Category Archives: New Hire

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.

DigitalGlue 3.7

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.


Warner Bros. Studio Facilities ups Kim Waugh, hires Duke Lim

Warner Bros. Studio Facilities in Burbank has promoted long-time post exec Kim Waugh to executive VP, worldwide post production services. They have also hired Duke Lim to serve as VP, post production sound at the studio.

In his new role, Waugh will be reporting to Jon Gilbert, president, worldwide studio facilities, Warner Bros. and will continue to lead the post creative services senior management team, overseeing all marketing, sales, talent management, facilities and technical operations across all locations. Waugh has been instrumental in expanding the business beyond the studio’s Burbank-based headquarters, first to Soho, London in 2012 with the acquisition of Warner Bros. De Lane Lea and then to New York in the 2015 acquisition of WB Sound in Manhattan.

The group supports all creative post production elements, ranging from sound mixing, editing and ADR to color correction and restoration, for Warner Bros.’ clients worldwide. Waugh’s creative services group features a vast array of award-winning artists, including the Oscar-nominated sound mixing team behind Warner Bros. Pictures’ A Star is Born.

Reporting to Waugh, Lim is responsible for overseeing the post sound creative services supporting Warner Bros.’ film and television clients on a day-to-day basis across the studio’s three facilities.

Duke Lim

Says Gilbert, “At all three of our locations, Kim has attracted award-winning creative talent who are sought out for Warner Bros. and third-party projects alike. Bringing in seasoned post executive Duke Lim will create an even stronger senior management team under Kim.”

Waugh most recently served as SVP, worldwide post production services, Warner Bros. Studio Facilities, a post he had held since 2007. In this position, he managed the post services senior management team, overseeing all talent, sales, facilities and operations on a day-to-day basis, with a primary focus on servicing all Warner Bros. Studios’ post sound clients. Prior to joining Warner Bros. as VP, post production services in 2004, Waugh worked at Ascent Media Creative Sound Services, where he served as SVP of sales and marketing, managing sales and marketing for the company’s worldwide divisional facilities. Prior to that, he spent more than 10 years at Soundelux, holding posts as president of Soundelux Vine Street Studios and Signet Soundelux Studios.

Lim has worked in the post production industry for more than 25 years, most recently posted at the Sony Sound Department, which he joined in 2014 to help expand the creative team and total number of mix stages. He began his career at Skywalker Sound South serving in various positions until their acquisition by Todd-AO in 1995, when Lim was given the opportunity to move into operations and began managing the mixing facilities for both its Hollywood location and the Todd-AO West studio in Santa Monica.


Phil Azenzer returns to Encore as senior colorist

Industry veteran and senior colorist Phil Azenzer, one of Encore’s original employees, has returned to the company, bringing with him a credit list that includes TV and features. He was most recently with The Foundation.

When he first started at Encore he was a color assistant, learning the craft and building his client base. Over his post production career, Azenzer has collaborated with many notable directors including David Lynch, Steven Spielberg and David Nutter, as well as high-profile DPs such as Robert McLachlan and John Bartley.

His credits include The X-Files, Six Feet Under, Entourage, Big Love, Bates Motel, Bloodline and most recently, seasons four and five of Black-ish and seasons one and two of Grown-ish.

“Coming back to Encore is really a full circle journey for me, and it feels like coming home,” shared Azenzer. “I learned my craft and established my career here. I’m excited to be back at Encore, not just because of my personal history here, but because it’s great to be at an established facility with the visibility and reputation that Encore has. I’m looking forward to collaborating with lots of familiar faces.”

Azenzer is adept at helping directors and cinematographers create visual stories. With the flexibility to elevate to a variety of desired looks, he brings a veteran’s knowledge and skillset to projects requiring anything from subtle film noir palettes to hyper-saturated stylized looks. Upon departing Encore in 2001, Azenzer spent time at Technicolor and Post Group/io Film before returning to Encore from 2009-2011. Following his second stint at Encore, he continued work as a senior colorist at Modern Videofilm, NBC Universal and Sony.

While his main tool is Resolve, he has also worked with Baselight and  Lustre.


Pixit Media adds David Sallak 
as CTO

Pixit Media, which provides data-driven storage platforms targeting M&E, has expanded its management team with the addition of CTO and member of the board David Sallak.

Most recently the VP of industry marketing at storage company Panasas, Sallak brings with him more than 15 years of experience. Prior to Panasas, Sallak served as CTO at EMC Isilon. Based in Chicago but working globally, he will be responsible for helping to grow Pixit Media.

Other key appointments for Pixit Media include Chris Horn as chief operating officer. He also joins the board. Greg Furmidge comes on as VP of global sales, and Chris Exton has been promoted to professional services manager.

With offices in Vista CA, London and Stuttgart, Pixit Media clients include Warner Bros., Pixelogic, Framestore, Goldcrest, Encompass and Deluxe.


Molinare hires Nigel Bennett as commercial director

Nigel Bennett will be joining London’s Molinare as commercial director. He was most recently at Pinewood Studios and starts in May. 

Bennett brings experience managing creative, technical and financial pressures within post production.

At Pinewood Studios, Bennett was the group director of creative services, a position he had held since 2014, where he oversaw the opening of Pinewood Digital in Atlanta. With a career in post, Nigel worked his way up from re-recording mixer, through operations management across film, TV and games, head of operations of digital content services, up to his most recent role.

As a re-recording mixer at Shepperton Studios, he worked on a range of titles such as Nanny McPhee, Troy, Love Actually, Gosford Park and Last Orders. 

The London facility looks to build on the success of award-winning dramas Killing Eve and Bodyguard, the Primetime Emmy award-nominated Patrick Melrose, the documentary Three Identical Strangers and feature Mission: Impossible – Fallout, all from last year.


Method Studios adds Bill Tlusty joins as global head of production

Method Studios has brought on veteran production executive and features VFX Producer Bill Tlusty on board in the new role of global head of production. Reporting to EVP of global features VFX, Erika Burton, Tlusty will oversee Method’s global feature film and episodics production operation, leading teams worldwide.

Tlusty’s career as both a VFX producer and executive spans two decades. Most recently, as an executive with Universal Pictures, he managed more than 30 features, including First Man and The Huntsman: Winter’s War. His new role marks a return to Method Studios, as he served as head of studio in Vancouver prior to his gig at Universal. Tlusty also spent eight years as a VFX producer and executive producer at Rhythm & Hues.

In this capacity he was lead executive on Snow White and the Huntsman and the VFX Oscar-winning Life of Pi. His other VFX producer credits include Night at the Museum: Battle of the Smithsonian, The Mummy: Tomb of the Emperor Dragon and Yogi Bear, and he served as production manager on Hulk and Peter Pan and coordinator on A.I Artificial Intelligence. Early in his career Tlusty worked as a production aAssistant at American Zoetrope, working for its iconic filmmaker founders, Francis Ford Coppola and George Lucas. His VFX career began at Industrial Light & Magic where he worked in several capacities on the Star Wars prequel trilogy, first as a VFX coordinator and later, production  manager on the series. He is a member of the Producers Guild of America.

“Method has pursued intelligent growth, leveraging the strength across all of its studios, gaining presence in key regions and building on that to deliver high quality work on a massive scale,” Tlusty. “Coming from the client side, I understand how important it is to have the flexibility to grow as needed for projects.”

Tlusty is based in Los Angeles and will travel extensively among Method’s global studios.


Audio post pro Julienne Guffain joins Sonic Union

NYC-based audio post studio Sonic Union has added sound designer/mix engineer Julienne Guffain to its creative team. Working across Sonic Union’s Bryant Park and Union Square locations, Guffain brings over a decade of experience in audio post production to her new role. She has worked on television, film and branded projects for clients such as Google, Mountain Dew, American Express and Cadillac among others.

A Virginia native, Guffain came to Manhattan to attend New York University’s Tisch School of the Arts. She found herself drawn to sound in film, and it was at NYU where she cut her teeth as a Foley artist and mixer on student films and independent projects. She landed her first industry gig at Hobo Audio, working with clients such as The History Channel, The Discovery Channel and mixing the Emmy-winning television documentary series “Rising: Rebuilding Ground Zero.”

Making her way to Crew Cuts, she began lending her talents to a wide range of spot and brand projects, including the documentary feature “Public Figure,” which examines the psychological effects of constant social media use. It is slated for a festival run later this year.

 

Big Block adds live-action director Rylee Jean Ebsen

LA’s Big Block, part design studio, part production studio and part post house, has added live-action commercial director Rylee Jean Ebsen. As an early Snapchat employee and its most recent director of creative media, Ebsen brings experience producing alternative content to Big Block, including AR, VR, AI, 360-video, vertical video and live-streaming across social and broadcast.

Ebsen ran Snapchat’s in-house creative agency for seven years, hiring and leading a team of 15 while reporting directly to CEO Evan Spiegel. Ebsen debuted Snap’s first vertical original content series on the Discover Platform, co-directed Snap’s very first broadcast TV spot and earned an official patent for her work creating Snapchat’s AR Geofilters. Ebsen was the lead creative artist behind the debuts of the Jeff Koons augmented reality project, Snappables, World Lenses, Custom Stories and Spectacles.

Rylee Ebsen on set.

“What drew me to Big Block is that they weren’t just another production company making commercials, they’re a go-to partner for brands and agencies to turn to for innovative ideas, unique activations and incredible artistic interpretations,” she says.

Big Block’s involvement with “Free the Bid” was another draw for Ebsen, as she’s an active member and passionate about encouraging other female creatives. She’s also an executive member of Women in Film and has spoken at USC’s “Own It” women’s leadership summit and “It’s Our Turn,” Brentwood School’s Young Women’s Conference.

At only 28 years old, she has already spent over 1,200 hours directing on set with equipment ranging from vertical rigs to high-end Alexa cameras. Ebsen has storytelling in her blood, growing up as the granddaughter of actor Buddy Ebsen and advertising creative director Stan Freberg, and later graduating from the NYU Tisch School of the Arts.