Post Break
A weekly series produced by the PNYA's Education Committee that explores post production in New York State. Each week, a different topic will be discussed with a variety of professionals from facilities and post production teams.
For more information about how to join the Post New York Alliance or to be notified about future Post Break episodes, please email us at membership@postnewyork.org
The 3rd in our PNYA POST BREAK series - this week “A Conversation with New York Editors” – Louise Ford, Andy Weisblum, and Kate Sanford. We are so lucky to have NY veteran editors join our Post Break to answer all your questions about Editing in NY. Where we’ve come from and where we might be going?
PANELISTS:
Louise Ford - Worked as a journalist in London for 10 years before moving to New York and becoming a film editor. She is known for her work on Bad Education (2019), The Lighthouse (2018), Wildlife (2018) and Thoroughbreds (2017)
Andrew Weisblum - An American film and a visual effects editor. He has collaborated frequently with directors Darren Aronofsky and Wes Anderson. He is known for his work on Black Swan (2010), Moonrise Kingdom (2012), Mother! (2017) and The Wrestler (2008).
Kate Sanford - A seasoned feature film and series television editor. She has collaborated with filmmakers Tim Blake Nelson and Michael Corrente, She is known for her work on The Wire (2002), The Marvelous Mrs. Maisel (2017), Boardwalk Empire (2010) and Treme (2010)
MODERATOR: Yana Lehman - Chairman of the PNYA Board & President and COO of Trevanna Post, Inc. Yana currently oversees strategy and operations of the New York, Los Angeles and London offices, overseeing a staff of 40. She has been a post production accountant at Trevanna, working on feature films and television shows since 2004. She is an active member of Local 161.
The 2nd in our PNYA POST BREAK series - this week “Pivoting in Post” – about career moves made sideways, up, down and all around. Why did our panelists decide to change paths and how they did they make the jump from facility to scripted, reality to scripted TV? And how did they make the move from production camera loader to feature AE? How did starting in features, stepping into reality and back to scripted again, make them a better Editor?
PANELISTS:
Inga Moren - Assistant Editor: The Photograph, 15: A Quinceañera Story, Sleepless in America Veronica Vozzolo - Assistant Editor: Billions S5, Da 5 Bloods, She's Gotta Have it S2 Christina Delerma - Post Supervisor: various projects Jigsaw Productions, Lenox Hill Docuseries, Mayday (Indie) Jamie Kirkpatrick - Editor: Gravesend, Critical Thinking, We Summon the Darkness
Moderator - Kendall McCarthy: Post Producer: Tales of the City, The Americans, The Looming Tower
Posted By Ryan Penny,
Wednesday, May 13, 2020
Updated: Wednesday, May 13, 2020
Post Break: How is NY Posting Now?
Thursday, April 23rd 2020
Post Break: How is NY Posting Now? will begin with short updates from members in picture, sound, music and VFX reflecting on working remotely – their learning curves, struggles and solutions, and if any of the new procedures look to be legitimate alternatives to our usual models.
Picture Editorial: Nick Ramirez, AE/Editor: mid90s, Little Women, Mayday Rebekah Hernandez, Post Super/Coordinator: Billions, Forty Year Old Version, Gemini Man Sound Editorial: Gregg Swiatlowski, Supervising Sound Editor: Billions, Godless, Hustlers Ryan Price, Re-Recording Mixer: Good Time, Her Smell, Billions ADR/Looping: Dann Fink, ADR Voice Casting: In the Heights, Halloween Kills, The Marvelous Mrs. Maisel DI Finishing/Color: Clark Henderson, VP, Theatrical Service Technicolor/PostWorks: - On The Rocks, Uncut Gems, Harriet Anastasia Cipolla, Freelance Colorist: Why Not Choose Love: A Mary Pickford Manifesto, Art Of Style, Sneaker Hustle VFX: Andrew Bly, EP/CFO The Molecule: Dickinson, Fosse / Verdon, Five Feet Apart Moderator: Chris Peterson, EP on vendor side: Absentia, Women of Troy, Hereditary
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