Veteran post technologist Benoit Leveau has joined London’s One of Us as CTO. The studio, which is in its 16th year, employs 200 VFX artists.
Leveau, who joins One of Us from Milk VFX, has been in the industry for 18 years, starting out in his native France before moving to MPC in London. He then joined Prime Focus, integrating the company’s Vancouver and Mumbai pipelines with London. In 2013, he joined Milk in its opening year as head of pipeline. He helped to build that department and later led the development of Milk’s cloud rendering system.
The studio, which depends on what it calls “the efficient use of existing technology and the timely adoption of new technology,” says Leveau’s knowledge and experience will ensure that “their artists’ creativity has the technical foundation which allows it to flourish.”
New York-based full-service post house Harbor Picture Company has hired Corey Stewart as chief technology officer. He brings 20 years of industry experience to his role.
Stewart joins Harbor from Technicolor PostWorks New York, where he had served as chief engineer since 2008. During that time he designed and managed integration of a large-scale routing control system, created a KVM switching infrastructure to increase room flexibility and production, and managed engineering teams during acquisitions and management changes.
Prior to that role, Stewart held a number of jobs at the company, including online editor, Avid support technician and lead engineer. Earlier on in his career, Stewart attended the School of Visual Arts in New York where he studied film and video with an editorial concentration, taught film production classes and worked as an Adobe After Effects designer/assistant editor at Harvey’s Place. He has been credited as DI engineer on a variety of feature films and television shows. He is also a member of the HPA, SMPTE, Digital Cinema Technology and more.
“The reality of our new landscape of anywhere, anytime, any artist, has demanded that we continue to seek out new technologies and technologists to facilitate the type of unlimited access to creativity that clients are in search of,” says founder/president Zak Tucker. “Corey was the perfect candidate for this new position because he shares our vision and holistic approach to post — providing omnipresent support to clients, everywhere from on set to the point of delivery. The creative benefit of this type of seamless workflow is the collaboration fostered between picture and sound, and it’s only made possible by the types of technological advancements and workflows industry vets like Corey are implementing and innovating.”
Recent Harbor projects include work on Arrival, Beauty and the Beast and Showtime’s Billions.
Post FactoryNY has named Liam Ford as chief technology officer. Ford, who has more than a decade of post engineering and IT experience, was most recently VP of technology at Company 3, New York. At Post FactoryNY, Ford will oversee planned expansion of color grading and finishing services for theatrical and television projects.
Ford originally joined Company 3 as a DI systems manager in 2004. He was promoted to director of technology in 2010 and to VP of technology in 2013. In the latter role, he had oversight for technology operations at facilities in New York and Atlanta. He began his career with Title House in Hollywood.
“We want to provide film and television producers with a premium finishing experience, so that they can focus on content and story knowing that we’ve got the rest of the post process handled,” says Ford. “My role is to craft a technology environment that is tailored to the very unique needs of filmmakers and their projects.”
Hollywood-based Hula Post Production, which provides equipment rental services including edit suites and workflow development to the post production and broadcast world, has promoted Josh Rizzo to chief technology officer. He will lead Hula’s technical direction, help develop business opportunities and oversee strategic planning for future service and support offerings.
Rizzo has been an integral part of the Hula Post Production team for over 10 years, including two years as VP of technology for Slate Media Group and eight years with Wexler Video. At Wexler, he served in a variety of engineering roles, lastly director of technology. He has worked with clients from the film, television, broadcast and advertising industries while Continue reading
The perils of shooting film-style in the digital era, and how to avoid your pictures looking awful.
By Bruce Devlin
Long, long ago life was simple. Premium content for television was shot on film, using Hollywood-style cameras at Hollywood-style 24 frames a second. It was cut on film, and effects were done on film. Even delivery from production to post to broadcaster was done on film.