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

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.

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.

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.      

TURNOVER TO VFX 

Technicolor PostWorks New York
110 Leroy Street
New York, NY 10014

November 6, 2014 @ 7pm 

The final session in the popular Turnover Series is Turnover to VFX, a conversation between a visual effects editor and visual effects supervisor about what goes into their work together. Technicolor again hosts us in their comfortable Leroy Street ground floor theatre. If you can’t make it, be sure to check out our podcast recording.

This Turnover to VFX workshop will cover the full visual effects editorial process. We’ll hear from top working pros just how visual effects shots move through their workflow from editorial versions to finishing.

Seating in the theatre is limited to 30. Don’t be disappointed by not securing a seat! Please RSVP to seminars@postnewyork.org as soon as you can. Seats will be allocated on a first-come basis.

Speakers on the night are:

Zana Bochar has been working in postproduction in NYC since graduating from Florida State University’s College of Motion Picture Arts. Zana joined the Editors Guild as an apprentice on A Serious Man. Her feature film work includes Black Swan and Men In Black 3. Zana started in visual effects editorial as a visual effects assistant editor on The Bourne Legacy and Noah. Most recently she was the visual effects editor on Chris Rock's upcoming Top Five.

Chris Healer’s varied career includes finishing a film degree at University of Colorado/Boulder, building a 16mm projector out of Legos and writing a 3D graphics library in DOS, Chris transitioned from web design to motion capture and 3D animation while in Denver. He moved to New York in 2002 to complete work on Below the Belt (Sundance 2004). By 2005 Chris founded visual effects house The Molecule (http://www.themolecule.com). At The Molecule, he splits his time as CEO, CTO, Visual Effects Supervisor, VFX Consultant, Creative Designer, Software Developer, Producer, and Chief Scientist. 

Chris has worked on a variety of film and television projects, including The Affair, Nurse Jackie, Sex & Drugs & Rock & Roll, The Americans, Unbreakable Kimmy Schmidt, Rescue Me, Damages, 30 Rock, Rubicon, Royal Pains, Smash, Blue Bloods, Golden Boy, A Walk Among the Tombstones, The Giver, Hellbenders, Beasts of the Southern Wild, and many more.

Ben Baker, series’ moderator and PNYA Education committee chair, has worked across a broad range of studio and independent films in both the UK and US as an executive producer, post supervisor, project consultant, workflow designer and manager. His work has covered areas as diverse as on location dailies and editorial for digital cinematography, high-end digital intermediate mastering, feature film restoration and digital asset management over the life-cycle of an entire project, from development to distribution. 

Ben’s credits include his work on Casino Royale, The Narnia Chronicles Trilogy, and Generation Kill (HBO). His film and digital restoration work is extensive, including mastering hundreds of films. While living in the UK, Ben ran the Digital Lab at noted facility Framestore. He now lives in the New York area.

The workshop is free for members- non members can sign up on the night!

TURNOVER TO SOUND 

POSTWORKS NEW YORK

100 AVE OF THE AMERICAS

NEW YORK, NY 10013

THEATER – 10TH FLOOR

SEPTEMBER 16, 2014 @ 7PM 

Following up form the successful AE/ DIT Seminar, PNYA is holding a series of workshops on the editorial turnover process.

The first, Turnover To Sound, is being held on September 16, 2014 at PostWorks New York.

The workshop will go through the reason for and creation of the key deliverables for sound finishing. Assistant editor and editor Ian Blume and Supervising Sound Editor Alexa Zimmerman will lead the session.

Seating in the theatre for this event is limited, so please RSVP to seminars@postnewyork.org to avoid disappointment. Seats will be allocated on a first-come basis.

The workshop is free for members- non members can sign up on the night!

Speaker Bios:

Ian Blume has worked in feature film post-production for 15 years, spanning such films as CHOCOLAT, DOUBT and THE BOURNE LEGACY.

A graduate of Emerson College, he started out in NYC by building a strong foundation at Sound One. There he established close ties in the industry, and quickly became part of a tightly knit family.

Ian has climbed the ranks as an assistant editor, working on 14 features of all budget levels, in the US and abroad. He has collaborated with many top-tier, award-winning editors, directors, writers and producers, and accumulated valuable experience, technique and guidance from all of them.

Ian lives in Astoria, Queens, and is currently working as editor on his 2nd narrative feature film, DRAWING HOME.

Alexa Zimmerman has been working in the sound post field for 14 years, working most recently as an Supervising Sound Editor on Julie Taymor's MIDSUMMER NIGHT'S DREAM, dialogue editor on the series BOARDWALK EMPIRE and ROYAL PAINS, and assistant editor on features including THE FIFTH ESTATE and LEE DANIEL'S THE BUTLER.