Over 50 feature films and
documentaries posted in NY including current and
upcoming releases: Run All Night, Going Clear: Scientology and the Prison
of Belief, While We're Young, The DUFF, Effie
Gray, Me and Earl and the Dying Girl, A Walk
in the Woods, and Sleeping with Other People. Over 25 TV shows posted in NY
including current and upcoming TV shows:The Jinx:
The Life and Deaths of Robert Durst, HAPPYish, The
Slap, Nurse Jackie, Public Morals, Unbreakable
Kimmy Schmidt, Younger, Sex&Drugs&Rock&Roll,
Show Me a Hero, The Americans, and Blue
The Molecule Celebrates 10 Years of Visual Effects and Motion
Bi-Coastal Company Leads the Way in a Changing VFX Landscape
The Molecule, a leader in the Visual Effects and
Post-Production scene, will be observing their 10-year anniversary
this year in New York City and Los Angeles. The celebration follows
their recent successes in Visual Effects for several high-profile
film and TV releases including Run All Night, The
Giver, The Butler, Unbreakable Kimmy
Schmidt (Netflix), The Americans (FX), and Golden
Globe-winner The Affair (Showtime).
"It's been an amazing journey to grow as much as we have," says The
Molecule CEO Chris Healer. "Ten years ago we had a vision
of making an influence in the Visual Effects community, and it's
incredible to see that becoming a reality."
The Molecule began in 2005 with three employees.
After taking on the Visual Effects for hit shows such as Rescue
Me (FX) and Damages (FX), they quickly found a
foothold in the booming New York VFX industry. They have since
expanded to Los Angeles and now employ over 50 artists, and The Molecule
remains a pioneer in the VFX community in the city that
gave them their start.
Andrew Bly, Principal and Executive Producer at The Molecule,
speaks to the industry's unprecedented growth, "New York went from
having a handful of television shows and a few indie features to now
having more projects than we could have ever dreamed of. With all
the help from our local government, we've had a front row seat to
watching the city and state become a desired location for
Bly also credits the strength of the VFX community in New York as
an important part of their success. "It's been vital for the
community to unite through organizations such as Post New York
Alliance and Visual Effects Society. We have been able to share our
talents, and we constantly try to make our community stronger and
Luke DiTommaso, Principal and VFX Supervisor, says The
Molecule's capacity has increased dramatically. "With our
refined pipeline, last year we managed 26 television shows, 7 studio
features, 19 indie features, and 16 commercials. Currently on our
peak months we're producing 600 Visual Effects shots of varying
He adds that there is never a dull day. "We handle an enormous
volume and variety of shots. Seems like every day we're asked to do
something spectacular, or absurd, or gruesome, or impossibly
beautiful. I love being asked by the artists, ‘what are we
working on today'? The answer usually begins with a
chuckle of giddy excitement."
Recent Projects: Money Monster, Run All Night,
Rock The Kasbah, Ricky and the Flash, The
Runner, The Affair (Showtime), Happyish
(Showtime), Nurse Jackie (Showtime), Unbreakable
Kimmy Schmidt (Netflix), Bloodline (Netflix), Ballers
(HBO), The Jinx: The Life and Deaths of Robert Durst
(HBO), Flesh & Bone (Starz), The Americans
(FX), Sex&Drugs&Rock&Roll (FX), Royal
Pains (USA), Sirens (USA), The Slap
(NBC), Elementary (CBS), The Following (Fox), American
Crime (ABC). www.themolecule.com
Technicolor PostWorks New York
Technicolor-PostWorks Acquires The Room
The Room founder Ben Murray assumes new role as VP of Creative
Services at Technicolor-PostWorks.
the East Coast's most comprehensive independent supplier of
post-production services for film and television, announced earlier
this year that it had acquired The Room, the high-performance
finishing studio that has been hosted on its premises for the past
Under the terms of the agreement, The Room's staff, equipment and
dedicated 4K workflow are being integrated into the Technicolor-PostWorks
facility at 110 Leroy Street. Additionally, Ben Murray, founder of
The Room, assumes a new role as Vice President, Creative Services
Technicolor-PostWorks COO Rob DeMartin says the
objective of the move is to leverage the creative talent, workflow
and technology that have made The Room the finishing facility of
choice for a growing number of independent filmmakers and other
content creators. Under Murray's leadership, The Room has honed a
client-centric approach to feature film post-production, combining
efficient data and workflow management, state-of-the-art technology,
team-based operations and personalized service. Recent projects for
The Room include St. Vincent, Her, The
Giver, True Detective, Marco Polo, Mr.
Dynamite: The Rise of James Brown, and Years of Living
Murray is applying a similar approach to the full range of Technicolor-PostWorks'
film and television operations. "Ben is our creative and technical
lead, focusing on workflow design, training, talent management and
recruiting," DeMartin said. "He works with clients in
pre-production, oversees project management, collaborates with our
engineering team, and assists in overall strategic planning."
"We aim to streamline services for both features and episodic
television," Murray said. "We will work to provide increasingly
nimble technology and a more responsive level of service across the
Murray believes that the operational efficiencies that made The
Room successful translate well to the larger facility. "It's an
opportunity to extend our agile, client-focused approach," he
stated. "As The Room rapidly grew, particularly over the last year,
the quality of service was not diluted —in fact, it improved. In
taking this next step, with a larger pool of talent, greater
physical capacity and much higher bandwidth, our focus will be to
elevate the quality of service available for all our clients. I am
confident that the formula will continue to scale."
Alkemy X, formerly DIVE, has been working on
multiple visual effects projects in New York. Alkemy X
was the primary visual effects vendor for the incredibly popular
first season of HBO's The Leftovers. Alkemy X
is about to begin production on the second season of The
Leftovers this Spring. The Alkemy X team
also contributed visual effects for Cosmos on Fox. Their
work was featured on Episodes 5, 8, 9 and 10. Airing on Starz, Alkemy
X did all of the visual effects for Power
Seasons 1 & 2, contributed VFX work to the series Flesh
& Bone, as well as work on Season 2 of Black Sails.
Two pilots that Alkemy X worked on recently -- Mr.
Robot for USA and Outcast for Cinemax -- were both
picked up to series. The team also provided all of the VFX for Public
Morals, Season 1, for TNT. In the feature film arena, Alkemy
X has collaborated on Emelie, an independent
film, as well as The Visit, directed by M. Night
Shyamalan, Dark Places for Exclusive Media and A24, and American
Ultra. Alkemy X's VFX team is led by
VFX Supervisors Ed Mendez and Dave Zeevalk, Executive Producer Leah
Garner Orsini, and VP Business Development Bob Lowery. www.alkemy-x.com
GOLDCREST POST PREMIERES THREE FEATURE FILMS AT 2015 TRIBECA FILM
Goldcrest Post New York is pleased to announce the
premieres of MOJAVE, THE SURVIVALIST and FASTBALL
at the Tribeca Film Festival.
Bill Monahan's MOJAVE stars Oscar Isaac and Garrett Hedland and
will premiere on Saturday, April 16th at the SVA theater on 23rd St.
The film was captured by Don Davis in the LA area on the Alexa with
Hawk anamorphic lenses. John Allen edited on the Avid at Goldcrest,
while the conform was completed on the Quantel by Goldcrest's
Michelle Ambruz and Ricardo Madan. John Dowdell color corrected the
project, the first feature to be completed in Goldcrest's new DI
theater. The sound design and mix were conducted by Eric Hirsch in Goldcrest's
new Theater Q.
Jonathan Hock's FASTBALL will premiere in the
Documentary Competition category. Andy Kris mixed the film in
Theater Q. The project is the first to complete work on Goldcrest's
Quantel Rio through all stages of picture finishing from Michelle
Ambruz' conform through color correct work by John Dowdell.
And finally, THE SURVIVALIST will premiere in the World
Narrative Competition, the first in a series of four films that
Goldcrest UK and Goldcrest New York are completing
with Wayne Godfrey and Robert Jones THE FYZZ. Filmmaker Stephen
Fingleton completed the UK-shot drama with the Goldcrest in-house
sound designer Jamie Roden and colorist John Dowdell.
John "Pliny" Eremic would like to give you a few days of your life
His web-based service Endcrawl lets filmmakers
easily manage the entire end credits process. And it's been quietly
used on hundreds of films to date, including The Adderall
Diaries, A Most Violent Year, Mr. Holmes,
and Reed Morano's Meadowland.
Pliny, who also works at HBO, started building Endcrawl when
he saw an opportunity to close one small but highly dysfunctional
gap in the post finishing pipeline. Endcrawl improves
on the bad old days:
New renders are fast and just a click away. Endcrawl's
automated cloud render engine turns around 1k previews in about 5
minutes. 2k DPX, zipped up neatly, come in about a half hour.
Endcrawl can be used by anyone: post supers,
producers, editors, directors, and artists. Project members
collaborate in real time using Google Docs integration, and
preview layout right in their web browser. No more crazy email
Renders are unlimited. Under the current beta program, 1k
renders are gratis. 2k requires a $499 flat project upgrade, after
which 2k renders—including DPX—are also completely unlimited.
Unlimited DPX do-overs come in handy: there's always "one more last
thing." One Endcrawl customer went to Sundance
2014 after render #44, but just recently made version #118 ahead of
a home video release—over a year later.
Title houses and freelance designers are also using Endcrawl
as a white-label service. This lets them quickly respond
to their clients' whims, while freeing up their talents to focus on
the creative main title design. (In other words, Endcrawl has
been used on $100m studio features, but we can't tell you which
Propellerhead Media, downtown Buffalo's premiere
audio post facility, continues to be Western New York's link to the
outside world with ADR, ISDN voice over, and full service audio post
for film and video. Recent ADR clients include Poltergeist
2015, My All American, The Newsroom,
Tower Heist, Extremely Loud and Incredibly Close,
and Spike Lee's Redhook Summer. PHM is owned and
operated by Shaun Mullins, a veteran audio engineer, producer,
editor, mixer, musician and composer, and is currently upgrading
from Pro Tools HD3 to HDX. Mullins has provided original music
for hundreds of TV and radio commercials, and numerous PBS
documentaries and independent films have been posted in our 5.1/7.1
mixing stage. Contact Shaun at 716 853 0500 or email@example.com
Post New York Alliance
Post NY Alliance at SXSW
The Post New York Alliance (PNYA) had a great
experience at SXSW this year! The Film component of the festival is
still developing-we got in at the perfect time.
The Trade Show attracted 100s of people to the PNYA booth,
where we gave away ALL of the swag sent by our company and
individual members. We had 100s of conversations about the PNYA,
about the NY Post Industry, about the NYS tax incentives, about our
educational and internship efforts. We spoke to potential members,
potential sponsors, Producers, Distributors, a congressional
delegation sent over by the MPAA.
We gave away 100s of PNYA t-shirts, NY LOVE
FILMS t-shirts, Made In NY tote bags-in addition to company swag.
People were walking around Austin like human billboards for NY
Other states and countries represented at the trade show were:
Texas, Georgia, Louisiana, Illinois, the UK, Australia, Argentina,
Korea, Japan and Holland. We were proud to be a presence
representing NY-we were the only ones there from the NY film
industry. Other NY vendors and tech companies were there, and
several NY filmmakers.
The booth was staffed by Yana Lehman and Jennifer Freed from Trevanna,
Ben Baker, Audra Coulombe and Chris Hayes from The
Molecule. Each of us was able to promote our companies
while also promoting the PNYA.
This year more NY Finished films were in SXSW than in Sundance!
We hope you will all consider coming to SXSW next year. We have
plans for an even bigger presence than we had this year.
New York VES Awards
New York VES Awards Celebration
On February 27th, 2015, the New York Section of the Visual Effects
Society hosted the inaugural New York VES Awards Celebration at the
Green Building in Brooklyn. Part cocktail party, part awards
show and part gala networking event, the celebration brought
together nearly 150 people to create a memorable evening and marked
the first time in history that the VES has held an awards event
outside of Los Angeles.
The evening started with some live music by Michael Aranella and
his Dreamland Orchestra, an open bar and some delicious catered fare
from Poppy's of Brooklyn. A hilarious, special video introduction by
Tina Fey kicked off the night's more formal presentation, followed
by speeches from Dan Schrecker (former VES NY Section Chair)
and Eric Roth (VES Executive Director). PNYA's
own Yana Collins Lehman then said a few words and paid tribute to
local folks who were nominated - or won - VES Awards at the LA Award
show earlier in February, including Jake Braver
who took home a VES Award for Outstanding Supporting Visual Effects
in a Photoreal / Live Action Feature Motion Picture for his work on
The highlight of the evening was the presentation of the first ever
VES Empire Award to Randy Balsmeyer, title
designer and VFX supervisor, for "his contributions to visual arts
and filmed entertainment and long standing dedication to the New
York visual effects community". A video
compilation of Randy's work showed the crowd some of the title
design and VFX work that he has done over the years, including an
impressive array of projects he has done with Spike Lee, The Coen
Brothers, Martin Scorcese, Jim Jarmusch, Woody Allen, Tina Fey and
others. Jay Rabinowitz, long time NYC editor and
frequent collaborator with Randy, as well as a good friend,
presented the award - a custom designed bronze cast of King Kong
atop the Empire State Building. Randy followed
with a wonderful, heart-felt speech that touched on his brilliant
career and gave everyone in attendance a deeper understanding of
Randy's commitment to his work and his city.
Randy Balsmeyer recently created title sequences
for the new film, Effie Gray. The movie stars Dakota
Fanning as the title character and opened in US theaters on April 3,
following a successful run in the UK. Effie Gray was
written by Emma Thompson, who also co-stars, and was produced by
Sovereign Films with Donald Rosenfeld and Andreas Roald. The titles
bring an authentic Victorian flavor to the film. Editorial and
post-production were handled by an all New York crew, including many
The evening continued with some door prizes, a DJ set by GERG and
more mingling. Sponsored by a host of local companies,
the evening brought together the New York visual effects (and post)
community in a way that set a great precedent for future
events. Congratulations to Randy Balsmeyer
for his award and to the New York Section of the VES for
establishing an exciting new tradition here in the city.
photo credit: Marc Smerling
Six-part miniseries completed post in New York
The Jinx: The Life and Deaths of Robert Durst,
the remarkable and newsmaking six-part series, recently aired
on HBO. It is being released on I-Tunes, Google Play and Amazon on
March 30, 2015. Post production was completed entirely in New York.
Credits included the following:
Produced by Andrew Jarecki, Marc Smerling, Co-Produced by Zac
Directed by Andrew Jarecki
Post Production Producer- Susan Lazarus
Post Production Coordinator- Jill Ann Christiano
Edited at Post FactoryNY with Ross Laing
, assistant editor
Video Finishing was completed at Technicolor Postworks NY
Visual Effects by The Molecule
Sound Editorial by Coll Anderson
Final Mix was completed at Harbor Picture Company
Most of production and all of post-production were done by New
York-based crews, and many PNYA members
participated in making this riveting series. The filmmakers send
their appreciation and applause to the teams of Carol Jazwinski, Joe
Beirne, Jay Rubin, Alex Halpern, Chris Peterson, Andrew Bly,
Darrell Smith and Zak Tucker.
Visual Effects Supervisor/Producer - The Circle of Post
Last year I was lucky enough to attend PNYA's
"Turnover" series at PostWorks. Host Ben
Baker does a great job enticing informational gems out of
the speakers, on multiple levels, to make the panels fun and
educational for everyone from novices to seasoned technicians. The
PNYA events create a friendly atmosphere making it easy to approach
and meet other members. While at the "Turnover to VFX" event, Yana
Lehman suggested I chat with Ian Blume who was
editing Drawing Home and looking for a VFX supervisor which
could handle the film's 230 shots. Perfect timing as my studio
currently had the bandwidth to take on the project and,
coincidentally, the film's producers were also looking to work with
our friends at Digital Arts a couple blocks away
for finishing and sound. Ian told me more about his project and I
made suggestions on efficient visual effects workflows. We exchanged
contact info and a couple months later I was invited to bid on all
the VFX shots .
Fast forward a couple weeks to the next P.I.G. (Post Intelligence
Gathering)., I was chatting in a circle of colleagues and met Isabel
Teitler, an assistant editor, who expressed interest to
learn more about the VFX process. We had just been awarded the Drawing
Home project and were going to need another smart post person
to keep track of a couple hundred shots. This was in addition to the
100 or so VFX shots we were executing for the film American Ultra
and a few TV series design and VFX projects.
I invited Isabel to come by the studio to see if she was the right
fit as a VFX coordinator/editor. Once again, leveraging PNYA
connections, I reached out to Ben Baker who had recently worked with
Isabel and he had only great things to say about her. Isabel comes
from a family of film makers and has a strong understanding of the
overall post process, from the technical to the politics, and the
need for accurate notes and organization. She was hired and proved
to be a great fit for us during the three month project. We even
learned tricks of her editing trade which we applied to streamline
our VFX process. Isabel has moved on from helping us coordinate VFX
and is now working in the sound department for a couple other films
and continuing to expand her knowledge and experience, although her
goal is to focus on film editing.
Over the past few years, PNYA has been a great opportunity for our
studio on so many levels from personal educational to professional
connections, finding quality staff and we have even garnered a few
friendships along the way!
Personal SXSW Film Round up
By: Kristine Pregot, Senior Producer, Business Development
For a few weeks, every year - downtown Austin transmutes itself into
a mecca where film makers, music makers & taste makers all
converge to push the boundaries of art & technology.
The films, programmed by head of SXSW films: Janet Pierson &
her team, were exceptional and diverse. There was a dynamic mix of
music documentaries, post-modern thrillers, edgy comedies, vintage
classics & just down right strange films. Austin does have a
knack for keeping it weird.
There was just too much to choose from, but the all day scheduling
made it easier to pack a lot more screenings in with the midnighters
collection. These were the selected features that played after 10pm.
The thiller / horror /after-dark features placed in the perfect time
slot for those late night owls. (And the Alamo Theatres were the
perfect hosts – where you can order munchies & beer – perfect
combination for those late night screenings. )
A few of my narrative favorites, included - Uncle John an
innovative approach to storytelling combining a thriller with a
romantic comedy, twisted together with an artful approach. The
Automatic Hate was a beautifully crafted, haunting story
about a family with (just a few) issues to work out. The
Overnight, a comedy about a very California dinner party,
with some interesting twists and bumps throughout the night.
SXSW really shines when film & music meet. The music
documentaries were exceptional. Made in Japan's Tomi
Fujiyama brought the crowd to their feet when she entered for the
Q&A, after the film. I was able to chat with her after the
screening and she is a real gem. I also was able to catch up with
‘Unlocking the Truth' with the debut of their new documentary Breaking
a Monster. It was a look inside the inner workings of the
music industry as the band grows on the road to stardom. This was
very dear to my heart, as I have been a friend with the band ever
since I saw them play at the Apollo Theatre, on amateur night over 3
If I had to choose, I would say the music videos were my personal
favorite! This is a true art form with a pure imaginative
collaboration between artist and director. It is a medium where high
art meets music and the results were breath taking. They were all
All I can say is thanks again, SXSW & Austin - You've outdone
yourself again. Thanks for keeping it fresh & undeniably
innovative. I will see you next year!
DANN FINK and BRUCE WINANT
PNYA Members Dann Fink and Bruce Winant Announce Current Loop
Dann Fink & Bruce Winant (Loopers Unlimited, ADR Loop
Group Coordinators) - were involved in three films at SXSW - Love
& Mercy, Quitters and The Final Girls.
Current NYC features include: Triple Nine, The
Light Between Oceans, Freeheld, Equals,
Miles Ahead, Fan Girl, Underdogs, Staten
Island Summer, Untitled Lee Morgan, Crouching
Tiger Hidden Dragon II, Coming Through the Rye.
Current NY Television: Show Me a Hero (HBO), HAPPYish
(Showtime), Public Morals (TNT), The Knick -
Season 2 (Cinemax), Blue Bloods (CBS), South of Hell
(WE Tv), The Slap (NBC), Casanova (Amazon).
The Tribeca Film Festival will screen the following films which
completed some or all of post production in NY. Congratulations to
all of the filmmakers and our PNYA members who
worked on these amazing projects!!
The Adderall Diaries, Anesthesia, Bad Hurt,
The Birth of Sake, Cartel Land, Emelie, Fastball,
Gored, Havana Motor Club, Indian Point,
In Transit, Jackrabbit, Live from New York,
Man Up, Men Go To Battle, Misery Loves
Company, Mojave, Roseanne for President! ,
Sleeping with Other People, The Survivalist, Tumbledown
, Uncertain, The Wannabe, When I Live My
Life Over Again
JASON HARRIS and PETER PAMELA ROSE
PNYA Members Jason Harris and Peter Pamela Rose Announce Current
Loop Group Projects
Partners Jason Harris and Peter Pamela Rose (ADR Loop Group
Coordinators) are honored to have provided the Loop Group on the
following NY Television Series and Films: FX's The Americans,
Showtime's The Affair, USA's Sirens, Amazon's Mozart
In the Jungle, FX's Sex&Drugs&Rock&Roll,
New Regency's True Story, and Warner Brothers' Run
All Night. Other active projects include: 12 Monkeys
for the SyFy Channel and the feature film "Trumbo,"
starring Bryan Cranston and Helen Mirren.
PNYA Member Tyler H. Walk edits Roseanne for President!
PNYA Member Tyler H. Walk edited long-time Michael Moore
collaborator Eric Weinrib's feature documentary, Roseanne for
President! The film will have its premiere at the Tribeca
Film Festival in April.
The film follows 80's and 90's television star Roseanne Barr's 2012
presidential run. While the backbone of the film revolves
around the campaign, the film dives deeply into her controversial
career and personal struggles to reveal a warts-and-all portrait of
a comedic icon.
For more information on the NY State Tax Incentive Program or to
sign up for the NY Loves Film newsletter, please visit www.nylovesfilm.com.
2015 South by Southwest Film Festival screened an Impressive Array
of New York Posted Films
to our PNYA members who worked on the following films that screened
at the South by Southwest Film Festival!
Disclaimer of Liability
PNYA makes no claims, promises or guarantees about the accuracy, completeness, or adequacy of the contents of its newsletters and expressly disclaims any liability for errors and omissions in its contents. Neither PNYA, nor its officers, directors, employees, agents or contractors make any warranty, expressed or implied or statutory, including but not limited to warranties of noninfringement of third party rights, title, and warranties of merchantability and fitness for a particular purpose with respect to content available from the newsletters. PNYA expressly disclaims any legal liability for any direct, indirect or any other loss or damage of any kind for the accuracy, completeness, or usefulness of any information, product, or process disclosed herein, and does not represent that use of such information, product, or process would not infringe on privately owned rights.
All content within PNYA's newsletters is the property of PNYA unless otherwise stated. All rights reserved. No part of the newsletters may be reproduced, transmitted or copied in any form or by any means without the prior written consent of a PNYA officer.