PNYA Winter 2023 Newsletter Download PDF

Outlook for 2023

PNYA members share their expectations for the year ahead.

Andrew Bly, Partner/Head of Studio, Crafty Apes, New York 

A lot changed over the course of the pandemic, which is true for every human and every industry on the planet. Things shifted around. Companies, production teams, and individual people adapted to a New World. The amount of content in production went through the roof.

For me and my team, 2023 brings an opportunity to take all that we learned over the past two years and apply it to an industry that has changed in terms of the amount and the caliber of the work that is being produced. It’s a year for refinement, a time to button up, fortify and move to the next level. I see it happening all over New York, in terms of our ability to handle all types of work. If you look around, you will find New York companies working on top-quality projects.

It's a time for us to invest in talent. We are focusing on cultivating and mentoring talent to help elevate capable talent to the next level and achieve personal growth. At the same time, we are working to adapt to new technologies and streamline our business to keep pace with a growing workload. 

Rochelle Brown, Director of Sales, East Coast, Features & Episodic, Harbor

When Covid hit, the industry reinvented itself by introducing a working-from-home system out of necessity. In 2022, we saw a gradual increase in filmmakers and artists returning to the studios, but still wanting flexibility. In 2023, I project we will fine-tune this new paradigm and find balance in working from home and in the studio, with this model becoming the new norm.  

Additionally, in 2022 we saw an influx of projects being vetted by major studios in New York. With Kathy Hochul’s latest expansion of the New York Tax Credit, I believe this is a trend we’ll continue to see. However, although this trend for production in New York will continue, from a global standpoint in 2023, creativity will be king. Given the economic climate and the overwhelming fear of a recession, I’m finding that studios are not producing for the quantity of content but instead curating quality creative.  

Yana Collins Lehman, CEO, Trevanna Post

In 2022, many people transitioned from remote to hybrid, to in-person work. I’m very proud of the role PNYA played throughout the pandemic in keeping people together, maintaining a sense of community, and contributing meaningfully to New York’s post-production industry. That also makes me hopeful for 2023 because we’ve emerged stronger, more capable, and ready for anything. 

In 2022, the pace of content creation had us all feeling like we were working on steroids. It was a lot for everyone. Now, I am hoping we are moving back toward a normal, more manageable level. We’ve been through a traumatic event and are now recovering, professionally and personally. Whatever 2023 has in store, we can handle it. 

Pete Conlin, Producer / Innovation Specialist 

Over the past few decades, the entertainment industry has experienced several revolutions. In the 1990s, we moved from cutting film and videotape to non-linear editing.  In the early 2000s, we transitioned to digital acquisition. Both had a transformative effect on how content was created.

We are now on the cusp of another sea change brought about by virtual production. Instead of traveling to a distant location or shooting on a green screen and fixing it in post, problematic scenes will be shot on virtual production stages. Virtual production offers the ability to construct entire sets and place talent in them and capture shots composited in real-time in the camera. Actors’ time can be used more efficiently. No need to wait for a set change. You can shoot nine setups in one day without making the actors wear clunky tracking suits.

Virtual production will bring about a dramatic shift in how projects are budgeted, how scripts are broken down, and how sets are built. It will also change the roles and toolsets used in post-production and visual effects. VFX houses will be more client-facing and have crews ready to go on set. A VFX house will build the Unreal set and send eight Unreal operators to the virtual stage.

While there are many benefits to virtual production, there aren’t enough people who understand the technology to show studios how to apply it to their productions or to teach line producers and production designers how to budget for it. I have done demos for producers who’ve responded, “I wish I’d known about this on my last show!”. The light bulb clicks on.

PNYA Co-Hosts Virtual Production Event at Fuse 42

Post New York Alliance, the Hollywood Professional Association, and Fuse Technical Group recently cohosted an illuminating live event showcasing the latest advances in virtual production. Titled Virtual Production for New York Filmmakers, the event, including two sold-out sessions, was led by virtual production line producers MESH and held at Fuse 42, a new, full LED volume located in Times Square 

The event was designed to familiarize members of the local industry with emerging technologies destined to have a huge impact on how entertainment content is produced in the future. “New York has been a bit behind Los Angeles and London in embracing virtual production,” said MESH Co-Founder Ben Baker. “But with Fuse and others opening stages in the city that is beginning to change.  Based on the response to this event, it’s obvious there is a real desire to learn more and get more involved in this exciting, new technology.”

The event opened with presentations by Baker, Fuse Creative Director Shelly Sabel and Narwhal Studios CEO and Co-Founder Felix Jorge. Sabel described the technical features of Fuse’s state-of-the-art LED stage. Baker spoke about the development of FATHEAD, a short, virtual production film from ETC@USC. Jorge discussed his company’s groundbreaking work on The Mandalorian, The Suicide Squad and other recent projects, and its future plans.

MESH Virtual Production Producer Isabel Sadurni conducted an interview with FATHEAD director, C. Craig Patterson, and led a panel discussion with Patterson, Baker, Sabel, and Jorge. The event concluded with a talk by Julie Lottering, Director of Unreal Engine Education at Epic Games, on educational opportunities and career development in virtual production.

Baker says that virtual production has been generating a lot of excitement because of the creative, practical, and budgetary advantages it offers. It can save the time and cost involved in building sets or shooting on location. It can also facilitate the construction of fantasy environments difficult to produce by other means. On FATHEAD it was used to place a “ragamuffin army” played by child actors into a dystopian junkyard environment. 

Shooting that scenario practically would have been challenging. “The insurance costs would have been astronomical due to safety considerations,” he explains. “Plus, the children run around this environment and jump off things as if by magic. That would have been very hard to do with traditional visual effects.”

Calling the event a “coming out party” for virtual production in New York, Baker expects the new production technique to catch on quickly. And while a lot of attention has been focused on high-profile projects like The Mandalorian that have used virtual production in a big way, its real value may be to mainstream productions seeking to lower costs or add production value. “MESH’s focus is on the middle of the market, productions with budgets under $50 or even $25 million dollars,” he observes. “That’s where it can really help.”

Judging by their reaction, the audience at the event got the message. “People were really engaged,” Baker states. “They listened attentively and had a lot of questions. We’re hoping to do more of these events. People are interested, they understand the potential and see that it’s coming to the fore.”

If you missed the event, highlights can be seen on the PNYA YouTube page (link).

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Committee News

PNYA’s Equity and Inclusion Committee recently hosted WYDK (Who You Don't Know) Facility Tour events at Company 3 and Running Man Post. The well-attended events were designed to show what the New York Tax Credit has done for the state’s post-production facilities and as an opportunity for aspiring editors and assistant editors to meet established industry professionals. Special thanks to Company 3’s Grace Barcenas and Erik Braun, and to Running Man’s Troy Thomson and Ryan Cunningham for opening their spaces.

PNYA’s Sustainability Committee hosted a volunteer event in January at FABSCRAP in the Brooklyn Army Terminal. Volunteers spent the afternoon sorting through fabrics, participating in the solution for textile recycling, engaging in the mission to reduce waste.

They also continue to host monthly Trash Pickup. Their most recent was at Riverbank State Park in Hamilton Heights, Manhattan on Saturday, February 11^th. They begin the event with a short mediation session for those who wish to participate.

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MEMBER NEWS

Alchemy Post Sound Wins Two Golden Reel Awards

Alchemy Post Sound had a big night at the 70^th Annual MPSE Golden Reel Awards taking home honors for its work on the Hulu series Prey and the FX series The Bear. The Prey won a GRA for Outstanding Achievement in Sound Editing - Non-Theatrical Feature. The Alchemy team included Supervising Foley Editor Annie Taylor, Foley Editors Nick Seaman and Roni Pillischer and Foley Artists Leslie Bloome and Shaun Brennan. They shared the award with Supervising Sound Editors Chris Terhune and Will Files MPSE, Sound Designer James Miller, Sound Effects Editors Christopher Bonis, Diego Perez MPSE and Lee Gilmore MPSE, Supervising Dialogue Editor Jessie Anne Spence MPSE and Dialogue Editors David Bach and Korey Pereira MPSE.

The Bear won for Outstanding Achievement in Sound Editing – Broadcast Short Form. Alchemy’s crew included Foley Editors Annie Taylor and Chris White, and Foley Artists Leslie Bloome and Shaun Brennan. They shared the award with Supervising Sound Editor Steve "Major" Giammaria, Sound Effects Editor Jonathan Fuhrer, and Dialogue Editor Evan Benjamin.

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Assembly | Winter 2023 Highlights

It’s been a busy winter season for the Assembly team with our footprint growing across the US, exciting new hires, and one of our most successful creative quarters to date.

2023 kicked off in style with Sundance success. We’re thrilled to have worked on a number of feature projects honored at this year’s festival, including the multi-award-winning Kokomo City, a riveting account of life as a transgender black sex worker in Georgia, graded entirely in Flame by Assembly’s 2D Lead, Jeff Kyle. Having been mentored by some of the best colorists in the industry, Kyle combined his unparalleled knowledge of Autodesk’s Flame’s software with his razor-sharp aesthetic eye to offer Kokomo City Director D. Smith, a new and unique approach to color grading. 

We’re also excited to announce the launch of the hotly anticipated TV series, The Last of Us, which debuted to rave reviews on HBO, the Kit Harington drama Baby Ruby, which recently launched on Amazon Prime, and Netflix’s latest binge-able true-crime docuseries Murdaugh Murders: A Southern Scandal, available to stream now. 

In addition to this season’s creative success, we’ve welcomed Geoff Bailey to the Assembly team as Creative Director, and Becca Falborn as EP of Business Development. 

With longstanding and notable creative relationships Geoff Bailey's diverse creative style has won him numerous accolades and creative collaborations with some of the world’s most notable names. Catch his latest short film, Death and the Lady, which is currently screening on The New Yorker website!

Becca Falborn has joined our team with a seasoned history of experience in audio and post-production, with previous companies including Nice Shoes, Hogarth, and Sound Lounge. Working across both Assembly and Lime Studios, Falborn is working to develop our growing client base, in addition to identifying new commercial growth opportunities and services. 

There’s much more exciting news to come in 2023 for the Assembly crew. We hope to see you in person dancing away at the AICP Gala, on the French Riviera in Cannes, and at film festivals around the world. Until then, follow us at @assemblypost on social media for regular updates and visit our site at www.assembly.tv. 

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The Dann + Bruce Company Busy with Film and Television Projects

With Loop Group rocking along both remote and in-studio, The Dann + Bruce Company has been working hard both on-premises and through hybrid systems with TV and film groups led by Dann Fink, Bruce Winant, and our newest collaborator, Daphne Gaines.  

Sundance brought a handful of powerful and hilarious features including Theatre Camp, The Starling Girl, Landscape with Invisible Hand, Shortcomings, Eileen and Nicole Holofcener’s You Hurt My Feelings.    Along with those were more high-profile projects like Boston Strangler, Book Club 2, Gonzo Girl, Untitled Road Comedy, Killers of the Flower Moon, and Bradley Cooper’s highly anticipated Maestro.

On the TV and streaming front, recently wrapped projects include Harlem, The Best Man, Godfather of Harlem, Kindred, and the unique and ever-rewarding The Marvelous Mrs. Maisel. Spring rolls us right into the insane and inane board rooms and bedrooms of The Gilded Age, The Crowded Room, Succession, Billions, The Righteous Gemstones, and Mrs. American Pie. 

Supporting emerging talent and projects while working with new voices behind and in front of the mic is one of our constant commitments.  As early members of PNYA, we’re grateful for and acknowledge that none of our work would be possible without the passionate and unwavering commitment of the volunteers that run the Alliance.

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Goldcrest Post Prepares “Cat Person” for Sundance Premiere

Independent New York post house and its sister company, Fancy House of Visual Effects, provide all-in-one post and VFX for Susanna Fogel’s critically acclaimed thriller.

Goldcrest Post helped to prepare Cat Person for its recent world premiere at this year's Sundance Film Festival, providing comprehensive post-production services for Director Susanna Fogel’s psychological thriller, which Deadline called “a must-see.” The facility handled both picture and sound finishing, with Colorist Alex Berman working with Fogel to finalize the film’s look, and Supervising Sound Editor/Re-Recording Mixer Eric Hirsch editing and mixing the soundtrack. Goldcrest Post’s sister company, Fancy House of Visual Effects, created dozens of finely crafted visual effects including a colony of ants. Goldcrest also provided dailies services during the production phase and offline editing suites to the film’s picture editor Jacob Craycroft and his crew.

Goldcrest Post is one of few boutique facilities capable of providing independent filmmakers with one-stop solutions for post. “Goldcrest Post’s excellent facilities, solid management, and stellar talent made it a terrific choice,” says Producer Daniel Hank. “They consistently deliver high-quality services across all areas of post and do so on schedule and on budget.”

Starring Emilia Jones, the lead actress from CODA, last year’s Oscar winner for Best Picture, and Nicholas Braun, star of the Emmy-winning series Succession, Cat Person centers on a pair of movie lovers whose dating relationship grows increasingly complicated. Vanity Fair praises the film for taking on “hot-button social issues” and predicts it is poised to catch “a mainstream wave.”

Hank says that having all aspects of the finishing process centered at Goldcrest Post relieved stress and resulted in a better film. “In post, things frequently change,” he observes. “Studios and producers have decision-making differences, sometimes to the last minute. Having all the elements and media on one server and under one team made things go faster and smoother.” 

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Harbor Opens New ADR Stage in New York, Adds John B. Corney as Vice President of Sales, Entertainment in Los Angeles 

Harbor opens its second ADR stage in New York City to complement its current offering. Under the technical supervision of Chief Engineer Avi Laniado, the stage was built to service in-studio and remote recordings for ADR, voiceover, narration, and animation. Additionally, the company opened an ADR stage London. The integrated global teams work seamlessly to deliver consistent, high-end ADR to their clients.  

Supervising Producer of Sound & ADR, Tricia Schultz stated, “This expansion of Harbor’s ADR department will allow greater access to our talented global ADR team, including Bobby Johanson, Beau Emory, Michael Rivera, and James Gregory. I look forward to the continued collaborations with our clients here in New York and as it grows overseas.” The new NYC location is located in Soho at 333 Hudson Street and is now available for booking. 

In Los Angeles, Harbor welcomes John B. Corney as Vice President of Sales, Entertainment. With more than 19 years of experience at the senior level in post-production, Corney brings a wealth of contacts, knowledge, and expertise to Harbor. Major clients include Amazon, Disney, Netflix, Showtime, Paramount, Warner Media (Discovery), Lionsgate/Starz, NBC Universal, ABC Signature, FX, 20th Television, and CBS. Previously, Corney was President/COO of 5 Guys Named Moe and held long tenures with Modern VideoFilm, Walt Disney Studios, and Picture Shop.

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Mechanism Digital VFX Provides Crucial Assistance for Sundance Films

Digital visual effects play a significant role in film production. In many cases, VFX can be the key to completing a film and bringing the director's vision to life. That was certainly the case for films at this year's Sundance festival. “Weather can often be an obstacle for filmmakers, especially those who require specific environmental conditions to achieve a desired effect,” says Lucien Harriot, president and visual effects supervisor at Mechanism Digital. “Eileen, Director William Oldroyd’s new film based on Ottessa Moshfegh's award-winning novel, required 100-plus shots with snowfall and ground cover, plus period cleanup, to transport actors Anne Hathaway and Thomasin McKenzie back to 1964.” 

Another film showcasing the power of VFX is Sundance Grand Jury Prize winner, A Thousand and One. It required visual effects to accurately portray the film’s story set in 2001. “The impact of digital VFX is undeniable,” insists Harriot. “It's exciting to see what the future holds as technology continues to advance. As post-production professionals, we are crucial in bringing these films to life and creating genuinely immersive cinematic experiences.”

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Nice Shoes Uses Advanced Production Techniques In Emmy Award-Winning Show

ABC’s Abbott Elementary has taken the industry by storm. The show picked up seven Emmy nominations and won three Emmys in Outstanding Comedy Series, Outstanding Writing, and Outstanding Casting for a Comedy Series. The show has garnered critical acclaim and numerous awards in its short time on air. 

Utilizing the power of Unreal Engine, Nice Shoes provided post-production services for the promotion of the show by creating a fully-CG real-time photorealistic version of several Philadelphia city blocks. Everything to the finest detail was created for a seamless look and feel. Actors were then filmed on a green screen and composited into the CG world.

The real-time CG team at Nice Shoes utilized a variety of 3D tools - including Maya - for initial city block assets. Those files were imported into an Unreal world-build, to provide the most realistic and highly adjustable environment possible. The finishing team was able to match the lighting from the LA-based live-action shoot in order to integrate the cast into an amped-up version of Philadelphia. Just in time for the show's highly anticipated second season debut on ABC. 

On another project, Nice Shoes recently delivered color services for Reality, a unique film that premiered at Berlinale 2023. The film is based on the true story of Reality Winner, a woman who received the longest sentence ever for the release of government information to the media. “Everything from the directing, shooting, acting, and producing was stellar. I really loved working on it!” says colorist Marcy Robinson. “We tried to make things feel simultaneously beautiful and bleak under fluorescent lighting and it was a fine line the whole time, which made for very satisfying work.” The script, taken from FBI interrogations, was written and directed by Tina Satter, stars Sydney Sweeney, and was colored by Nice Shoes Colorist Marcy Robinson.

Nice Shoes also provided DI and color services for Murder of God’s Banker, a documentary crime series. It follows the investigation into the death of an Italian banker and reveals a dark web that includes the Vatican, the Sicilian Mafia, and a secret fascist society. “We crafted the look of the interviews based on the animated reenactments. It was shot with a lot of quasars which gave it a lot of color to seamlessly tie the visuals together,” says Colorist Phil Choe. The series is now available on Paramount+.  

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Ric Schnupp Handles Post Sound for Sundance Doc “Kokomo City”

The latest project for freelance PNYA member, Re-Recording Mixer, and Supervising Sound Editor Ric Schnupp, is the documentary Kokomo City. The feature directorial debut of two-time Grammy-nominated producer-singer-songwriter D. Smith follows four Black trans sex workers in Atlanta and New York, offering a candid and unfiltered look at their lives and profession.  Kokomo City landed at Sundance 2023 where it won the NEXT Audience and the NEXT Innovator awards.  Film rights were sold to Magnolia Pictures and will be in theaters later this year.  

Earlier in 2022, Schnupp served as supervisor/mixer on David Bruckner’s reimagining of Hellraiser, which featured transgender actor Jamie Clayton portraying the iconic role of Pinhead. Hellraiser was produced by PhantomFour and Spyglass Media and is available for streaming on Hulu. Schnupp, whose credits include the recent Sundance films Sharp Stick, directed by Lena Dunham, and Resurrection, directed by Andrew Semans, is currently working on the 20th Century Studios prequel to The Omen franchise The First Omen.

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Yana Collins Lehman Joins New York City’s Film and Television Council

Post New York Alliance (PNYA) Chair Yana Collins Lehman has been appointed to New York City’s Film and Television Council, which operates under the Mayor’s Office of Media and Entertainment. Collins Lehman will join other industry professionals, representing labor unions, production companies, soundstages, studios, and trade organizations, in promoting economic development programs and policies to support the film and television sector of the city’s economy. She will also serve on the Council’s Workforce Subcommittee, focused on expanding employment opportunities. The appointment was announced by Maria Torres-Springer, Deputy Mayor for Economic and Workforce Development.

Collins Lehman says she will use her new role to advocate for the post-production industry and build awareness for its contributions to the local economy. “I am delighted to join the Council and pursue initiatives that will benefit post-production companies and the thousands of professionals who work in our segment of the industry,” she says.

PNYA has been highly successful in supporting the post industry in New York City and statewide. It has been a consistent voice for the inclusion of post-production and visual effects in the state’s Film and Television Tax Incentive Program. It has also played a lead role in promoting diversity in post-production. 

“The tax incentives have generated a lot of jobs and produced enormous revenue for businesses across the state,” Collins Lehman states.  “Additionally, through our work with Reel Works, Made in New York’s PA Training Program, and Brooklyn Workforce Innovations, we’ve created an employment pipeline for groups that have often lacked access to jobs in our industry.”

Collins Lehman hopes her work with the Film and Television Council will draw attention to post-production. “Post-production doesn’t always generate the attention accorded to production, but we provide critical services to films and television shows every day,” she observes. “In part due to tax incentives, post-production in New York has grown substantially and continues to add to the economic vitality of the city and state.” 

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Jasmin Way Edits SXSW Feature “Story Ave”

New York-based film and television editor Jasmin Way recently completed the feature film Story Ave, which will compete for Best Narrative Feature at SXSW 2023. Prior to that, she was an additional editor on the feature film A Thousand and One, winner of the Grand Jury Prize at Sundance 2023. 

Her most recent project, the feature A View of the World from Fifth Avenue is completing post-production before going on the festival circuit. For the smaller screen, Jasmin edited two episodes for The Pentaverate, Mike Myers' series for Netflix, and provided additional editing for Godfather of Harlem, Season 2. 

Way edited the documentary feature This Changes Everything, about the history of women in film, behind the scenes and in front of the camera. It premiered at the Toronto Film Festival in 2018 and was the runner-up for the People's Choice award.

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