw the opportunities in Prague and other locations in Central Europe, explaining, “We are strongly committed to providing the same high level of support to productions as we have in the United Kingdom, with a focus on streamlining workflows, adding the best staff in key locations and continually training our technicians to better service our clients.”

Mission continues to grow, with offices in London and Wales and an ever-expanding roster of world-class DITs and digital dailies lab operators. They have recently worked on feature films Yesterday, Mary Queen of Scots and Downton Abbey, TV shows A Discovery of Witches, His Dark Materials and Whiskey Cavalier plus many more. They are a key partner to many cinematographers, working with them from pre-production onwards, safeguarding their color decisions as a project moves from production into post.