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Program Receives Landmark 300th Application for the State’s Post-Production Tax Credit

Posted By Administration, Thursday, August 11, 2016

Governor Andrew M. Cuomo today announced the Governor’s Office of Motion Picture and Television Development has received its landmark 300th application for the state’s post-production tax credit, marking a new milestone since the Governor championed a law strengthening the credit in July 2012. The record number of applications in the past four years is evidence of how this innovative industry has soared under the enhanced credit, creating jobs and driving investment in new technologies.

“Our efforts to attract world-class film companies and unparalleled talent to New York have been a tremendous success, creating thousands of jobs and new opportunities for communities statewide,” Governor Cuomo said. “By incentivizing film companies to move to the Empire State, we are transforming New York into a global hub for post-production and successfully positioning ourselves to generate billions of dollars in economic activity for decades to come.” 

The 300 project applicants, most of which filmed elsewhere but opted to do their post-production work in the Empire State, are projected to spend over $340 million in-state and make more than 3,600 hires statewide. By comparison, just 18 productions applied for the post-production credit in the 18 months before the program was revamped in 2012, resulting in just $38 million in New York spending and 224 hires.

Signed by Governor Cuomo in July 2012, the new law boosted the available post-production credit from 10 percent to 30 percent in the New York metropolitan commuter region, including New York City and Dutchess, Nassau, Orange, Putnam, Rockland, Suffolk and Westchester counties. For post-production work in Upstate New York, a 35 percent tax credit is available to eligible productions.

“Thanks to Governor Cuomo’s leadership, our production and post-production incentive programs are stronger than ever,” said Empire State Development President and CEO Howard Zemsky. “The 300 applications that have come in since the post-production credit was expanded in 2012 will continue to result in more investment in New York State and more jobs for New Yorkers.”

Recently, several high-profile projects have applied for the post-production credit, including Zoolander 2, both seasons of Netflix’s Marco Polo, Into the Woods, and the upcoming Inferno and Billy Lynn’s Long Halftime Walk.

The new law has also spurred growth for post-production companies in New York, with five new post-production companies opening Upstate and 22 opening in New York City since July 2012, according to the Post New York Alliance, an industry group. Seventeen existing New York post-production companies have also undergone major expansions over the past four years.

Chair of the Post New York Alliance and President and COO, Trevanna Post, Yana Collins Lehman said, “Governor Cuomo committed to creating and nurturing greater opportunities for post-production companies and professionals throughout New York State in 2012 when he enhanced the post-tax incentive. The members of the Post New York Alliance are grateful to Governor Cuomo for his vision and belief in our industry because these 300 applications have brought with them thousands of jobs. Our businesses have expanded, and New York is now the preeminent destination for film and television post-production.”

Eastern Executive Director, Motion Picture Editors Guild, IA Local 700, Paul Moore said, “Since Governor Cuomo strengthened the program, our members have seen hundreds of jobs created by the industry’s expansion, which has made New York a global hub for post-production.” 

President of Harbor Pictures, Zak Tucker said, “In the four years since Governor Cuomo enhanced the post-production credit we have seen a significant increase in the amount of post-production work coming to New York State and, as a result, we’ve expanded each year, quadrupling our staff and our footprint.”

The thriving post-production tax incentive joins the state’s film production tax credit, which has received 961 applications, resulting in a projected New York spend of $13 billion and more than 830,000 hires since Governor Cuomo took office. Productions that apply for the film production credit can claim qualified post-production expenses under this program, meaning this industry’s economic impact resounds far beyond the 300 applicants to the post-production credit.

Post-production includes all of the editing after filming is complete and includes visual effects, color correction, sound editing and mixing. The industry also includes thousands of other jobs, from engineers and messengers to creative and support staff. The strengthened law was designed to expand state support by specifically focusing on attracting post-production work to communities in all corners of the state. At a time when other states have seen their film tax credits weaken or disappear, New York’s strengthened credit supports a robust industry cluster which has become a major source of direct and indirect employment and economic opportunity for hundreds of thousands of people.

About the New York State Governor's Office for Motion Picture & Television Development

The New York State Governor's Office for Motion Picture & Television Development, a division of Empire State Development, offers film, television and commercial productions and post production tax credits for qualified expenditures in New York State. The office also serves as a liaison between production companies and city and local governments, state agencies, a network of statewide contacts, local film offices and professional location scouts and managers. For more information on filming in New York State and the New York State Film Tax Credit Program, visit

Tags:  Gov. Cuomo  Harbor Picture Company  New York State Film Production Tax Credit  Yana Lehman 

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Posted By Administration, Tuesday, May 31, 2016

Saturday, June 18

from 9:30am - 1:00pm

The New School, Theresa Lang Auditorium
55 West 13th Street at 6th Avenue

9:30 am- Doors open for continental breakfast
10:00 am- Panel begins promptly

This must-attend master class, led by superstar panelists, will give you a complete understanding of the post finishing process across genres. Whatever your position or involvement in the post process, this is an opportunity not to be missed!

Depending on what genre you work in and what your end distribution is, there can be very different considerations for how you prepare the finishing stage of your project. This seminar discusses the final mix, color grading, graphics, visual effects, and delivery typical in feature films, scripted television, and non-scripted television. We will discuss this process globally, from the finished product backwards and examine how decisions made early on in the pre-production, production and post-production processes affect the final delivery.


PNYA and PGA members attend for FREE. However, due to limited space, if you sign up and do not show up you will be charged a $40 fee.
•Non-members & guests: $40 per person, must be purchased in advance.



Scripted Television:
Irene Burns has been responsible for the post-production of more than two hundred and fifty hours of scripted episodic television. Her work on drama series include HBO’s first series, “Oz,” in addition to “Homicide: Life on the Street,” “The Philanthropist” and “Gracepoint.” Her work on comedies includes Tina Fey’s “30 Rock” and “The Joke Show.”

On location in Budapest and London, Irene ran post for NBC’s visual effects-intensive event series “Dracula.” She produced three movies for HBO with the Levinson/Fontana Company including “Strip Search” and “Thought Crimes;” both directed by the legendary Sidney Lumet.

Feature Film:
Jennifer Lane started her film career in editing but quickly switched to post production supervision. In the 2000’s, Jennifer was the Vice President of Post Production at Miramax Films in New York overseeing post-production on such films as "Brothers Grimm" (Terry Gilliam), "An Unfinished Life" (Lasse Hallström), and the Academy Award winning film "Chicago" (Rob Marshall).

As a freelance post supervisor, she has worked for Warner Brothers, Dreamworks Studios, The Walt Disney Company, Universal Pictures, and Focus Features among other studios. Some of her feature credits include “Into the Woods” (Rob Marshall), “The Bourne Legacy” (Tony Gilroy), “Extremely Loud & Incredibly Close” and “The Reader” (Stephen Daldry), “The Adjustment Bureau” (George Nolfi), "Revolutionary Road" (Sam Mendes), "Doubt" (John Patrick Shanley), "Taking Woodstock" (Ang Lee), and “The Good Shepherd" (Robert De Niro). She has also worked on many independent films including “The Disappearance of Eleanor Rigby: HIM and HER” (Ned Benson), "Secretary" (Steven Shainberg), "Hamlet" (Michael Almereyda), "Sidewalks of New York" (Edward Burns), "Trust the Man" (Bart Freundlich), and the documentary "Trekkies" (Roger Nygard). Her next project will be the feature “Wonderstruck” (Todd Haynes) for Amazon. Jennifer also serves as a board member of the Post New York Alliance.

Non-Scripted Television

Brian Batka has supervised post production on over 130 hours of non-scripted episodic content for television, including "North Woods Law” for Animal Planet, Food(ography) for the Cooking Channel, Cyndi Lauper Still So Unusual for WEtv, and “Reel Crime Real Story” for Discovery ID. Prior to that he worked on feature documentaries as a post coordinator on such films as Jonathan Demme’s “Jimmy Carter: Man From Plains," for Sony Pictures Classics, and “Pressure Cooker," for Participant Media. For the past three years, Brian has post supervised on the long running show, “The First 48” for A&E, which follows homicide detectives in what recently described as “right up there with the best examples of real-life documentary filmmaking.”

Additional Panelists Include

Mike Nuget (Senior Finishing Editor & Colorist) has been a member of the Technicolor PostWorks team since 2005, offering expertise in color grading, editorial finishing, and visual effects. Recently, he has been applying those skills to television projects and documentaries, including the ABC drama “Quantico,” TV Land's “Younger,” “The Jim Gaffigan Show,” and the PBS documentary series “Soundbreaking – Stories from the Cutting Edge of Recorded Music,”
 which premiered at the SXSW Film Festival in Austin, TX. Since starting his career in 2003, Mike has worked in virtually every picture genre – from commercials and promos, to reality and network television, to narrative and documentary films – and has honed a diverse skill set across multiple platforms, including AVID, FilmLight, DaVinci, and Autodesk.

Tony Pipitone has sound edited and mixed hundreds of hours of television and film in all formats and genres. His scripted television experience includes such dramas as “Oz,” “Damages,” “The Philanthropist,” and comedies including "30 Rock," "Unbreakable Kimmy Schmidt" and "Lateline." His work in News includes 15 years of Barbara Walters Specials, “Gay Sex in the 90s,” and CBS 9/11 Specials. Reality shows include “My Life on the D List,” “Queer Eye for the Straight Guy" and "Wh
at Not to Wear." Kids shows include “Goodnight Moon” and "Where in the World is Carmen SanDiego." His documentary work is heard in HBO’s upcoming “Under Fire” and “Paradise Lost.” Tony currently works at Sync Sound.

Nick Monton 
is Head of Feature Finishing at Company 3/Deluxe New York. He began his career 15 years ago in the Sydney Australian post-production and VFX industry. By 2003 Nick had technically supervised some of the earliest Australian Digital Intermediate finished films, “Travelers and Magicians” and Darren Ashton's “Thunderstruck.” Nick moved to Vancouver in 2004 and managed editorial and post at Mainframe Digital, a pioneering Canadian CG animation house. Brought down by Stefan Sonnenfeld, Nick moved to Los Angeles in 2006 to join the recently formed CO3 Feature DI department. Out of Co3’s LA, NY and UK offices, Nick produced DI’s for Ridley Scott (“Prometheus”, “Exodus”), JJ Abrams (“Star Trek”, “Super 8”), Gore Verbinski (“Rango”, “The Lone Ranger”), Sean Penn (“Into the Wild”), Tim Burton (“Sweeney Todd”, “Alice in Wonderland”) and Michael Mann (“Public Enemies”) to name a few. In 2013 Nick relocate to Company 3’s New York office where he now manages the Film Finishing department.

Submit a Question
Please submit any questions for the panel you would like us to consider while preparing for this seminar to help us gauge our audience. Email them to

Please Note Cancellation Policy
Cancellations must be received by Thursday, June 16 at 5:00pm. No refunds can be given after this point. A $40 fee will be charged to members who do not cancel before this deadline. Cancellations should be sent to

Tags:  Seminar 

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PNYA's Post Fellowship Program Launches

Posted By Administration, Tuesday, April 5, 2016

Dear PNYA members:

It is with great excitement that the Post New York Alliance announces the 2016 Post Fellowship Program in the State of New York. This inaugural fellowship program will place over 20 interested college students who currently attend an undergraduate program at an NYS University or Community college-or 2/3 year post-graduate program anywhere in the state of New York with NYS post production companies.

This fellowship is made possible by a $50,000 grant New York State has presented to the Post New York Alliance, the first of its kind in NY. The objective of the program is to create a workforce pipeline from NYS education centers, into our post facilities. This gives us an opportunity to give the students we one day hope to hire, very specific training. We also get to expose students interested in the entertainment industry to the post production experience.

The Post Alliance is now accepting applications from post production companies located across the State of New York to participate in the fellowship program as an employer.Each company will be responsible for paying their accepted fellow a stipend of at least $4,000 for participating in this 8 -10 week fellowship program.When the company provides proof to the PNYA that the stipend payment was made at the end of the fellowship program, the PNYA will reimburse your company 50% of your total stipend payment, up to $2,000. There is no limit to the number of fellows each company can accept. The reimbursement per fellow is capped at $2,000.

Companies can apply to participate directly on the PNYA’s website by clicking this link:

We ask that your company apply ASAP as there are only so many slots available this year.

We are also asking for your assistance in spreading the word about this fellowship program with your university contacts (located in our state).The fellowship program is NOT limited to film/tv/communication students and is open to all majors, however they must show an interest in pursuing a career in the content creation post production industry.

Students can apply directly on the PNYA’s website by clicking this link:

The application deadline is April 15, 2016.

Please direct all questions regarding the fellowship program to:


Tags:  fellowship program 

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PNYA'rs Tout Gains at SXSW

Posted By Dan Ochiva, Monday, April 4, 2016


The annual South By SouthWest (SXSW) conference started as a music showcase. But the fest's launches of the latest innovative film, media ventures and interactive digital projects and now VR have made it the go-to industry  event each March.

Of course the PNYA couldn’t stay away – we’ve got a compelling story to tell about New York’s burgeoning post scene and the important role our organization plays.

Audra Coulombe, marketing manager at The Molecule, joined the team which went to Austin to help tell our story. Here’s what she says:

"SXSW is the perfect festival for the PNYA to make a presence. Why not? There are thousands of visitors from the New York area attending the show – and any one of them might become a member. Meanwhile, we also met with filmmakers from all over the world. They may have not known about the many benefits of posting in New York, but we made sure they got word on that.

This was PNYA's second trip to SXSW, and our booth was bigger than ever! Several companies in the Alliance also sent swag. That seemed to do the trick to entice visitors to stop by our booth and chat. Volunteers from our member companies talked to festival attendees about the perks of joining the PNYA, and the tax benefits of posting in New York state. Of course, that was also a good time to mention the many talents and services their companies offer.

"We were also able to show visitors proof of the amazing films coming out of New York - our booth staff provided each visitor with long list as well as a description of all the many films that had posted in New York state.

Our PNYA team absolutely knocked it out of the park this year. I can't wait to head back in 2017!"

Tags:  SXSW 

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PNYA Grows at CCW 2015

Posted By Dan Ochiva, Thursday, December 3, 2015


This year’s Content & Communication World 2015 convention marked a new phase for PNYA’s involvement in the increasingly relevant Javits Center-based show. (The show, held on November 11– 12, underwent a name change to NAB Show New York, reflecting its new ownership.)

If you haven’t attended one of these sprawling conferences, the show brings together the latest products pitched by tech companies, from leading brands like Sony and Avid, to smaller companies and a few startups as well. Just like last year’s show, PNYA had a booth on the floor, where we met dozens of interested visitors who expressed interest in learning more about how membership can help their careers.

If you’re selling gear or software, the show is turning into the right place to present your wares. Vendors spoke of how NAB’s involvement will push the show to renewed importance in our constantly evolving marketplace. NAB has created a new tagline for the show to highlight a marketplace that is far from Vegas - “The Essence of NAB. The Power of NYC.”

As Gordon Smith, NAB president and CEO, put it - “The goal for the new brand is to enhance the experience for all attendees while making the event unique to New York – a mecca for the media and entertainment community.”

The show moves beyond stands full of the latest gear to include two days full of panels, demos and courses. That’s where PNYA has started to fill an important role as a key representative of Gotham’s growing post scene. NAB management tasked PNYA Education Committee chair Ben Baker to pull together a panel to address current issues faced by some of the city’s top facilities.

Panelists include (from left)  Harry Skopas, Director of Technology, The Mill; Chris Parker, CTO, President of Post Production Division, SIM Group; Joe Beirne, CTO, Technicolor Postworks; and Avi Laniado, Chief Engineer, Harbor Picture Company. 

On the panel were Harry Skopas of The Mill; Chris Parker from SIM Group (the fast growing production and post conglomerate which merged with NY’s Post Factory this year); Joe Beirne of Technicolor Postworks; and Avi Laniado from Harbor Picture Company. StudioDaily’s Bryant Frazer wrote a good summation of the panel’s top points. You can access Frazer’s take on ‘Five Things That Keep NYC Post CTOs Up at Night’ right here.


Ben Baker answers an audience member's question during the Q&A.

NAB officials have asked PNYA to work with them on more elaborate presentations for next year’s event. With a year to plan, expect PNYA to up its game... 

Tags:  Ben Baker  CCW  NAB 

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Can Endcrawl Solve Your Title Credit Slowdown?

Posted By Dan Ochiva, Sunday, November 29, 2015


 Endcrawl offers a simple to understand interface that the whole post team can feel comfortable handling. Note how some of the standard logos used in end credits are available as clickable icons. 


If you edit a fast-paced TV series, or face a quick turnaround to ready a feature for a festival, you might dread the thought of slogging through the creation of end title credits as you near the finish.

It’s a relief if your budget or schedule allows you to hand this task off to a graphic artist, someone who knows all about layout and font selection.

But what if you don’t have a line in your budget or the time to explain the job to someone else? What can you do?

Well, Endcrawl has your back. Or rather, your end credits.

That’s the angle for PNYA member John "Pliny" Eremic, co-creator of the app Endcrawl (at This cloud-based program creates fully formatted title credits with just a simple upload of text files on the user’s part.

To help members get a handle on the process, Eremic organized a panel for interested PNYA’ers this past October 20th in Light Iron’s Broadway screening room.

Joining Eremic in the discussion at the demo were Chris Fetner, Director of Global Media Engineering at Netflix and HBO's Rod Bogart, Director of Production R+D.

(For those who appreciate tech history, Bogart helped invent the OpenEXR format – now a standard in the VFX industry - while at ILM.)

Of course such software fits the bill for documentaries and indie features, where producers try to balance budgets with good-looking on screen results. The software’s track record includes use on hundreds of films, including The Adderall Diaries, A Most Violent Year, and Mr. Holmes.

Topics covered during the panel put John’s Endcrawl project into perspective. The app integrates into a new generation of file-based deliverables that are quickly replacing traditional tape­ based formats. These formats include IMF (Interoperable Master Format) and AS­02 (an MXF mastering tool), but also lesser-known MXF versions like Op­1a and AS­11 DPP.

These newer formats offer more sophisticated control over digital media compared to what you could accomplish with traditional linear tape. For example, previously content creators had to manually interact with a sprawling mess of folders and output requirements to prep a package for a network or cable system. Now, the new formats enable easy distribution of multiple versions of the content, via playlists, all inside a single package.


New renders can be made quickly using the compute resources of the cloud-based app.

During the evening’s event, Chris Fetner also discussed Netflix's approach to deliverables and versioning, while Rod Bogart added rich historical detail on events that lead to the creation of the IMF format at Disney/Pixar.

Currently, Eremic works at HBO in the Post Delivery department, where he helps draft details on contribution standards, “among other things”.

Endcrawl's automated cloud render engine turns around free 1K previews in about 5 minutes, according to Eremic. Need 2K DPX files? Expect to wait about a half hour. Those 2K titles cost $499 per project, with “unlimited” numbers of changes and re-renders available. Finally Google Docs, which is integrated into the app, allow project members to collaborate in real time, previewing the title layout as they work.

Tags:  HBO  software  title credits 

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Advanced Resolve Workflow for Editorial and Color

Posted By Administration, Tuesday, October 27, 2015
Updated: Wednesday, October 28, 2015


With DaVinci Resolve 12 being a fully featured NLE, professional editors now have access to highly advanced workflow and effect features that you would normally have to use several applications for. Seasoned editors will learn how to take advantage of these tools and apply them to their own advanced workflows for transcoding media, managing color pipelines, editing, tracking effects and delivering final content as well as delivering to other NLE’s and Pro Tools.

Specifically, we will be taking a close look at the media management tool, resolve color management, optimized media, smart bins, the content sensitive trim tool, asymmetric trimming as well as our fleet of sound effect and mixing tools, multicam editing tool, 3D Keyer and perspective tracker, and the new deliver page. All of these tools help DIT's, editors, colorists and the houses that do it all keep disciplined workflows and projects more streamlined, organized, and creative.

Jason Druss, Product Specialist at Blackmagic Design will take us through the latest version of Resolve and will give you the inside edge you need to get your work done.

When: Thursday, October 29th at 7pm

Where: Harbor Picture Company, 185 Varick Street (at King Street), 4th Floor

Tags:  Blackmagic Design  Harbor Picture Company  Resolve 

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Study Finds NYC Filmed Entertainment at All Time High of $8.7 Billion

Posted By Dan Ochiva, Thursday, October 15, 2015



If you’re in New York for any amount of time, it’s hard to miss the fleets of production trucks and food service vans throughout the city.

If you think you’ve seen more and more production trucks and busy crews on our sidewalks, you won’t be surprised to hear in a just released report by the Boston Consulting Group that the filmed entertainment Industry now brings some 8.7 billion into the city and state economies.

Mayor Bill de Blasio, Deputy Mayor Alicia Glen, and Media & Entertainment Commissioner Cynthia López joined in on the announcement today. They were happy to point out phrases such as this, in the study’s introduction: “Since our last report in 2012 the industry in New York City has seen a period of steady growth, particularly in sub sectors like scripted TV series which offer long-term and predictable employment."

You can read and download the full report in its PDF format here.

It’s not only TV that’s ringing the bell.  Theater is fine with strong growth in revenue and steadily growing employment, while “big-tech players” including Facebook, Twitter and Google have all expanded their locally-based sales and marketing teams.

Another part of the Boston Consulting Group's Executive Summary that begins the report notes that New York is one of only three cities in the world (LA and London are the other two) with a film community “large enough to enable a production to be made without needing any roles to be brought in from outside – cast, ATL or BTL.”

(ATL or Above the Line costs are those that are spent prior to filmmaking. You’ll find costs for screenplay rights and salaries of top talent (actors, directors, producers) here. BTL or Below the Line costs include salaries of support staff and talent. This includes all production costs - catering, studio, lighting, etc. )

Good news, indeed!

Tags:  film industry  film jobs  Mayor's Office of Media & Entertainment  New York City jobs growth 

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Breaking into VFX: A Discussion with Women in the Visual Effects Industry

Posted By Administration, Friday, September 18, 2015


The Visual Effects Society and HBO, in association with Post New York Alliance and the School of Visual Arts, are proud to host the upcoming Women in Visual Effects panel on Wednesday September 30th. The keynote speaker will be Marvel’s EVP of Visual Effects & Post Production, Victoria Alonso.

The panel, to be moderated by postPerspective’s Editor in Chief, Randi Altman, will be comprised of five talented New York-based women who hold various positions within the visual effects industry.  Focusing on the achievements of the panelists, career paths taken, as well as the challenges and changing opportunities for young women trying to find their way into the business of VFX and Animation, this panel will be a great opportunity to learn more about careers within the visual effects industry and what it takes to succeed there.

The panel will be held at SVA’s Beatrice Theatre and is open to members of the VES, PNYA, and NYWIFT, as well as students from School of Visual Arts and other NY schools. 



Victoria Alonso, EVP of Visual Effects & Post Production, Marvel Studios


Randi Altman, Editor in Chief


Leslie Chung, VFX Artist, VFX Shop Owner, VES NY Board Member 

Vivian Connolly, CEO / Executive Producer, Phosphene 

Sabine Heller, Character Development Supervisor, Blue Sky Studios

Gong Myung Lee, VFX Supervisor / Head of 3D at Mr.X Gotham, NYC

Lesley Robson-Foster, Visual Effects Supervisor, Freelance


Doors open at 7:00pm and the panel will begin promptly at 7:20pm. 


Event entry is free. However, registration is required as seating is limited. Register on Eventbrite now to reserve your seat. 

Tags:  HBO  Marvel  NYWIFT  SVA  VES  VFX  visual effects 

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Soundtracks Hosts Successful Start to Our Audio Post Series

Posted By Administration, Wednesday, September 16, 2015


Watching the screen while enacting crowd sound effects. 

Loopers Inc and Soundtrack Studios recently joined with the PNYA Education Committee for Introduction to Audio: ADR, launching our Introduction to Sound Series.

For those in post who are new to audio, the live presentation in Soundtrack’s new ADR room was ideal. PNYA’ers in attendance found the evening entertaining, as there were live re-enactments of ADR sessions, Loop Group Recording, and a fascinating avant-garde live Foley performance.

Practical demos were on tap too, as attendees had a chance to ‘listen in’ to a phone call the explained the proper way to navigate your ADR studio bookings by balancing studio times with talent availability. Attendees even heard a bit of drama that demonstrated how important strategizing your bookings can be for a production hoping to keep on schedule when faced with New York’s increasingly busy audio post market. You can be sure that no one complained about that situation.

If you haven't done so before, don’t miss attending one of our entertaining and informative evening programs.

Curious? Our kickoff event at Soundtracks will be posted soon on the PNYA Podcast. You can always check that here.

Tags:  ADR  Introduction to Audio  Loopers  Soundtrack Studios 

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