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The Post New York Alliance supports and promotes the Post Production community in New York. This podcast is the collection of talks, seminars and events from the PNYA calendar. PostNewYork.org @PostNY

 

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The Hackers Agenda: Security Risks In Post Production

Posted By Ben Baker, Wednesday, May 16, 2018

 

 

Listen to the PNYA discussion about the state of our security in the post production industry from the national, facilities and risk management perspectives with our panelists: 
 
Tim Lunderman- Principal Consult, Federal Security at World Wide Security
Peter Marshall- Managing Director of Dewiit Stern
Rob DeMartin- COO/President of Technicolor Postworks, New York.

and moderator Larry Scherer - State & Broad.

This podcast was recorded thanks to the staff at the Dolby 88 screening room, and was produced by Alchemy Post Sound and the PNYA.

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What She Said: Women Leaders in Post Production and How They Rose Above the Rest

Posted By Ben Baker, Monday, August 7, 2017



WHAT SHE SAID:
Women Leaders in Post Production and How They Rose Above the Rest

In an often male-dominated world of the film and television post production, find out how this post-producer, picture editor, sound editor, music editor and composer made their way to the top.

Suzana Peric, Music Editor has been active in post production since 1981. Growing up in Croatia she attended conservatory and was on track to be a concert pianist — until she suffered a block during a performance, which ended that career. She studied film in Chicago where she gravitated towards picture editing and got a PA job on Arthur Penn’s Four Friends (1981). She then joined the post-production of the film, which brought her to New York. There, she apprenticed in sound and picture until a music editor asked her to be his assistant. Since that discovery, Peric has been music editor for the likes of Mike Nichols, Martin Scorsese, Jonathan Demme, Peter Jackson, Roman Polanski, Robert Benton, Wes Anderson and David Cronenberg, to name but a few, most of these with repeat collaborations. Her most recent work with Demme is Ricki and the Flash.

Nancy Allen, Music Editor discovered music editing at NYU, where she attended the graduate program in Music Technology. It was in the Audio for Video class that she met Suzana Peric, the music editor with whom she worked for nearly 10 years, and learned almost everything she knows about the craft.  Since then, Nancy has worked on films with Darren Aronofsky (Black Swan, Noah, the upcoming film MOTHER!), John Cameron Mitchell (Short Bus), Paul Haggis (The Next Three Days), Julie Taymor, Barry Levinson (Liberty Heights, You Don’t Know Jack) and David Frankel (Hope Springs, One Chance, Collateral Beauty). She has been nominated for 2 Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO’s Bessie.

Eliza Paley, Sound Editor has worked in film, production and post for over 30 years. Beginning in location mixing, moving gradually to the editing room and then to sound editing where she has had an established career since 1988. As supervising sound editor, Eliza has worked with numerous talents including Robert Altman (A Prairie Home Companion, The Company, Tanner On Tanner, Short Cuts), Cary Fukunaga (True Detective), and Hector Bebenco (Caradiru, Foolish Heart). Eliza had Co-Supervised or Supervised Dialogue/ADR editing for directors including Todd Haynes (Wonderstruck, Carol, Mildred Pierce, Velvet Goldmine), The Coen Brothers (Hail , Caeser!) and Julie Taymor (Across the Universe, The Tempest). Additionally she was a sound editor on numerous well known films including Adventureland, Age of Innocence, Casino, Last Temptation of Christ, Crooklyn, Malcolm X, The Hudsucker Proxy, Pret-A Porter and The Wrestler.

Wendy Blackstone, Composer has composed original film scores for over 130 film and TV projects, 9 of which have been nominated for or won Academy Awards. Feature films include: New Jersey Drive directed by Nick Gomez and The Dutch Master directed by Susan Seidelman. Wendy has scored 5 Primetime TV series:  For The People (Lifetime, drama), and MasterClass (HBO). Recent documentaries include: The Girl In the River for HBO, I am Not Your Guru: Tony Robbins, Larry Kramer In Love and Anger, which premiered at Sundance 2015, Dangerous Acts Starring the Unstable Elements of Belarus (HBO), Whitey (CNN), Weight of the Nation (HBO), Crude, and Alive Day Memories: Home from Iraq (HBO). Wendy’s work in theater includes Anna Deavere Smith’s Tony-nominatedTwilight: Los Angeles, directed by George C. Wolfe for both the Public Theater and Broadway’s Cort Theatre.

Susan Lazarus, Producer, Post Producer, Post Production Supervisor
, began as an Assistant Editor and Sound Editor on documentaries including the Academy Award-nominated feature,The War At Home, and was a producer on Image Before My Eyes. She then moved into narrative film on Reds (Warren Beatty) and The King of Comedy (Martin Scorsese). Susan combined producing and editing knowledge to become one of New York’s first Post-Production Supervisors for feature films such as Mississippi Masala (Mira Nair), The Boxer (Jim Sheridan), Inside Man (Spike Lee), Foxcatcher (Bennett Miller). Only Lovers Left Alive and Paterson (Jim Jarmusch). Non-Fiction projects include Naqoyqatsi (Goddfrey Reggio), Apache 8 (Sande Zeig) Love, Marilyn (Liz Garbus), and The Jinx: The Life and Deaths of Robert Durst (Andrew Jarecki)She was Co-Producer of the feature Sophie and the Rising Sun (Maggie Greenwald).

Kristina Boden, Picture Editor credits include work with directors such as Brian DePalma (Carlito’s Way), Mira Nair (Kama Sutra, My Own Country, Hysterical Blindness), Lodge Kerrigan (Claire Dolan), Paul Schrader (Light Sleeper, Auto Focus) and Lasse Halstrom (Dear John).


Isabel Sadurni, Moderator, Picture Editor/Producer, To find out more, please visit: www.isabelsadurni.com

 

 

Tags:  assistant editor  editor  Editorial  Sound Editorial  woman  women 

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FXF008.7: THE SOUND ONE ERA, 1968-2012 -- 7: THE END/ REBIRTH

Posted By Ben Baker, Friday, June 2, 2017
Updated: Thursday, June 29, 2017

PART 7. THE END/ REBIRTH

In 2012, Sound One, possibly the most successful post-production facility in New York City’s history, closed its doors after 44 years of business. What caused the demise of Sound One is a point of contention between the clients, former owners, founders and staff, who hold multiple theories about why it failed financially. Some blame a distant holding company in Denver who some say were out of touch with the needs of the local community in New york and undermined the business practices which required creative and financial flexibility to maintain its base of both established and up and coming filmmakers. Others cite a long process of chipping away at the character of Sound One over a period of time during which the company was bought and sold five times to various entities.

Here former staff and clients explain in their words, how the end of Sound one came to be and how in the wake of its undeniable force created new pools of talent and multiple post-production facilities in New York, all of them strengthened by the work ethic and familial bonds of developed at Sound One.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

Tags:  Frame by Frame  Sound Editorial  Sound One 

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FXF008.6: THE SOUND ONE ERA, 1968-2012 -- 6: LEADING THE DIGITAL REVOLUTION

Posted By Ben Baker, Thursday, June 1, 2017
Updated: Thursday, June 29, 2017

The dawn of the digital era marked a major pivot point in post production technology that left some behind in analog while others charged fearlessly into a brave new world. Sound One led the post-production digital revolution, testing software, and equipment for the film industry before Hollywood, to ensure a smooth transition into the Digital Age. In this episode, former Sound One staff and clients discuss navigating the technological changes from analog to digital in the film and television sound editing medium in the late 80’s and 90’s.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

Tags:  Frame by Frame  Sound Editorial  Sound One 

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FXF008.5: The Sound One Era, 1968-2012 -- 5: The Foley Artist

Posted By Ben Baker, Thursday, June 1, 2017
Updated: Thursday, June 29, 2017

 

FxF008: The Sound one era 1968-2012

Part 5: The Foley Artist

 

Elisha Birnbaum, co-founder of Sound One, is considered one of the best NY foley artists of his generation. His stage looked like a suburban garage or basement or attic with various surfaces on the floor and, shelves filled with props used to create sounds. You would often meet Elisha walking around the hallways of Sound One in cut off jean shorts, and womens high heels,  which he wore when foleying the sound of womens footsteps. Here, staff and clients retell stories of working with Elisha and others at Sound One in recognizing the creative genius behind Elisha’s work and the role of the foley artist.

From 1968 to 2012, Sound One grew from a solo operation to becoming the most successful post-production sound and editing facility on the East Coast. At its apex, Sound One inhabited five floors of the famed Brill Building housed 150 edit suites and over 300 clients and staff at its apex and commanded 85% of post-production business in New York. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of  filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore, Ken Burns and countless post-production professionals and helped post-produce some of cinemas most influential works.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

Tags:  Foley  Frame by Frame  Sound Editorial  Sound One 

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FXF008.4: The Sound One Era 1968-2012 -- 4. A Day In the Hallways

Posted By Ben Baker, Thursday, June 1, 2017
Updated: Thursday, June 29, 2017

FXF008: The Sound One Era 1968-2012

Part 4. A Day In the Hallways

 

Walking down the hallways and riding the elevators of Sound One’s Brill Building at 1619 Broadway at 49th St could instantly offer exposure to the major leagues of the New York film industry. At the very best, it could offer an introduction towards working with some of the most important, upcoming and established filmmakers, actors and musicians working in the New York at the time. In this segment, former staff and clients of the Sound One community share stories of walking down the hallways and riding the elevators at Sound One, depicting how and why Sound One came to represent the center of the New York film universe.

From 1968 to 2012, Sound One grew from a solo operation to becoming the most successful post-production sound and editing facility on the East Coast. At its apex, Sound One inhabited five floors of the famed Brill Building housed 150 edit suites and over 300 clients and staff at its apex and commanded 85% of post-production business in New York. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of  filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore, Ken Burns and countless post-production professionals and helped post-produce some of cinemas most influential works.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

 

Tags:  Frame by Frame  Sound Editorial  Sound One 

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FXF008.3: THE SOUND ONE ERA, 1968-2012 -- 3: TRIBUTE TO BILL NISSELSON AND SYBIL BROWN

Posted By Ben Baker, Thursday, June 1, 2017
Updated: Thursday, June 29, 2017

 

FXF008: THE SOUND ONE ERA 1968-2012

PART 3: Tribute to Bill Nisselson and Sybil Brown

Bill Nisselson was often described as the heart of Sound One. As managing Director from 1979-2001, Bill, alongside co-founder Elisha Birnbaum, set the tone of interaction, organized the deals and orchestrated the cross-traffic of post-production work between staff and clients which at its apex commanded 6 floors in the Brill Building and took in over 85% of the post-production film business in New York.

Not far from Bill’s office Sybil Brown, the receptionist from 1985-2005, offered a warm welcome, fresh flowers and the uncanny ability to locate people by phone in crucial moments and also stood as essential to the heartbeat of the Sound One experience. 

In this episode, staff and clients remember their interactions with Bill Nisselson, and Sybil Brown and share their stories about how both Bill and Sybil played a dominant role not only in shaping the working environment of  Sound One, but also in shaping peoples lives.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.


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Tags:  Bill Nisselson  Frame by Frame  Sound Editorial  Sound One 

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FXF008.2: THE SOUND ONE ERA, 1968-2012 -- 2: FAMILY

Posted By Ben Baker, Thursday, June 1, 2017
Updated: Thursday, June 29, 2017

FXF008.2: The Sound One Era: 1968-2012

Part 2: Family


In the late 1960’s and early 70’s, years before Sound One had established itself as one of the most successful and highly respected sound facilities on the East Coast, it was a solo operation. Elisha Birnbaum, a sound editor and foley artist who had recently emigrated from Israel, worked with a small team but quickly developed a reputation for creating a highly productive, family atmosphere filled with astonishing creativity, quality product and quick turnaround time that attracted both the established and uninitiated to work at his studio. 


At its apex of productivity Sound One would take in 85% of all post-production work in New York City and would help launch the careers of both post production professionals and filmmakers like The Coen Brothers, Spike Lee, Alan Pakula, Michael Moore and Ken Burns among others.  Here staff and clients share stories about the personal bonds and animal spirit that helped define the dynamics at work at Sound and how they created what has come to be known as the Sound One Family.

From 1968 to 2012, Sound One grew from a solo operation to becoming the most successful post-production sound and editing facility on the East Coast. At its apex, Sound One inhabited five floors of the famed Brill Building housed 150 edit suites and over 300 clients and staff at its apex and commanded 85% of post-production business in New York. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of  filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore, Ken Burns and countless post-production professionals and helped post-produce some of cinemas most influential works.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

 

Tags:  Frame by Frame  Sound Editorial  Sound One 

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FXF008.1: THE SOUND ONE ERA, 1968-2012 -- 1: THE BEGINNING

Posted By Ben Baker, Thursday, June 1, 2017
Updated: Thursday, June 29, 2017

FXF008: THE SOUND ONE ERA 1968-2012

PART 1: THE Beginning

 

 

From 1968 to 2012, Sound One grew from a solo operation run by Elisha Birnbaum a foley artist and sound editor recent emigrated from Israel to becoming the most successful post-production sound and editing facility on the East Coast. Inhabiting seven floors of the famed Brill Building and commanding at least 85% of post-production business in New York, Sound One housed 150 edit suites and over 300 clients and staff at its apex. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of  filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore and Ken Burns and countless post-production professionals generating some of cinemas most important films. 

The Beginning tells the story of how Sound One answered a need for local sound stages in the early 1970's  New York film industry and redefined the post-production community in the process.

The Sound One Era: 1968-2012 multi-part segment series is a part of the Frame By frame podcast series co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

Tags:  Frame by Frame  Sound Editorial  Sound One 

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FXF007: Sidney Lumet's NETWORK- Alan Heim, Mark Laub, Michael Jacobi and Jeffrey Wolf.

Posted By Ben Baker, Sunday, May 21, 2017

 

FXF007: Sidney Lumet's NETWORK- Alan Heim, Mark Laub, Michael Jacobi and Jeffrey Wolf.

 

In 1976, an American satirical film written by Paddy Chayefsky and directed by Sidney Lumet, called Network, about a fictional television network, UBS, and its struggle with poor ratings, starring Faye DunawayWilliam HoldenPeter Finch,  Robert Duvall and Beatrice Straight was nominated for 12 Academy Awards including best film, best director and best editor. Network, won four Academy Awards, including Oscars for Chayefsky’s script, Beatrice  Straights’ performance as an outraged wife, Faye Dunaway’s performance as a cynical programming executive and Peter Finch’s frenetic portrayal of Howard Beale, the troubled “mad prophet of the airwaves.”

 

 Thirty-five years later, “Network” remains an incendiary if influential film, and its screenplay is still admired as much for its predictive accuracy as for its vehemence and a relentless sense of purpose. Screenwriter Aaron Sorkin, cited Chayefsky when he accepted his Oscar for the screenplay of “The Social Network,” and wrote later that “no predictor of the future — not even Orwell — has ever been as right as Chayefsky was when he wrote ‘Network.’ ”

 Alan Heim, the picture editor of the film, Mark Laub, one from a team of sound editors, Michael Jacobi and Jeffrey Wolf, the first assistant editor and the apprentice editor on the film at the time, tell their stories of how the film came together and what it was like in various stages working with director Sidney Lumet, writer Paddy Chayefsky and Producer Howard Gottfried.

 

Tags:  Editor  Editorial  Frame by Frame  Sidney Lumet 

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FXF006: Films of Jim Jarmusch- Jay Rabinowitz, Chic Ciccolini, Dominick Tavella

Posted By Ben Baker, Tuesday, May 9, 2017

FXF006: Films of Jim Jarmusch- Jay Rabinowitz, Chic Ciccolini, Dominick Tavella

In the first episode of Frame By Frame Season 2, picture editor, Jay Rabinowitz, sound editor, Chic Ciccolini  and re-recording mixer, Dominick Tavella talk about their craft and process in collaborating with filmmaker Jim Jarmusch on his films from the 1980’s and 90’s Coffee and Cigarettes, Night On Earth, and Ghost Dog.  

 Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

Tags:  assistant editor  Editorial  Frame by Frame  Jim Jarmusch  Sound Editorial 

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FXF005: Angelo Corrao and Alex Halpern

Posted By Ben Baker, Thursday, March 16, 2017

Frame By Frame, Episode 005: Angelo Corrao and Alex Halpern

Post Factory Founder, Alex Halpern and picture editor Angelo Corrao talk about their collaboration on Nine Good Teeth  as well as Angelo’s work on Bruce Weber’s Let’s Get Lost and their experiences coming up in the 1980's New York film scene and developing early relationships with filmmakers like The Coen Brothers.

 

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

Tags:  Assistant Editor  Editor  Editorial  Facility  Frame by Frame  Post Factory  postproduction 

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FXF004: Maurice Schell, Peter Frank, Lee Dichter

Posted By Ben Baker, Tuesday, February 7, 2017
Updated: Wednesday, February 8, 2017

Frame By Frame, Episode 004: Maurice Schell, Peter Frank, Lee Dichter on Sidney Lumet's The Verdict

Sound editor, Maurice Schell  (Gimme Shelter, Serpico, The Missouri Breaks,  Apocalypse Now, All That Jazz, Melvin and Howard, Reds, Scarface) , re-recording mixer, Lee Dichter, (Grey Gardens, Sophie’s Choice, Hannah and Her Sisters, Miller’s Crossing, The Civil War) and picture editor Peter Frank, (The Verdict, Cadillac Records, Dirty Dancing) share stories about coming up in the 1960's 70's and 80's in the New York film industry and their collaboration on Sidney Lumet’s The Verdict.

 

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

Tags:  Assistant Editor  Editor  Editorial  Frame by Frame  Local 700  postproduction  Sound Editorial  Sound Post 

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FXF003: The Ice Storm, Life Of PI- Tim Squyres and Phil Stockton

Posted By Ben Baker, Wednesday, December 7, 2016

FXF003- The Ice Storm, Life Of PI: Tim Squyres and Phil Stockton

In Episode 3, picture editor Tim Squyres and sound editor, Phil Stockton share stories from collaborating together for over 20 years working with film directors such as Martin Scorsese, Ang Lee, Robert Altman, the Coen Brothers, Jonathan Demme and Spike Lee and how advances in technology have encouraged a merging of their roles.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

 


Tags:  assistant editor  ditor  ditorial  ocal 700  ound  ound editor  ound Editorial  ound Post  rame by Frame 

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Intro to Audio Post: The Mix

Posted By Ben Baker, Thursday, December 1, 2016
Updated: Friday, December 2, 2016

The Second seminar in a series about the Audio Post Production process, the PNYA Education Committee in tandem with Soundtrack NY present Mixing 101: A Step by Step Guide Into the World of Sound Mixing.


This event took place at 7pm on September 29th at Soundtrack FT, 128 West 22nd St. 

The recording takes you step by step through the process of sound mixing. Feature films, television series, and independent projects will all be covered in detail followed by a live in­-studio walkthrough. Leading members of the New York audio community will share their expertise in each of these fields.

Participants include Tom Fleischman ReRecording Sound Mixer, Bob Chefalas Re­recording Sound Mixer, Dan Brennan Re­Recording Sound Mixer, Jacob Ribicoff Supervising Sound Editor, Louis Bertini Supervising Sound Editor, Craig Kyllonen Supervising Sound Editor.


Tags:  Mix  postproduction  sound editor  Sound Editorial  Sound Post  Soundtrack Studios 

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FXF002- Vinyl, Boardwalk Empire- Kate Sanford and Tim Streeto

Posted By Ben Baker, Wednesday, August 24, 2016
Updated: Friday, December 2, 2016

Frame by Frame 002- Vinyl & Boardwalk Empire- Kate Sanford and Tim Streeto

Television and feature film editors Kate Sanford (The Wire, The Deuce) and Tim Streeto (The Squid and the Whale, Greenberg) describe their process in developing the hit series Boardwalk Empire with Martin Scorsese, Tim Van Patten and Terry Winter as well as how they worked together  with Martin Scorsese, Terry Winter and Mick Jagger to create Season 1 of Vinyl.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema professionals working in New York today. Through intimate, informal discussions between collaborators about craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories with the people that continue to define New York as an essential capital of the global film industry.

Hosted by Isabel Sadurni.                         

Produced by Isabel Sadurni and Ben Baker.      

 


Tags:  assistant editor  Editorial  Frame by Frame 

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FxF001- Reds- Craig McKay and Tom Fleischmann.

Posted By Ben Baker, Wednesday, August 3, 2016
Updated: Friday, December 2, 2016

Frame by Frame 001- Reds- Craig McKay & Tom Fleischmann.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories with the people that continue to define New York as an essential capital of the global film industry.

Picture editor, Craig McKay and Re-recording mixer Tom Fleischman talk about early influences getting started in the New York film industry of the 1960’s and 70’s as well as their work on the film by Warren Beatty, Reds.                     

Hosted by Isabel Sadurni.                         

Produced by Isabel Sadurni and Ben Baker.      

 


Tags:  Assistant Editor  Editor  Editorial  Frame by Frame  Local 700 

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Music In Post: The Key Players

Posted By Ben Baker, Friday, June 17, 2016
Updated: Friday, December 2, 2016

 

Music in Post: The Key Players.

This panel includes an award-winning music supervisor, a music editor and a composer who offer advice on a smooth music production for film and television post production. Panelists will also show musical examples of their work and explain how they help to create a finished soundtrack. This event is specifically aimed at helping editors, producers, post supervisors and others to better understand the complexities of working with music during post.

 

Some of the topics that will be addressed during the panel:

What materials is an editor responsible for giving to each member of the music department?

What is the interaction with each other? Who works with who? Is there a hierarchy? 

How to know whether or not a piece of music is working within a scene.

How do you communicate with music people if you aren't a musician?

How much creative control should you give a music supervisor or composer?

 

 

Panelist Bios:

Jim Black, Music Supervisor

Jim Black is an award winning music supervisor with over twenty years in the music industry.  In 1998 he founded Clearsongs Inc.  a full-service music supervision and consulting company for Motion Pictures and Television and has worked on over 90 films and tv shows, including Academy Award winners such as Black Swan, The Wrestler and HBO’s Treme and True Detective. He is just finishing up Season 2 of Marco Polo for Netflix and setting up for Amazon's Z: The Beginning of Everything  and Season 2 of Billions for Showtime.

Nancy Allen, Music Editor

Nancy Allen has over 20 years of experience in the film and TV industry.  She worked for almost 10 of those years with esteemed music editor Suzana Peric.  Her first film with Suzana was Scorsese’s Kundun (scored by Philip Glass). Together with Suzana, she worked with directors like Roman Polanski (The PianistThe Ninth Gate), Mike Nichols (Angles in America, Closer, Charlie Wilson’s War), Jonathan Demme (Beloved, Heart of Gold, Rachel Getting Married), and Peter Jackson (The Lord of the Rings: The Fellowship of the Rings).  Since then, Nancy has worked on films with: Darren Aronofsky (Black Swan, Noah, the upcoming film starring Javier Bardem and Jennifer Lawrence), John Cameron Mitchell (ShortBus), Paul Haggis (The Next Three Days), Barry Levinson (Liberty Heights, You Don’t Know Jack) and David Frankel (Hope Springs, One Chance), with whom she is currently working on Collateral Beauty, starring Hellen Mirren, Kate Winslet, Will Smith, Kiera Knightly, and Naomi Harris. Most recently, she completed the first season of Billions for SHOWTIME. She has been nominated for 2 Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO’s Bessie. 

Ben Holiday, Film Composer

Ben brings more then 15 years of experience composing soundtracks for film. With a background as a jazz trombonist, Ben attended the Berklee College of Music where he studied classical composition, conducting and electronic music production. Ben learned the language of film music by working "in the trenches” with music editor Jennifer Dunnington and composer Howard Shore on such films as Spotlight, Hugo, Shutter Island, The Departed, and The Aviator. Most recently Ben wrote the orchestral score for the feature film Drawing Home and assisted the Blair Brothers with their score to the punk rock thriller Green Room. 

Ian Blume, Picture Editor

Ian Blume has worked in feature film postproduction for 16 years, spanning such films as ChocolatDoubt and The Bourne Legacy. Armed with a bachelor's degree in Film from Emerson College in Boston, MA, Ian built a strong foundation at Sound One NY. Since then, he climbed the ranks as an assistant editor, working on 18 features of all budget levels, in the US and abroad. He has collaborated with many top-tier, award winning filmmakers - including editors Tim Squyres, John Gilroy, Dylan Tichenor, Barbara Tulliver and Andrew Mondshein, writer / directors John Patrick Shanley and M. Night Shyamalan, and producers Akiva Goldsman and Scott Rudin. An active member of the Motion Picture Editors Guild and the Post NY Alliance, Ian is currently finishing his 4th narrative feature film as an editor. Along the way he has compiled a variety of temp scores and has worked directly with music editors, supervisors and composers to take those films from the first spotting session to the final mix. 

 Isabel Sadurni, Picture Editor & Moderator

Isabel has over 15 years experience as an international feature film editor and producer. Her work includes award winning feature-length documentaries and short narratives that have played in top-tier global festivals and nationally on PBS and Discovery. She's a regular contributor to ACE's Cinema Editor Magazine is a proud member of Post New York Alliance. Listen for her upcoming PNYA podcast series, Frame By Frame, where New York's most influential post-production professionals share their process, techniques and stories as a celebration of New York's essential contribution to the global film industry.
 

 Hosted by 

 

 

Tags:  music  postproduction  sound  Sound Editorial 

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NYWIFT: Making The Cut

Posted By Ben Baker, Tuesday, March 1, 2016
Updated: Friday, December 2, 2016

NYWIFT & the Post New York Alliance podcast are proud to present:

 

Making the Cut: Editors Talk Collaborations and Career

Editing is such a fluid experience. You never know what you will need for the story or what the working relationship with the director is going to be like. Each situation is different. 

Forging a career as an editor can be just as varied. Before digital technology and software became as accessible as they are today, you came up the ranks from apprentice, assistant, to one day becoming an editor. Now you could take on a low-budget film, working as your own assistant and editor, or perhaps collaborate with an established editor and come on as a co-editor. Always, the major skill is storytelling & building relationships. It’s about living your life and understanding that the material for editorial decisions can come from anywhere, and everything you experience. 

Join this panel of talented women editors/filmmakers as they share their journey to the edit chair, and explore the collaborations they’ve built along the way. 


Panelists

R. A. Fedde is an editor and producer, whose film and television work has covered a wide range, from two past presidents to paparazzi on the run. Her editing credits include 10 Days that Unexpectedly Changed America: Antietam, winner of a 2006 Emmy Award for Best Non-Fiction Series; $ellebrity, which premiered at South by Southwest in 2012; Running Wild: The Life of Dayton O. Hyde, which Fedde edited and co-produced, premiered at Slamdance 2013; The Last One, won the Best Social Issues Documentary Award at the 2014 Atlanta Docufest and aired on Showtime in December 2014; and Once and for All, which closed the DocNYC 2015 with a sold-out house. Her editing on Frontlne's Growing Up Online garnered another nomination for a 2009 Emmy. In 2004, Fedde won the prestigious Gracie Allen Award for her work as editor on Pure Magic: The Mother Daughter Bond. Currently she is working on a feature-length PBS project on WWI and a short documentary project of her own about Hindu god lithographs.

Carla Gutierrez is an editor based in New York City. She edited the Oscar nominated film La Carona for HBO and the Emmy-nominated documentary Reportero, which was broadcast on POV. She also edited Kingdom of Shadows that premiered at SXSW and opened theatrically in Mexico. Her latest work, When Two Worlds Collide will have its world premiere at the 2016 Sundance Film Festival as part of the world documentary competition. Gutierrez’s other editing credits include: Wonder Women!Las MarthasTales of the WariaShe Is The MatadorSurviving Hitler: A Love Storyand Iraq For Sale. She has been a creative adviser for the Sundance Edit Lab, and a mentor for Firelight Producers’ Lab.

Geeta Gandbhir's honors include an Academy Award, two Emmy Awards and three Peabody Awards. Most recently, a feature documentary she produced with Perri Peltz and directed with Academy Award winning director Sharmeen Obaid-Chinoy, A Journey of A Thousand Miles: Peacekeepers, premiered at the 2015 Toronto International Film Festival. She is currently co-directing and co-producing a Conversation series on race with The New York Times Op-Docs. She co-directed and edited the film Remembering the Artist: Robert De Niro Sr. with Perri Peltz for HBO. Additional notable works as an editor include, Mr. Dynamite: The Rise of James BrownMoms Mabley: I Got Somethin’ to Tell YouWhen the Levees Broke … A Requiem in Four ActsBy the People: The Election of Barack ObamaMusic by PrudenceBudrusIf God is Willing and da Creek Don’t Rise, and God is the Bigger Elvis.

Sheila Shirazi's feature editor credits include the forthcoming Bright Lights: Starring Carrie Fisher and Debbie Reynolds, which will premiere on HBO later this year, and Shola Lynch's Free Angela and All Political Prisoners, which premiered at the 2012 Toronto International Film Festival. She has been an assistant editor for the Academy Award-winning Inside Job, the groundbreaking PBS series, Women, War & Peace, and the Sundance Documentary Edit Lab. She produced and wrote the film Arusi Persian Wedding, which won an ITVS Open Call finishing grant and was broadcast on PBS' Independent Lensseries. Shirazi also enjoys the creative (and financial rewards) of editing short-form content for ad agencies, NGO's and corporate clients. 

Cheree Dillon (Moderator) is an independent film/tv editor based in New York City. Most recently she co-edited Death by Design, a feature documentary collaboration from Ambrica Productions and Impact Partners. Her first feature doc, Off and Running, premiered at the Tribeca Film Festival, was broadcast on PBS’s P.O.V. series, and nominated for an Emmy. Cheree’s other feature doc credits include the broadcast version of The Homestretch for PBS’s Independent Lens 2015 series, Sense The WindSons of BenSurviving Amina, and Song of Hannah, along with cutting long format programs for Discovery, NBC Sports, and The Science Channel. She has also edited several award-winning short docs including Southmost USAAn Imaginary Thing, and Article of Faith. Dillon is a member of the NYWIFT documentary committee and has produced several panels focused on interactive filmmaking, independent film distribution and social media/marketing.

 

  

 

 

Produced by Cheree Dillon

 Hosted by 

 

Tags:  assistant editor  Editor  Editorial  NYWIFT 

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Fix It In Prep

Posted By Ben Baker, Friday, February 26, 2016
Updated: Friday, December 2, 2016

FIX IT IN...PREP? THE VALUE OF POST PRODUCTION ARTISTS EARLY IN THE PROCESS..

sponsored by Nice Shoes, Filmlight, and SONY

Most producers have a strong concept of what they want their project to look like, but they don’t always consider editorial, visual effects, music or color grading during the pre-production phase. Bringing post artists into the conversation at the onset of a project leads to enhancing imagery rather than "fixing” in post. In this session, producers will speak directly about the nature of their collaboration with their post team, and share how the early reliance on their skills and experience expanded the possibilities for their projects. Incorporated during prep or on set, your post artists have all kinds of ways to get the most out your of budgets and schedules, as well as that final cut.


Speakers

Alison Beckett
Post Production Supervisor

Kill The Messenger, The Hundred-Foot Journey, Bessie

 

Brad Carpenter
Co- Producer

Vinyl, Boardwalk Empire, Nurse Jackie

 

Chris Ryan
Colorist at Nice Shoes

 

Peter Saraf
Producer / Chair of the PGA East

About RaySafety Not GuaranteedLittle Miss Sunshine

 

Dan Schrecker
Senior VFX Supervisor, Psyop Film and Television

Hail Cesar, Black Swan

 

Tim Squyres
Editor

Billy Lynn’s Long Halftime Walk, Life of Pi, Unbroken, Lust/Caution,

 

Moderator

Jennifer Lane
Post Production Supervisor; / Secretary of the Post New York Alliance

Billy Lynn’s Long Halftime Walk, Into the Woods, The Bourne Legacy, Revolutionary Road


 

Tags:  postproduction  Pre-production  Producers Guild 

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Intro to Audio Post: ADR

Posted By Ben Baker, Sunday, November 29, 2015
Updated: Friday, December 2, 2016

Introduction to Audio Post: ADR

Thursday September 3rd, 2015 @ 7pm 

Soundtrack NY @ 936 Broadway, 4th Floor

The first in a series about the Audio Post Production process, the PNYA Education Committee in tandem with Soundtrack NY, as well as Dann Fink and Bruce Winant, are hosting ADR 101: An Introduction to the Audio Post World.

The seminar will take place at 7 pm on September 3rd, 2015 at Soundtrack NY, 936 Broadway at 22nd Street, 4th Floor. Drinks and snacks will be available starting at 6:30pm.

The evening will shed light on the individual components of the ADR process. Spotting, scheduling, Principal ADR, Group ADR and Foley will all be covered in detail followed by a live in­-studio walkthrough. Leading members of the New York audio community will share their expertise in each of these fields.

Scheduled participants include Craig Kyllonen, Supervising Sound Editor; Mark DeSimone ADR Mixer; Jacob Ribicoff ,Supervising Sound Editor;Maegan Hayward, COO Soundtrack New York; Dann Fink, Loop Group Supervisor; Alex Carpenter, Foley Artist; and Justine Baker, ADR Recordist.

Seating in the studio for this event is limited, so please RSVP to seminars@postnewyork.org. to reserve your place!

The workshop is free for members ­- $10 for non members.




 

Introduction to Audio Post

Thursday September 3rd, 2015 @ 7pm 

Soundtrack NY @ 936 Broadway, 4th Floor

The first in a series about the Audio Post Production process, the PNYA Education Committee in tandem with Soundtrack NY, as well as Dann Fink and Bruce Winant, are hosting ADR 101: An Introduction to the Audio Post World.

The seminar will take place at 7 pm on September 3rd, 2015 at Soundtrack NY, 936 Broadway at 22nd Street, 4th Floor. Drinks and snacks will be available starting at 6:30pm.

The evening will shed light on the individual components of the ADR process. Spotting, scheduling, Principal ADR, Group ADR and Foley will all be covered in detail followed by a live in­-studio walkthrough. Leading members of the New York audio community will share their expertise in each of these fields.

Scheduled participants include Craig Kyllonen, Supervising Sound Editor; Mark DeSimone ADR Mixer; Jacob Ribicoff ,Supervising Sound Editor;Maegan Hayward, COO Soundtrack New York; Dann Fink, Loop Group Supervisor; Alex Carpenter, Foley Artist; and Justine Baker, ADR Recordist.

Seating in the studio for this event is limited, so please RSVP to seminars@postnewyork.org. to reserve your place!

The workshop is free for members ­- $10 for non members.


Introduction to Audio Post

Thursday September 3rd, 2015 @ 7pm 

Soundtrack NY @ 936 Broadway, 4th Floor

The first in a series about the Audio Post Production process, the PNYA Education Committee in tandem with Soundtrack NY, as well as Dann Fink and Bruce Winant, are hosting ADR 101: An Introduction to the Audio Post World.

The seminar will take place at 7 pm on September 3rd, 2015 at Soundtrack NY, 936 Broadway at 22nd Street, 4th Floor. Drinks and snacks will be available starting at 6:30pm.

The evening will shed light on the individual components of the ADR process. Spotting, scheduling, Principal ADR, Group ADR and Foley will all be covered in detail followed by a live in­-studio walkthrough. Leading members of the New York audio community will share their expertise in each of these fields.

Scheduled participants include Craig Kyllonen, Supervising Sound Editor; Mark DeSimone ADR Mixer; Jacob Ribicoff ,Supervising Sound Editor;Maegan Hayward, COO Soundtrack New York; Dann Fink, Loop Group Supervisor; Alex Carpenter, Foley Artist; and Justine Baker, ADR Recordist.

Seating in the studio for this event is limited, so please RSVP to seminars@postnewyork.org. to reserve your place!

The workshop is free for members ­- $10 for non members.


Tags:  Editorial  Mix  postproduction  Sound Editorial  Sound Post  Soundtrack Studios 

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What Keeps a CTO Up At Night?

Posted By Ben Baker, Saturday, November 14, 2015
Updated: Friday, December 2, 2016

This was a panel presented as part of CCW/ NAB NY. The Post New York Alliance was proud to partner for the first time with NAB on this event.

What Keeps a CTO Up At Night?

If you're doing post production in New York in 2015 – face it, it's not as easy to figure out as even a few years ago. Your production must deal with new formats – it might be 4K, 6K "future proofing," ProRes versus RAW. The Academy of Motion Pictures & Television wants you to move to ACES – but what's that all about? Did we mention that you must be proficient in cloud computing, distribution to multiple smartphone formats, and now – oh my - Virtual Reality? 

That's why you'll want to join in conversation with our esteemed group of CTOs and Technologists. These are the experts from top New York post houses who know how the latest technologies might help – or hinder – your bottom line. Our panel will help you understand best practices from camera slate through to the final render, what new workflows can save you time and money, and how to make sense of it all.

 

MODERATOR

Baker, Ben
Ben Baker
Digital Workflow, Post Production Supervision, Chair of Education Committee
Post New York Alliance
 
 

 

PANELISTS

Beirne, Joe
Joe Beirne
CTO of Technicolor 
PostWorks in New York
 
Laniado, Avi
Avi Laniado
Chief Engineer
Harbor Picture Company
Parker, Chris
Chris Parker
Chief Technology Officer, President of Post 
Post Production Division, SIM Group
 
Skopas, Harry
Harry Skopas
Director of Technology
The Mill

 

Tags:  CTO  Facility  Harbor Picture Company  Management  postproduction  Postworks Technicolor  SIM Group  The Mill 

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Transitioning from Documentary to Drama

Posted By Ben Baker, Friday, November 13, 2015
Updated: Friday, December 2, 2016

 

Transitioning from Docs to Drama


Join us for a podcast with host Isabel Sadurni and New York’s top Editors, about how they consistently and successfully bridge the worlds of non-fictional to scripted editorial. Followed by Q&A.

PANELISTS:

ALLYSON C. JOHNSON

(The Namesake, Vanity Fair, Monsoon Wedding )

SAM POLLARD

(If God Is Willing And Da Creek Don’t Rise, 4 Little Girls, Clockers)

TIM SQUYRES

(Life of Pi, The Armstrong Lie, Syriana)

CRAIG McKAY

(Sin Nombre,Silence of the Lambs, Philadelphia)

ALAN OXMAN

(Control Room, Happiness, Welcome To The Dollhouse )

 

Many established narrative editors have turned their hand to documentaries, while others have worked in the opposite direction working as documentarians who crossover into narrative territory. Whether working within fictional or non-fictional worlds -- we as visual storytellers are instinctively drawn to elements common to both genres, yet the filmmaking communities often exist separately.  What are the strengths, strategies and strokes of luck required to bridge the two worlds successfully? 

BIOS 

ALLYSON C. JOHNSON’s Feature Film work includes: Mira Nair’s A melia,The Namesake, Vanity Fair and M onsoon Wedding which received the Golden Lion for Best Film at the 2001 Venice Film. Her television work includes NBC’s S mash a nd T he Slap, The Wire, Quantico and M arco Polo for Netflix. She is presently editing Baz Luhrmann’s series T he Get Down for Netflix. Johnson received an Emmy Nomination editing the documentary T he Who’s Tommy: The Amazing Journey . Other rockumentaries include U p From the Underground ( Quincy Jones), S ay It Loud (VH-1) and her Triptych short film K ick Out the Jams appeared at the opening of the Rock and Roll Hall of Fame Museum. She has also collaborated with such filmmakers as Spike Lee and Griffin Dunne and Bill Moyers. 

SAM POLLARD is an Emmy and Peabody Award winning feature film and television video editor, and documentary producer/director whose work spans almost thirty years. He recently completed as Producer/Director a 90-minute documentary titled A ugust Wilson: The Ground On Which I Stand for the PBS series American Masters. His first assignment as a documentary producer came in 1989 for Henry Hampton's Blackside production E yes On The Prize II: America at the Racial Crossroads for which he received a Peabody Award. Between 1990 and 2010, Mr. Pollard edited a number of Spike Lee's films: M o' Better Blues, Jungle Fever, Girl 6, Clockers, and Bamboozled and co-produced a number of documentary productions for Spike Lee Presents M ike Tyson, Four Little Girls, When The Levees Broke.

TIM SQUYRES has edited several films for director Ang Lee; Pushing Hands, The Wedding Banquet , EatDrinkManWoman, Sense and Sensibility, The Ice Storm, Ride with the Devil, The Hulk, and Crouching Tiger, Hidden Dragon. The latter earned Mr. Squyres Academy Award, BAFTA Award, Hong Kong Film Award, and [American Cinema Editors (ACE)] Eddie Award nominations, as well as the Golden Horse Award (Taiwan's equivalent of the Oscar).He was an Eddie Award nominee for his workonRobertAltman'sAcademyAward-winning,G osfordPark ,whichalsoearnedMr.Squyresan American Film Institute (AFI) Award nomination.His other feature credits as editor include Stephen Gaghan's S yriana, starring Academy Award winner George Clooney; Paul Auster's L ulu on the Bridge and TheInnerLifeofMartinFrost; andGeorgeButler'sdocumentaryG oingUpriver:TheLongWarof John Kerry. He has also edited television documentaries for Bill Moyers W hat Can We Do About Violence? and Addiction: Close to Home) for Michael Moore, ESPN, and VH1 . 

CRAIG McKAY is an award-winning feature film editor, story consultant, director, and executive producer. Directing credits include Emmy-Award-winning Bubbe Meises,Bubbe Stories for PBS and HBO’ s The Red Shoes written by John Guare. Documentary credits include Bravo’s Haiti: Dreams of Democracy, Academy - Award - nominated Mandela, and PBS’s award - winning Witness: Voices from the Holocaust. Awards in editing include an Emmy for the NBC mini-series Holocaust , as well as two Academy Award nominations for R eds and T he Silence of the Lambs. Other editing highlights include Copland, Philadelphia, Married to the Mob, Something Wild, Melvin and Howard and many others. McKay was also an Executive Producer on the award-winning feature-length documentary A Normal Life. 

ALAN OXMAN is a film editor and producer who has worked on a variety of narrative and documentary films. As a producer Alan's recent credits include A Matter of Taste which screened on HBO and was nominated for an Emmy Award and P age One: Inside the New York Times which was distributed by Magnolia Films and was also nominated for an Emmy Award. He was a producer on Edet Belzberg’s The Recruiter,which won the Peabody Award, as well as on Children Underground which won the Special Jury Prize at the Sundance Film Festival and was nominated for an Academy Award. Alan recently served as post-production supervisor on Inside Job (Academy Award for Best Documentary,2011)andproduceronH otCoffee (Sundance2011,HBOSummerDocSeries).Hewas the co-producer and supervising editor of the Al-Jazeera documentary C ontrol Room (Grand Jury Prize, Full Frame Film Festival). His editing credits include W elcome to the Dollhouse (Grand Jury Prize, Sundance Film Festival), H appiness( International Critic’s Award, Cannes Film Festival) and Storytelling (Cannes Film Festival), all for director Todd Solondz. He was a consulting editor on the Oscar-nominatedN oEndinSight, which also won the Special Jury Prize at the 2007 Sundance Film Festival.Alan co-edited  Unzipped (Audience Award, Sundance Film Festival), which won the A.C.E. Award for Best Documentary Editing. He won two Emmy Awards for Outstanding Documentary Editing on the PBS series City Life 

 

Tags:  Docs  Documentary  Editorial  Feature Films  Local 700  Postworks Technicolor 

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The Academy Aces Pipeline Primer: Post And Vfx

Posted By Ben Baker, Friday, November 13, 2015
Updated: Friday, December 2, 2016

The Post New York Alliance & 

the Visual Effects Society New York, 

in cooperation with 

The Academy of Motion Picture Arts and Sciences, 

present:

THE ACES PIPELINE PRIMER: POST & VFX

July 16, 7pm

Venue- The School of Visual Arts Theatre

333 West 23rd Street

After years of research and development, the Academy Color Encoding System (ACES) 1.0 has arrived! It is becoming the standard for color management and image interchange for motion pictures, television, commercials and other forms of professional content. This session will deliver an overview of the engineering and science as well as practical information needed to understand and implement ACES into postproduction and VFX pipelines.

ACES enables DPs and directors to better preserve their creative intent from on-set monitoring and look management, to dailies, editorial, VFX, the DI and on into archiving. It does this by addressing the long-standing color management issues facing today’s productions. ACES expands the creative palette with its high dynamic range and wide color gamut capabilities, while streamlining collaboration with standardized encodings and file formats.

Alex Forsythe, Academy technical lead on the ACES project, is traveling to New York to speak about the development of, and latest innovations in, ACES and how it helps color management and workflows. His presentation will be followed by a discussion about practical, real-world implications with several key members of the New York post production and VFX community.

Hear how ACES is being implemented with today’s tools on-set and at leading facilities in VFX, post and mastering. Seating is limited so please RSVP to seminars@postnewyork.org to reserve your place.

PNYA & VES members are free- $10 non members.

 

Tags:  Academy Of Motion Picture Arts and Sciences  ACES  Color Management  Dailies  DIT  Mastering  Onset  Turnover  VFX 

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VFX Colorspace NY Part 2

Posted By Ben Baker, Friday, November 13, 2015
Updated: Friday, December 2, 2016

This is part 2 of the VFX Colorspace Seminar, given by Chris Healer, CEO of The Molecule VFX.

Tags:  Color Management  The Molecule VFX  vfx 

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