PNYA Membership: 68 Companies. 2 Labor Unions. Over 500 Individual
New York Post Does It Again!
Over 50 feature films and
documentaries posted in NY including current and
A Light Between Oceans, Bleed for This, Cell, Deepwater Horizon, Equals,
Girl on a Train, Indignation, Little Men, Maggie’s Plan, Nerve, Queen of Katwe, Tallulah,
The Free State of Jones, Zoolander 2.
Over 25 TV shows posted in NY
including current and upcoming TV shows: Blue Bloods, BrainDead,
Difficult People, Feed the Beast, Odd Mom Out, Quantico, Red Oaks, Sex&Drugs&Rock&Roll,
The Americans, The Breaks, The Get Down, The Night of, Unbreakable Kimmy Schmidt, Vinyl
Post New York Alliance
PNYA Member Companies Host Fellows From Across NY State
PNYA's 2016 Post Production Fellowship Program Participants
Summer is officially here which means the Post New York Alliance’s 2016 Post Production Fellowship Program has kicked off. With a 50% match funding grant from the Empire State Development Corporation, the Post New York Alliance oversaw the administration of the application and selection process for the Fellowship Program this spring. Over 120 college students from 25 different colleges and universities across the State of New York applied for 20 open slots in the summer program. Applications were reviewed, selected and assigned to interview at 14 different participating post companies. Each participating company was assigned at least 3 applicants to interview and each company was able to select and hire their own fellow. The 20 selected fellows for this summer attend, or recently graduated from, the following schools from across the State of New York (sorted by New York State Economic Region): New York City (NYU, School of Visual Arts, CUNY); Long Island (Hofstra University); Southern Tier (Ithaca College); Finger Lakes (Rochester Institute of Technology); Capital District (SUNY Albany); and Mid-Hudson (SUNY Purchase, Marist College).
Each selected summer fellow will receive a $4,000 stipend for their 8-10 week fellowship, 50% of which will be reimbursed to the participating companies from the state grant. All fellows also receive a one year free membership to the Post New York Alliance and are invited and urged to participate in all of the PNYA’s meetings and events this summer.
We want to give a very big shout-out to this year’s participating fellowship companies: Trevanna Post, PhospheneFX, Mr. X Gotham, C5 Inc., Sixteen19, Harbor Picture Company, Mechanism Digital, The Molecule, Light Iron, Deluxe, Sound Lounge, Post Factory NY, Brainstorm Digital, Alkemy-X. These 14 companies realize the importance of training new post talent in order for New York to stay competitive globally and remain a go-to destination for all things post production.
Moving On Up: The Molecule Moves to Bigger Office in Chelsea
VFX, Motion Graphics, and VR Company Slated to Relocate in Late Summer 2016
This summer The Molecule will be relocating their NYC headquarters in SoHo to a full floor of office space at 104 West 29th St.
Together with fellow PNYA-member GPL Technologies, The Molecule is currently outfitting their new digs with state-of-the-art equipment, building an infrastructure that will continue the company’s commitment to efficiency and quality.
The growing company is upgrading the footprint of their NYC space from 4000 square feet to a whopping 11,000 square feet. The new office will feature a large screening room for clients, VR and multiple review stations, and also some extra legroom for each employee.
“We want to make sure that each person has enough space to be creative and to effortlessly collaborate with our other departments,” says Molecule CEO Chris Healer.
Continuing along its consistent growth path, The Molecule will be able to eventually seat 120 personnel in their new space, nearly doubling its current capacity.
The Molecule plans to welcome guests to their new location late summer. Details on housewarming event to follow.
CEO Chris Healer stands amidst the construction of The Molecule’s new office space on West 29th St.
PostWorks Adding 50,000+ Square Feet of Editing Space
New Midtown facility will include 120+ editing rooms.
PostWorks New York has agreed to lease 50,000-plus square feet at 1411 Broadway, a 40-story tower in central Manhattan. The lease term extends beyond 2026.
The new facility, set to open early this fall, will house 120-plus editing rooms available to film and television productions for rental on long- or short-term bases. Technicolor PostWorks will provide editing systems and related technology, as well as on-site support and engineering. The facility will be directly linked with the company’s existing downtown finishing and sound facility network.
The move is a response to recent growth in film and television production in New York. “The production environment in the New York area, especially for episodic television and independent film, is very strong, and we expect it to strengthen for the foreseeable future,” said CEO David Rosen. “This new editing facility is an expression of our confidence and enhances our ability to provide producers with robust, stable post-production resources.”
1411 Broadway is centrally located south of Times Square and features 24/7 access, on-site parking, and 22 passenger and three freight elevators. It is within easy walking distance of Penn Station, the Port Authority Terminal and Grand Central Station.
Rosen also notes that the property allows for significant future growth.
The new space offers the flexibility to serve productions of varying size and requirements. Premises can be configured for use as cutting suites, open bullpen areas or production offices. Technicolor PostWorks COO Rob DeMartin noted that the company’s long-term lease translates into predictable overhead costs that will ultimately benefit filmmakers.
“There is a shortage of quality editing space in New York,” DeMartin said. “Our new space will help to fill that need. We are offering Energy Star–rated Class A offices at affordable rates. We expect this new facility to become the most sought-after cutting space in Manhattan.”
About Technicolor PostWorks New York
Technicolor PostWorks New York operates the East Coast’s most comprehensive digital motion picture and post-production facilities, employing an exceptional team of creative artists, support engineers and project managers to serve our clients through the film and TV finishing process.
Technicolor PostWorks New York offers one complete source for every post requirement, including data workflows, film imaging and restoration, non-linear editorial and UHD picture finishing, 4K digital intermediate, high-volume media encoding with global data connectivity, as well as comprehensive film and TV sound services on ten re-recording mix stages.
For more information, visit http://www.technicolorpwny.com
Sample editing room at PostWorks New York's new 1411 Broadway facility.
Alchemy Post Sound
Alchemy Post Sound: The Art of Location Foley
Foley Artist Leslie Bloome and his team are increasingly stepping out of the recording studio in pursuit of the perfect sound effect.
Alchemy Post Sound’s specialty is Foley, the art of performing and recording live sound effects for use in movies, documentaries and television shows. Most often, Alchemy founder Leslie Bloome and his team do their work at their 3,500 square foot Foley studio. The space is acoustically balanced and heavily equipped with microphones, surfaces and props. Occasionally however, their pursuit of the perfect sound effect requires them to leave the studio and take their act on the road.
Location Foley is the process of recording Foley sound effects in their natural settings. Working outside the studio gives the Foley team less control over everyday exterior sounds but, when done properly, it can yield the most organic result. “It’s a different ball of wax,” says Bloome. “On our Foley stage, we record our sounds in a very quiet space dry of reverb and extraneous noise. We get the proper depth of field with creative microphone mixing and placement. When on location, we are able to take advantage of the natural environment and the ambience that is present. The payoff is that the Foley we create sounds very organic, authentic, and sits incredibly well within the mix.”
Bloome and his crew recently went to a private home to record the Foley for the upcoming DreamWorks film The Light Between Oceans, where much of the action takes place in turn-of-thecentury homes and a lonely, reverberant lighthouse. Working in a space with old wood floors and a high cathedral ceiling, the Alchemy team was able to capture Foley authentic to the film.
“Our main Foley stage is fully equipped with numerous props and surfaces,” observes Foley mixer Ryan Collison, “but nothing beats Foley performed in an environment similar to the one pictured on screen.”
As a result, Alchemy constantly scouts new and unique locations to record natural sounding Foley. Other recent mobile projects include the Netflix film Little Boxes and the independent feature Wilde Wedding.
“Working on location can certainly be more challenging,” observes Bloome. “Finding the right location, transporting and setting up a mobile studio, avoiding outside noise and everything else; but in my opinion, the payoff is huge.”
About Alchemy Post Sound
Alchemy Post Sound is a 3,500 square foot, dedicated Foley studio designed specifically for Foley by resident Foley Artist Leslie Bloome. The company’s Emmy Award-winning staff has created sound for numerous major feature films, long-running television series, independent films and popular games. Alchemy’s services also include music recording, live performance, video production, ADR, and sound design.
COO & Studio Manager
(914) 737-7350 studio
Thanks to Exponential Expansion at Union-Square Studio, The Artery VFX is Now Officially Ready for Everything
NEW YORK – (June 2016) – Rising art and technology company The Artery VFX is currently experiencing rapid growth based on its recent relocation to Union-Square. Following-up on its recent VFX success for features including The Grand Budapest Hotel, Beasts of No Nation, Zoolander 2 and others, The Artery is also expanding its Commercial division, TV, Experiential and VR units. The new Union-Square space also provides Avids and full color-grading capabilities, as well as being home to a growing field of phenomenal artists and producers.
“We are seizing every opportunity that is arising with our new studio space, the addition of new artists who are leading their respective art forms, and even our new neighbors – one of which is Sticky Audio Lab right here in our building,” said Vico Sharabani, The Artery’s founder and creative-director. “We also just added the accomplished ad agency and commercial industry head of production Deborah Sullivan as executive producer and managing director.”
One example of The Artery's expanding role in supporting its top-tier clientele is the recent five-spot national campaign for smart cars USA. For that project, Sharabani directed the live-action campaign and served as VFX supervisor, with The Artery handled all aspects of editorial, visual effects, final color and finishing.
The episodic team of The Artery is currently working on the Netflix show The Get Down, and more VR/experiential work will be revealed in the upcoming months.
Besides custom-tailoring his A-teams to fit every company project, Sharabani and his colleagues further set The Artery apart by specifically designing and engineering production pipelines to maximize efficiency and deliver extraordinary results. "We've been supporting major clients in a very intimate and exclusive manner," Sharabani said with a smile. “Now our secret service is out.”
Facilitating project involvement from virtually anywhere in the world, fully leveraging all the latest technologies and capabilities that are truly unlimited, The Artery and its expert staff is now officially ready for everything.
In Sullivan’s words, “A world-renowned VFX artist himself, Vico has assembled an amazing group of artists that lead our 3D, CG, VFX, color, VR and experiential capabilities. With this growing roster and an amazingly robust pipeline in place, we're perfectly positioned to partner with creatives, directors and producers around the world to deliver the absolute highest level of creative work."
The company's latest work can be seen at http://thearteryvfx.com
Major expansion. The Artery VFX at their Union-Square studio.
Big Film Design
Big Film Design created a beautiful end title sequence for Gary Ross’s Free State of Jones, which opened in theaters on June 24. This epic film, based on a true story, explores a war-within-the-Civil-War, starring the amazing Matthew McConaughey. The title sequence features a montage of Civil War era still photographs.
Earlier this year, BFD created titles and graphics for Spike Lee’s Showtime documentary, Michael Jackson's Journey From Motown To Off The Wall, and also did the split-screen composites for Spike’s NBA/Everytown gun safety PSAs, Save Eighty-Eight, which described the heartbreak caused by gun violence in our country through interviews with victims’ families.
Big Film Design worked with Joel and Ethan Coen designing titles for the movies-within-the-movie in their wild film, Hail, Caesar!. Next up were titles, graphics and a variety of effects with Malcolm Lee’s audacious and hilarious Barbershop: The Next Cut. BFD designed animated on-screen poems for Jim Jarmusch’s Paterson, which recently premiered to great acclaim at the Cannes Film Festival, and they are now putting the final touches on the 4K UHD version.
Currently in the works are titles for Ron Howard’s Inferno, scheduled to bow on October 28, Marc Webb’s Gifted, Michael Mayer’s The Seagull, and Trudie Styler’s Freak Show. BFD also managed to squeeze in titles for Nathaniel Kahn’s Telescope documentary about the James Webb Space Telescope, as well as graphics for Jessica Yu’s For Everyone, a documentary about Tim Berners-Lee, the creator of the internet.
Creative Director at BFD is Randy Balsmeyer, who in his spare time in April managed to crew on a sailboat delivery from Virginia to New York.
Civil War era photograph of a Mississippi swamp makes an elegiac background for the 'Free State of Jones' main title.
BRAINSTORM DIGITAL – 10 YEARS AND STILL GOING STRONG!
Partners Richard Friedlander (left) and Glenn Allen (right) at the Emmy Awards in Los Angeles.
The two-time Emmy Award winning VFX studio Brainstorm Digital is celebrating its 10th Anniversary. Founded by partners Glenn Allen & Richard Friedlander, Brainstorm has established itself as a leading visual effects studio known for its collaboration with top Hollywood talent, film studios and major networks.
According to Friedlander and Allen, the past ten years have been an unbelievable ride! “It has without question, been a thrill and honor to have worked with the likes of Martin Scorsese, Woody Allen, Ron Howard, Charlie Kaufman, The Coen Brothers, Jonathan Demme, Sam Mendes, Nora Ephron and Phillip Seymour Hoffman,” just to name a few.
Their recent collaboration with the legendary cinematographer, Vittorio Storraro, on Café Society, proved to be an amazing culmination to their impressive list of collaborations. Says Friedlander, “I had spent several months on a film with Vittorio many years ago, but having another opportunity to work with this incredible master on an even more intimate level was awe inspiring—he has embraced all the latest technology and taken it to a whole new level of artistry.”
In addition to creating all types of high-end visual effects, Brainstorm has also produced the Emmy winning show The Men Who Built America for the History Channel and A&E Studios, over-seeing all aspects of the show’s development and production.
This past year has been a busy one for Brainstorm. Projects from 2015-2016 include:
Café Society — director: Woody Allen
The Lost City Of Z — director: James Gray
The Yellow Birds — director: Alexandre Moors
Felt — director: Peter Landesman
Nerve — director: Henry Joost, Ariel Sherman
Gifted — director: Marc Webb
Triple 9 — director: John Hillcoat
Ricki & The Flash — director: Jonathan Demme
Equals — director: Drake Doremus
Woody Allen’s Amazon series
Time After Time — TV Pilot
Sons Of Liberty — Mini Series
Limitless — TV series
Sleepy Hollow — TV series
Buttons PNYA News
2016 began with English dubbing China's top box office film, Monster Hunt. The mix was screened at Technicolor and played in 40 domestic markets.
ADR has included, Sam Reid for 2:22, Richard Armitage for Jutland, Gabby Hoffman, Kevin Bacon, The 100, Kerry Washington and Joe Morton for Scandal, and David Duchovney for Aquarius.
ButtonsNY's summer expansion accommodates new indie film and web series projects with a complete remodeling. We are adding 48TB Central 10gigBase serving a 4 workspace edit enabled bullpen, 2 new picture AVID, Premier, Davinci NLE edit rooms, Cat7, Dante audio, KVM, and video distribution.
Surround Mix stage is being redesigned to accommodate rear producers desk, and theatrical screening for 15. This stage will also serve as a DI stage, complimenting our current DaVinci Color Grade and Online Room. Both sound stages serve ADR via ISDN including Dolby Fax and Source Connect as well as sound foley, and edit.
All rooms are multi-purpose for any digital discipline, to bring great value to the indie film and TV series producers.
ButtonsNY English Dubs China's largest grossing film, Monster Hunt
DuArt Media Services Continues Expansion While Launching New Brand
A room with a view
DuArt, New York City’s iconic film institution has evolved with the ever changing industry by expanding its portfolio of diversified media services. The company’s website www.duart.com highlights the operating divisions that now comprise DuArt Media Services. While the company’s brand reflects its expanded service offerings, the company remains committed to supporting the post production needs of television, film, and media related companies of any size.
From its historic West 55th Street location in midtown Manhattan, DuArt offers over 90 suites that can be catered to the unique production needs of each client. DuArt’s suites can be outfitted for Avid, Final Cut or Adobe Premiere systems and shared storage networks can be created in any size or configuration. DuArt’s post production suites can accommodate workflows of virtually any configuration. DuArt Post & Finishing features powerful and highly flexible editorial, sound, and color grading services for both short-term and long-term projects. Clients can choose from DuArt’s roster of award-winning editorial, colorist, and sound mixing talent, or they may supply their own teams.
Recent projects include color grading and sound mix services for the Discovery Channel hit, Alaskan Bush People, sound production and editing for the Pokemon series, and color grading and sound mix services for the Barbara Kopple documentary Miss Sharon Jones!.
“We’ve created a technically advanced and creatively supportive environment here at DuArt” said DuArt’s President & CEO Linda Young, who took over the task of reinventing DuArt in 2014. “Providing flexibility, technical strength, and extensive ancillary services are the keys to DuArt’s new success as a Media Services company”, said Young.
DuArt clients enjoy a rich set of amenities and services available at the DuArt building including custom high speed data capabilities exceeding 1Gb, DCP production and distribution, LTO and Asset Management Services, and Closed Captioning and subtitling services.
“The transition and new brand have been very well received”, says Young, “DuArt has always been a trusted name in the motion picture and film industry. Now we look forward to growing our brand and supporting clients across all areas of television and media post production”.
With a continuing commitment to the community of content producers, as well as the filmmakers who it has supported in the past, DuArt has entered the next era in its history with the same vigor that has driven it for over 90 years. Look to DuArt to continue its legacy and move ahead as a premier media services company.
Fall on Your Sword
Fall On Your Sword is really digging into 2016. Over the past months, Will Bates (founder and multi-media composer) has scored a broad range of feature films including Alex Gibney’s latest documentary Zero Days (Berlin Film Festival) that warns against the dangers of cyber warfare.The HBO documentary Bright Lights: Starring Carrie Fisher and Debbie Reynolds (Cannes Classics) is a bit cozier, endearing, and few shades of kooky. Arriving in theaters late this summer is the FBI crime drama Imperium (Lionsgate), starring Danielle Radcliffe and Toni Collette, which will keep you on the edge of your seat. Alongside these feature films, Bates has also been busy composing the hit TV series The Path (Hulu) starring Aaron Paul, Michelle Monaghan and Hugh Dancy, The Magicians (SyFy), and the widely adored TV mini-series Cooked (Netflix) produced by Alex Gibney. Both The Path and The Magicians have been renewed for a second season, so start watching if you haven’t already! They are fantastic.
On another front, FOYS is extremely proud to have sound supervised and mixed four films featured throughout five major festivals! Bright Lights: Starring Carrie Fisher and Debbie Reynolds premiered at Cannes Classics. Live Cargo debuted at Tribeca. Donald Cried at SXSW. And Todd Solondz's dark comedy Wiener-Dog was both a Sundance World Premier and the BAMcinemaFest Centerpiece.
To receive more information about upcoming endeavors, visit our website http://www.fallonyoursword.com/#!contact and join our monthly mailing list. Be sure check out Wiener-Dog at the Angelika Film Center beginning June 24th!
GPL Technologies Supports The Molecule as It Builds New Production Facility in New York City
NEW YORK—June 24, 2016—GPL Technologies is currently providing IT and engineering support to The Molecule as it prepares to move to a new production facility at 29th and Broadway in Manhattan. GPL assisted in designing the new facility’s shared storage environment and workflow. It also supplied and installed workstations and software for visual effects production, design and other functions. "We're operating at a higher tier of capacity than ever before,” says The Molecule CEO Chris Healer. “GPL's consulting and expertise have made this expansion possible in a way that few other companies could.”
The new facility will be able to immediately accommodate 75 artists, up from a current capacity of 65. The workflow was designed with flexibility in mind, so that The Molecule can quickly add more artists, or alter the configuration of its team to align with specific project needs.
“In the future, we are expecting our staff to grow to 120,” says Marketing Manager Audra Coulombe. “There is a lot to consider when building a new production facility in the current environment. Post production is moving to higher and higher definition. Streaming services like Netflix and Hulu are now sending us footage at 4K and even 6K, and each VR production involves much more footage than a conventional project. So, we’ve designed our new facility to handle ten times our current capacity. We’re doing it right and planning ahead.”
The Molecule, which specializes in visual effects, motion graphics, and virtual reality, selected GPL for its expertise in production IT. “We worked closely with The Molecule’s team to determine their needs and building an ideal IT infrastructure,” notes GPL Technologies Account Manager Chris Peterson. “The Molecule needs to be on the cutting edge of media and entertainment technology.”
After The Molecule’s new facility launches, GPL will continue to provide the company with technology and IT support. “We sometimes get flooded with work and need to ramp up on a day’s notice,” Coulombe says. “GPL knows post production and they understand our needs. It’s been a great relationship.”
About GPL Technologies
Founded in Los Angeles, Calif. in 2003, GPL draws on over a decade of expertise as trusted technology advisers, adding value for our customers by offering personalized methods of improving IT efficiency, streamlining complex systems and environments, and reducing the costs associated with acquiring and maintaining IT systems with innovative managed services and financial solutions.
For further information, visit http://www.gpltech.com
Contact1625 W. Olympic Blvd, Suite 819
Director of Marketing
Los Angeles, CA 90015
Artist's rendering of The Molecule's brand new space.
The Looping Division
PNYA Company Member THE LOOPING DIVISION Announces Current Loop Group Projects
Partners Jason Harris and Peter Pamela Rose (ADR Loop Group Coordinators) are happy to be coordinating the Loop Group on the following NY Projects: Freeform’s pilot Nikki, ABC’s Quantico, SundanceTV’s Hap and Leonard, Netflix’s Master of None, Showtime’s The Affair, Amazon’s Mozart in the Jungle, FX’s The Americans, as well as such films as: Jim Jarmusch’s Patterson, Oliver Stone’s Snowden, and Ben Younger’s Bleed for This. Other projects include: HBO’s All the Way directed by Jay Roach, STX Entertainment’s Hardcore Henry, and SyFy Channel’s 12 Monkeys.
Email: Jason@TheLoopingDivision.com / Peter@TheLoopingDivision.com
Magic Drop is a Brooklyn-based music business founded by Adam Oelsner in 2015. We offer music licensing services, music supervision, and custom compositions from the artists Ashley Eriksson (Adventure Time) and Cathedral Sounds (embers). Our stunning catalog of ready-to-license music is “one-stop”: We represent publishing and master rights for songs and instrumentals by critically acclaimed bands and composers like Ashley Eriksson, Stephen Steinbrink, LAKE, Gun Outfit, Cathedral Sounds, and many more.
In 2015 Adam Oelsner music supervised the score for David Shapiro's feature documentary Missing People. The soundtrack features original music from multiple composers and additional music by The Buzzcocks, Polyrock, and Wire.
Variety took note of the film’s unusual score and wrote that Missing People was ”particularly well served by a fine soundtrack of new multi-artist cuts that sound like buried nuggets from the protag's formative years in New York's fertile multimedia punk/New Wave underground."
Missing People was produced by David Shapiro, Alan Oxman, and Michael Tubbs, edited at The Edit Center and was finished at Final Frame by Will Cox and Mike Frank. This non-fiction mystery won best documentary feature at the 2015 Hamptons Film Festival and received a special mention at DOC NYC 2015.
Before working as an editor and assistant editor (Billy On The Street, Medora, ad work for Doctors Without Borders and Greencard Pictures) Adam Oelsner spent a decade working as a touring and recording musician, collaborating with underground stalwarts LAKE, Karl Blau, Flora Recording and Playback, Dub Narcotic Studios, Kickball, and more.
Magic Drop is proud to be part of the Post New York Alliance. We look forward to providing the filmmakers of NYC with unique and authentic musical options.
Mechanism Digital Celebrates two decades of CGI and VFX in NYC
Mechanism Digital's studio in VR 360
The oldest enduring CGI and VFX studio in New York continues to innovate and originate.
An award winning production studio in New York City since 1996, Mechanism Digital provides animation, design, visual effects and new media development for the film, television and advertising industries. Mechanism Digital is a smart and friendly group of passionate creatives who are committed to helping entertainment and marketing professionals tell their stories in memorable ways.
Founded by Lucien Harriot, a veteran VFX Supervisor, Mechanism launched into the effects industry two decades ago with a single Silicon Graphics “Super Computer” on a Spike Lee film, HBO promos, a David Letterman Top Ten Countdown and toy spots. After word got out about the high-end East Village independent studio, his business started booming. At the end of the first year, and with the studio’s single room bursting with four SGIs and a half dozen other computers, it was time to relocate into a Soho industrial loft. Currently maintaining 15 artist workstations and rendering on 30 nodes in mid-town, Mechanism Digital is New York’s biggest little post-production secret, working a thousand shots each year for feature films, TV series, marketing media, medical visualizations and more.
The Mechanism Digital team is always prepared to deliver quick bids and shines at both the technical and creative processes behind the scenes. In addition to camaraderie on set and friendly rapport with DI houses, the team is very comfortable in the complex processes behind successful VFX, turning around shots and revisions with efficient online communication channels. The team is always excited to develop creative solutions to keep costs down without compromising the director’s vision.
Together with A-list partners in the film/TV, advertising and medical industries, this cutting- edge studio continues to grow and prosper. Just this year, Mechanism Digital produced hundreds of shots for several high profile feature films including American Ultra, starring Jesse Eisenberg and Kristen Stewart, and has served several primetime TV series currently on air.
Mechanism Digital continues to drive the industry with innovative technologies, software and hardware for its clients. With over a decade of experience in 360° panoramic photos and video for special events projects, the studio is now riding the wave of Virtual Reality as new consumer devices such as Oculus Rift and Gear VR flood the market. 360 VFX, graphics integration and post-production have become strong areas of growth for Mechanism Digital.
“After 20 years, I still sleep, eat and breathe CGI and VFX,” says Lucien. “The fast paced advancement of this industry means there is never a dull moment and I am super excited to be working with creative clients and great projects. Every day we feel a buzz of energy at our studio as our team encourages and inspires each other to elevate every project with movie magic.”
American Ultra, Still Alice, Love is Strange, The Newsroom, Notorious, TrueBlood, Big Love
To learn more about Mechanism Digital’s work, please visit our website http://mechanismdigital.com or contact Kathereena Singh (646)230-0230 and firstname.lastname@example.org
AirCraft Music Library, a division of the Soundtrack Group, continues to provide new music for productions including film, television, and advertisements. The library?30 years in the making?now contains over 250 albums, each with 10 original tracks. Each and every track is formatted into the expected broadcast production lengths for drag-and-drop ease of use. Furthermore, every track is provided as a full mix as well as in individual “stem” files that can be remixed and blended to more accurately fit into a project.
AirCraft’s newest division, indieTracks, was created to respond to the trend of using authentic, contemporary, indie band music in film and television productions. AirCraft’s indieTracks taps into the expansive creativity of independent bands, singer/songwriters, and composers. All of the 3000+ tracks in this library are pre-cleared and completely original. Like AirCraft, music from indieTracks has been used in numerous productions including a recent placement on NBC Universal’s Royal Pains.
Making AirCraft and indieTracks truly unique are the libraries’ variety. While both do include contemporary, mainstream-style tracks?as heard in TV Land’s new series Younger?they are also able to provide the less common genres that are so often needed in the production world, such as classical, jazz, humor, sports, and world music. Take, for example, AirCraft’s work with producer Nick Huston in the 2015 film Fan Girl, in which Caribbean music is combined with rock to create a romantic, summer track. Saturday Night Live, a show which clearly requires a range of musical styles, holds a blanket license with AirCraft due to the library’s variety.
AirCraft’s library also contains a few special collections; the “American Music Series”, “Cinemusic”, “Retro Series”, and “Ads Up” albums are able to provide hard-to-find, perhaps niche, sounds for productions. PBS has used historical tracks from the “American Music Series” in its television show Liberty Series.
Both libraries offer fair, competitive rates on needledrop and blanket licenses from a team that is happy to discuss the artistic and commercial decisions that need to be made during production. AirCraft and indieTracks are always excited to work with young, up-and-coming directors and producers. Budget and time concerns are always understood, the focus will remain on the success and quality of the project.
Documentary editor Tyler H. Walk has had several projects premiering and in the works this year. Tickling Giants, a Technicolor/Postworks documentary directed by Sara Taksler, premiered at the Tribeca Film Festival this past April. The film follows Bassem Youssef, the “Egyptian Jon Stewart” as Egypt continues to struggle with defining its democracy in a military-ruled country. He also edited Catching the Sun, a documentary about the solar revolution directed by Shalini Kantayya, landed on Netflix and other streaming service this past spring. Roseanne for President!, a Tribeca Film Festival favorite last year, directed by Eric Weinrib, will have a New York and Los Angeles run starting July 1st. Tyler’s next project, tentatively titled Sylvia & Marsha, will be his second feature documentary collaboration with director David France. Their first feature, How to Survive a Plague was nominated for an Academy Award in 2013. Tyler continues to direct his first feature film Erdos Bacon, about the six degrees of Kevin Bacon and the small world phenomenon, and anticipates entering post production this coming winter. His Bacon number is still 2.
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.
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