Post New York Alliance

PNYA Political Update

The Economic Impact Study that the PNYA commissioned is now complete and the next step is to distribute it to state lawmakers and other stakeholders. Its findings speak volumes about the positive impact our industry has had on the State.

Among the most profound benefits is the educational aspect, specifically the fact that our industry consists of well-paying jobs with significant on the job training, and that it is not necessary to have a degree from an exclusive university to get started and advance one’s career. The Executive Summary is here and the Full Report is here.

The Alliance is also continuing to accept donations for its extensive lobbying efforts, so please click here to give your support today.

Technicolor PostWorks NY

Technicolor PostWorks Continues to Lead New York in Post

Full-service post-production facility Technicolor PostWorks had another strong year in 2016 as it continues to benefit from expanding production activity and New York State tax incentives. The facility saw a rise in both theatrical and television projects with the former including Manchester by the Sea, which recently picked up five Golden Globe nominations and is on many Oscar short-lists, as well as the critically-acclaimed comedies Maggie’s Plan and Café Society. As always, the facility helped prepare many features and documentaries for festival screenings, including 12 films that premiered at the 2016 Sundance Film Festival.

On the television side, the company provided picture and sound services for The Get Down, Baz Luhrman’s colorful take on the birth of hip hop for Netflix. Other key projects included the documentary series Soundbreaking: Stories from the Cutting Edge of Recorded Music and Jackie Robinson for PBS and Years of Living Dangerously for Nat Geo. The facility performed finishing services for episodic series such as The Americans (FX Networks), Master of None (Netflix) and Unbreakable Kimmy Schmidt (Netflix), and dailies services for The Affair (Showtime) and Mozart In the Jungle (Amazon).

"Not only are more movies and TV shows being produced in New York, the quality of those projects is getting better all the time,” says COO Rob DeMartin. “That’s great for our team as it gives them opportunities to work on compelling projects with talented filmmakers and take on interesting creative challenges. We’re excited about what’s coming up next year.” DeMartin cited Colorist Sam Daley’s recent HPA Award nomination for his work on the HBO series Show Me a Hero as evidence of the trend.

The past year has also been one of growth in terms of physical resources and business initiatives. This past summer, Technicolor PostWorks opened a 50,000-plus square foot editing facility at 1411 Broadway. With more than 120 new editing suites, it serves film and television productions on both long- and short-term bases. It also features a high-speed data connection with the company’s finishing facility, providing productions with a seamless path through post.

In July, the PostWorks division of the company formed a digital film distribution service, PostWorks Digital Cinema. Led by industry veteran Greg Fornero, the unit works with producers, distributors, film festivals and independent DI facilities, and provides DCP duplication, drive set rentals and sales, KDM management and broadband content delivery services.

While grateful for the strength of the local production market, DeMartin insists that his company takes nothing for granted and is continually seeking to develop new relationships and uncover new business opportunities. “Post-production has always been a dynamic industry with constantly evolving technologies, workflows and business models,” he says. “We work every day to keep pace with developments that may affect our business and the changing needs of our clients. It’s challenging, but we have a clear vision and are committed to maintaining our position as the finest post-production facility in New York.”

For more information, contact Justine Jacobs, jjacobs@technicolorpwny.com.

Soundtrack NY

Soundtrack NY has had an incredible 2016!

With new renovations, our insanely talented Mixers working on numerous television shows and feature films, and welcoming outstanding 'outside' Sound Mixers, we have definitely kept busy!

Tom Fleischman started his year out mixing HBO's TV show Vinyl produced by Martin Scorsese. After Vinyl wrapped, he moved on to mix Terry George's newest movie The Promise starring Christian Bale and Oscar Isaac. Tom finished up the year with Martin Scorsese, on his newest masterpiece, Silence. Everything was mixed at our F/T location in Chelsea on Stage B. Dominick Tavella also had a fantastic year, starting with Mira Nair's Feature Film, Queen of Katwe. He then moved directly into Ken Burn’s newest documentary, The Vietnam War, a 10-part TV series expected to air on PBS in 2017, all of which was mixed at our 936 Broadway location on Stage K.

Our studio G was newly renovated at the beginning of 2016. We transformed it from a music mix room into a full 7.1 edit/mix suite. It is also capable of recording VO and ADR. Pink Floyd's Roger Waters came to collaborate with Jacob Ribicoff on a sound design mix for his recent concert series.

Bob Chefalas and Dan Brennan continued collaborating on their two man mix for ABC's hit show Quantico, Season 2. They powered through nine episodes and will be hard at work again in the beginning of 2017. Bob is now currently working on a Grateful Dead documentary and Dan Brennan is finishing up an independent film, Bushwick, which was recently added to the 2017 Sundance Film Festival slate.

We welcomed the brilliant mixers Scott Millan and Gregg Rudloff from Los Angeles to mix The Girl on The Train on Stage K at our 936 Broadway location. It was very exciting to bring together Hollywood and The Big Apple!

Soundtrack is looking forward to the New Year and adventures that lie ahead. We wish everyone a happy and healthy holiday season!

For more information, contact Ted Mahoney, tedmahoney@soundtrackgroup.com.

Sixteen19

One Year On from Major Expansion, Sixteen19 Continues to Lead the Way

State-of-the-art boutique post company celebrates a year in Chelsea with launch of second 4K theater.

Sixteen19, a growing powerhouse on the post-production scene, marked one year at its new headquarters in Chelsea with the launch of its second 4K DI finishing theater. The theater will enable the company’s premier group of artists and technicians – led by co-founders Pete Conlin and Jonathan Hoffman, and Senior colorist Andrew Francis – to build on a breakthrough year marked by physical expansion, high-profile projects and in-roads into new markets.

The new 4K theater serves as a centerpiece of Sixteen19’s new flagship facility, opened in late 2015. The 20,000 square foot space features high-end technology consistent with the unmatched boutique service Sixteen19 has delivered for productions since the company’s founding in 2010. In addition to the two DI theaters, the Chelsea location also boasts 40 edit suites, three color suites, and two visual effects suites. High-speed bandwidth capacity reflects the increasingly global nature of post-production, allowing seamless connectivity with Sixteen19’s Los Angeles, Atlanta, and London outposts, as well as shooting locations around the world. Finally, clients’ work is covered by advanced security systems in line with major studio compliance standards.

“We built a facility that is the most elegant in NYC—by far—and specifically designed it to provide a creative environment for our clientele to thrive,” says Hoffman.

In the past twelve months, more and more filmmakers have begun to take notice. Recently, director Peter Berg and his team chose Sixteen19 for their post work on the Summit Entertainment blockbuster Deepwater Horizon. For The Promise, directed by Terry George (Hotel Rwanda) and starring Christian Bale, Sixteen19 delivered a complete post package comprising mobile dailies across Spain, Portugal and Malta, Avid suites, VFX, final color grading, and editorial finishing in the Chelsea facility.

“I was looking for the perfect New York location to set up my projects. Sixteen19’s new facility absolutely fit the bill,” said Berg. “I’m cutting two projects at Sixteen19’s new facility and I couldn’t be happier here. Jonathan and Pete have put together a very comfortable, state-of-the-art environment for creatives.”

“Sixteen19 was the top choice,” said George. “This is a place which truly fosters a community of creatives. It was a pleasure to work at Sixteen19. They have the most helpful, and cheerful staff and are very conveniently located in the heart of Chelsea.”

While Sixteen19 operates on the cutting edge of post technology, this collaborative approach to service makes it something of a throwback. “When filmmakers come here, they know we participate as an extension of their production both technically and creatively,” Hoffman says.

As momentous of a year as it’s been, 2016 isn’t a victory lap for the company – it’s the first step in a larger process. Conlin and Hoffman plan to add more editing and finishing suites, as well as ADR recording and sound finishing. The new resources will allow Sixteen19 to keep pace with its heavy slate of motion picture and television projects, and growing demand for advertising and commercial finishing.

For more information, contact Grace Barcenas, g.barcenas@sixteen19.com.

Post FactoryNY

New 4K Theater and Mix Stage

Post FactoryNY, a SIM Group company, recently broke ground on its new 4K DI Theater and Mix stage at its Desbrosses Street location, with an expected opening of June 2017.

Featuring Barco 4k projection, Dolby Atmos Sound and the dual functionality of a DI Theater and mix stage, this addition will double Post FactoryNY’s existing theater offerings and will be among the largest grading rooms in New York.

Recent projects completed by Post Factory’s finishing team, led by Jeff Roth and supported by CTO Liam Ford, include Ezra Alderman’s award-winning film OJ: Made in America, (CAS Sound Mixing-nominated Sound Design by Keith Hodne, Color by Seth Bucher), Ang Lee’s Billy Lynn’s Long Halftime Walk (Color by Adam Inglis and Marcy Robinson), and Netflix’s Julies Greenroom (Color by Seth Bucher, Sound Design by Keith Hodne). Post FactoryNY is currently in the process of picture and sound finishing for Whose Streets (Color by Adam Inglis and Tif Luckenbill and Sound Design/Mix by Keith Hodne), a powerful documentary directed by Sabaah Jordan premiering on opening night of this year’s Sundance Film Festival.

SIM Group is a family of companies who delivers expert services at every point in the production and post production services to the film and television industry. Its diverse group of companies, SIM Digital, Bling, Post FactoryNY, PS Production Services, Pixel Underground, Tattersall Sound and Chainsaw, service award-winning content creators around the world. From its world-class rental facilities specializing in digital production equipment, cameras and workflow services to its boutique postproduction facilities, SIM Group has the ability to service clients from Capture to Delivery. The company offers the industry’s most comprehensive workflow solutions encompassing lighting, grip, cameras, data, dailies, color grading, offline editorial, finishing, sound and archiving.

The Molecule

The Molecule Celebrates Landmark Year in NY

2016 was a big year for The Molecule, a bi-coastal creative studio specializing in VFX, Motion Graphics, and Virtual Reality production. The studio welcomed many new and returning TV shows and Films, contributed to several groundbreaking VR projects, and experienced another big year of growth – including a move to a new office in New York City to accommodate the crew needed to tackle the influx of work.

Among the new shows that came through The Molecule’s doors were Quantico (ABC), Shades of Blue (NBC), Falling Water (USA), The Breaks (VH1), Gypsy (Netflix), Z: The Beginning of Everything (Amazon) and Feed The Beast (AMC).

The Molecule also contributed VFX to many returning TV series, including The Americans (FX), The Affair (Showtime), Ballers (HBO), Elementary (CBS), Master of None (Netflix), Unbreakable Kimmy Schmidt (Netflix), and Bloodline (Netflix).

Film-wise, The Molecule recently wrapped up work on two films headed to the 2017 Sundance Film Festival: Novitiate and The Yellow Birds. This follows an eventful summer which saw the release of Money Monster, a film to which The Molecule contributed the opening title sequence and visual effects.

2016 was also full of exciting VR experiences for The Molecule. One of the highlights was an interactive experience for Conan at San Diego Comic Con, and they provided the Visual Effects for Doug Liman’s Invisible, one of the first ever scripted drama series for VR.

Perhaps the biggest news of 2016 was the expansion of the NYC office. At the beginning of 2015, The Molecule employed 19 full-time staff; currently, they employ 85 employees, including 53 full-time staff. In order to accommodate all of this new talent, The Molecule moved their NY facility from a 4,000 sq. ft space in SoHo to an 11,000 sq. ft. space in Chelsea.

“New York has always been a great place for post-production,” says Molecule partner and co-founder Andrew Bly, “but thanks to the current tax incentives, it’s an extremely exciting time. We look forward to continued growth in the years to come!”

The Molecule is excited to see what 2017 has in store, and they wish their fellow members of the PNYA a year of health and success!

For more information, contact Audra Coulombe, audra@themolecule.com.

Local 802

Making a Film in NY Should Include Scoring in NY

Local 802, American Federation of Musicians, is the largest local union of professional musicians in the world, comprising musicians of all styles and backgrounds, from the Metropolitan Opera Orchestra, the New York Philharmonic, the pit orchestras of Broadway, to the thousands of musicians playing in recording studios, jazz clubs and venues across the city.

Musicians come to New York from across the country and the globe for the opportunity to perform with the most talented artists and be part of the most creative community in the world. As a result, New York City is home not only to the most talented musicians in the world, but to the most innovative, diverse, flexible and creative.

As part of our work to strengthen New York's entire cultural fabric and artistic environment, we work every day to encourage film and television producers to record and score here, with New York's world-class musicians.

Thanks to New York's enormous wealth of talent, to organizations like Post-New York Alliance, and to important tax credits and support provided by the State and City, the film and television industries in New York City are booming. As a result, hundreds of thousands of New Yorkers are directly and indirectly benefiting, but sadly New York City's musicians are not. The region has experienced large reductions in the number of titles filed under union contract, leading to a nearly 40% reduction in the size of the employed music workforce in the industry while the overall industry workforce has expanded. Additionally, the wages paid per musician on average is declining simultaneously, indicating that even those musicians that enjoy employment in this vitally important industry are actually underemployed at best.

To address this decline, we have lowered the "low budget" qualification threshold so that more films can employ musicians at wage levels appropriate to their size. We are working with the City to find ways to better promote and encourage producers who score in New York. And we are constantly working to educate the industry about "back-end" payments - a source of income that nearly everyone, from stagehands to actors and writers, all benefit from as well.

We have seen positive trends of late. New York City has bolstered its stock of scoring space with the addition of the DiMenna Center, which is now fully operational and under constant use. But we need the support of all those employed in film and television if we are to ensure that productions in New York employ and bolster the entire industry, including musicians. Introduce directors and producers of projects big and small to the idea of scoring under union contract, and help us take a stand for the fair wages, benefits and opportunities that so many already enjoy.

Let's ensure that making a film in New York, includes scoring a film in New York. After all, everyone wants to see film, television, performance, arts and our culture continue to grow and be healthy, but this is only possible if every part of our industry has the opportunity to thrive.

For more information, contact Chris Carroll, CCarroll@local802afm.org.

Light Iron

Light Iron Hosts NY Debut of DXL Camera System

Light Iron, a Panavision company, recently hosted the New York debut of the Millennium DXL camera system. Members of the production and post community gathered to view footage from the DXL in Light Iron’s 4K theater and get hands-on with the camera. Representatives of Panavision and Light Iron were on hand to showcase DXL’s innovative image capabilities, which include:

• 35 megapixel, 8K, 16-bit, large format sensor
• 21 megapixels of true 4K anamorphic images
• Optimized 8K RAW workflow, with simultaneous 4K/2K proxies (ProRes or DNx)
• HDR, wide color viewfinder
• Panavision large format lens mount with /i technology conveys lens metadata
• Embedded accelerometer and gyroscope for VFX matching

The Millennium DXL was born of the acquisition of Light Iron by Panavision two years ago. Engineers and artists from both companies, as well as from RED Digital Cinema, contributed their strengths to create a camera system that significantly expands creative possibilities while streamlining post workflow.

One of the unique features of DXL is Light Iron Color, a revolutionary image mapping process that delivers a rich cinematic look right out of the camera. Developed by Light Iron’s colorists, this optional built-in color profile provides a look for on-set and dailies that seems as if the media has already spent some time in a DI session. Cinematographers have responded enthusiastically to Light Iron Color’s film-like density, neutral shadows, and natural skin tones.

At the event, attendees saw test footage shot by a prominent New York DIT, Charlie Anderson. Anderson’s take on the DXL can be viewed at: http://vimeo.com/lightiron

For more information, contact Laura Pursley, laura.pursley@lightiron.com.

Harbor Picture Company

2016 has been a landmark year for Harbor Picture Company

At 6 years old, we’re growing at an exponential rate, bringing new world-class artists into our fold, working with new studios, directors and content creators, and continuing to build on the long-standing relationships Harbor was founded on.

This year, we’ve continued to expand our offering of production and post production services, including full service production, editorial, sound mixing, color, ADR and VFX for feature films, commercials, television and web content. We’re committed to delivering cross-screen, high caliber storytelling with cinematic style -- ensuring our work looks and sounds like the silver screen on any screen.

Film & TV highlights from 2016 include:

• Arrival / Director: Denis Villeneuve -- Color
• Chi-Raq / Director: Spike Lee -- Color
• Gimmie Danger / Director: Jim Jarmusch -- Sound & Color
• Lost City of Z / Director: James Gray -- Sound
• Paterson / Director: Jim Jarmusch -- Sound & Color
• Amazon’s Crisis in Six Scenes / Creator: Woody Allen
• Netflix’s Marco Polo / Creator: John Fusco
• Showtime’s Billions / Creators: Brian Koppelman, David Levien, Andrew Ross Sorkin
• Starz’s The Girlfriend Experience / Creators: Lodge Kerrigan, Amy Seimetz

Our commitment to executing high-caliber content efficiently and at scale has never been higher or more important to the people we work with. That’s why we’re honing our model as a bespoke partner to behave more like a platform, with flexible and adaptable infrastructure, technology, and cross-disciplinary talent for our clients to plug into. Our flexible technical architecture is designed to work from the studio and network scale to the ever expanding needs of branded content, and in 2016, we were able to offer services to clients regardless of their location through live remote sessions with our artists.

Harbor Grand is the latest effort in our pursuit of building a lot for our clients to make their home away from home. NYC’s soundstage squeeze has made us at Harbor more appreciative than ever of the theatrical mix stage we’ve developed at Harbor Grand (101 Avenue of the Americas), the largest facility of its kind on the East Coast. It was a dream of ours that took many years of searching to find the perfect space for - 5 to be exact - but we’re now realizing the fruits of that labor as Harbor Grand has become a real destination for world-renowned studios and directors alike. We now have the capability at Harbor Grand to mix and play back Atmos, IMAX, 7.1, 5.1 and stereo at the press of a button. This year alone we hosted and mixed the following films at Harbor Grand:

• Inferno / Director: Ron Howard
• Beauty and the Beast (not yet released) / Director: Bill Condon
• Billy Lynn’s Long Halftime Walk / Director: Ang Lee
• Dirty Grandpa / Director: Dan Mazor
• Snowden / Director: Oliver Stone

We’re looking forward to what 2017 has in store and continuing to raise our standards of excellence -- in artistry, technology and client service. We wish our colleagues across the industry a safe and happy 2017!

For more information, contact Kellan Anderson, kellan@harborpicturecompany.com.

GPL

GPL Brings Engineering Consulting To Top New York Creatives

GPL Technologies provided engineering services to many of New York’s top creative companies and artists last year.

One of rock’s reigning legends engaged the company to design and build a VFX and editorial infrastructure in a residential loft, and to provide ongoing engineering support as the studio’s Managed Service Provider. Looking ahead to 2017, the facility has been upgraded to handle the demands of preparing for the artist’s North American tour.

“It was a challenge to take a residential space and design and build a workflow that could handle such a monumental production. But the results were stunning, and we can’t wait to see what is created for 2017’s tour,” enthuses GPL’s Chris Peterson.

NYC-based VFX house The Molecule hired GPL to design and build the technological infrastructure in its new Manhattan headquarters as well. "We're now operating at a higher tier of capacity than ever before. GPL's consulting and expertise have made this expansion possible in a way that few other companies could," says Molecule CEO Chris Healer.

There are six other VFX and post production companies that GPL provides specialized Managed Services for as well.

GPL also added Senior Systems Engineer Levi Szileszky to its roster of technical talent. With experience as a System Engineer at FuseFX and as CTO at Anatomical Travelogue, he offers a wealth of knowledge to the New York post production community.

Finally, GPL’s rental division VFXnow has served dozens of companies in the area by providing rentals of high-end VFX and post equipment including render servers, storage, workstations, monitors, graphics cards and more. Orders are fulfilled within 24 hours, or same-day with rush service.

“VFXnow doesn’t just provide fast rentals. We consult with clients on preparing the best solution for their project, and we provide ongoing engineering support for the duration of the work,” adds Chris.

2017 promises to be a banner year for the company. Now occupying a new facility, plans are to continue hiring engineers and combining their technical knowledge with practical business strategy in order to maximize growth for their clients, and for New York’s industry as a whole.

For more information on Managed Services, workflow / studio design, and equipment sales / rentals, please contact:

Chris Peterson
chris.peterson@gpltech.com
(917) 842-4934
www.gpltech.com

Goldcrest Post

Big News from Goldcrest Post

Goldcrest Post New York is excited to bring on board two senior staff, as well as introducing DaVinci Resolve color grading technology, constructing and bringing online a state of the art color suite, and installing a 140TB SAN, as well as supporting equipment.

New hires:

Ben Cheah, Managing Director

Ben will oversee Goldcrest’s post business and Washington Street facility, including operations, sales, and business planning. Ben will also be working with the Finance and Production Team on Goldcrest Films' and Saboteur Media’s internal slate of projects.

Ben is a post-production film and television business and creative leader with over 130 major and indie feature sound credits including: American Psycho (Mary Harron), Hedwig and the Angry Inch (John Cameron Mitchell), Sidewalks of New York (Ed Burns), Adventureland (Greg Mottola), My Idiot Brother (Jesse Peretz), and The Wire (David Simon).

Ben is originally from Sydney, Australia, and a graduate of Australian Film Television & Radio School (Australia’s national film and television academy). He moved to New York to work at C5 Inc., and then Soundone. In 2012 Ben graduated from NYU’s Stern School of Business, MBA (media finance). He then contributed to the business/production side of Steven Spielberg’s Bridge of Spies.

In 2015/2016, Ben was responsible for establishing operations at WB Sound New York as well as creatively collaborating on feature projects with directors Taylor Hackford, John Cameron Mitchell, and Michael Mayer.

Nat Jencks, Colorist

On the creative side, Goldcrest has bought onboard Nat Jencks, with over 15 years of experience in post production. His past projects range from studio features to indies and documentaries and include work for directors Steven Soderbergh, Michel Gondry, Spike Jonze, Todd Haynes, Barry Levinson, and many others. In addition to feature films he enjoys working on music videos and has worked on videos for bands such as Sigur Ros, The Dirty Projectors, Phantogram, MGMT, The Polyphonic Spree, King Krule, Jenny Lewis, and many more.

Nat has been on the frontline of many emerging technologies, from DV to DI, working on some of the first films to use FCP for 35mm film workflow, and designing and implementing the digital workflow for Steven Soderbergh’s CHE, the first large feature film shot on the RED camera.

Nat has a longstanding background in photography, art, and computer science with a degree in Technology and Art from Oberlin College. He has taught classes on Color and VFX, has guest lectured at SVA, Columbia, Local 700 Editors Guild, SMPTE as well as other institutions, and is a member of the Editors Guild and the Visual Effects Society (VES).

Goldcrest is a market leading supplier of Academy and BAFTA Award-winning picture and sound post production services for film and broadcast projects, based in New York and central London.

For more information, contact Ben Cheah, BCheah@goldcrestfilms.com.

The Artery

Top VFX house The Artery, which has earned a stellar reputation since its launch, dramatically expanded its talent roster and client services during 2016, evolving into a highly regarded Art +Technology company designing, creating and producing unique and compelling visual content across all screens. Recent achievements:

• Contributed stunning visual effects to several long form projects: acclaimed film Norman starring Richard Gere,” Netflix series The Get Down, and the Showtime hit series Billions, and also provided VFX for the MTV VMA Awards, and Social Media Content for Client Pepsi.
• Continues to significantly expand its award winning talent base by hiring the most talented digital artists in the world. Ronen Tanchum became head of the newly launched Virtual Reality/Augmented Reality (VR/AR) division as its Creative and Technical Director. He’s produced complex FX setups and oversaw digital tools development for Deadpool, Transformers, The Amazing Spiderman, Happy Feet 2, Teenage Mutant Ninja Turtles, The Wolverine, and more.
• Named Deborah Sullivan as Executive Producer and Managing Director. Previously, Deborah had been Managing Director and Executive Producer for the international post-production companies NO6 and Peepshow Post.
• Created a new Virtual Reality experience App: “Spirit of Meditation” available at the VR store: https://www.oculus.com/experiences/gear-vr/1276353495756631/ designed to be experienced in conjunction with Samsung Gear VR, allowing the user to dive deeper into their meditation experience with a 360-degree Stereoscopic POV. Spirit of Meditation VR
• Acclaimed digital artist Yaron Tsinman became Creative Director for The Artery’s newly formed Experiential Arm, which will create transformative and immersive experiences for a diverse range of global clients. To date, The Artery’s collective Experiential Brand Experiences now include producing projects for Cartier/Fifth Avenue, New York; TOPSHOP, Soho, New York; the TelAviv Museum; the Bolshoi Theatre in Moscow; Radio City Music Hall’s legendary dancers, The Rockettes; and the Expo Milan 2015, among others.
• Established a special artistic collaboration with acclaimed Video Artist Ronen Sharabani, a 2006 Cannes Gold Lion Prize winner. This new collaboration was designed to develop and present innovative and original Video Content and Virtual Reality to museums, art galleries, and other special artistic venues around the world. Earlier, Sharabani worked for a number of film, advertising and production companies, including McCann-Erickson, Dreamworks, and Gravity VFX/Tel Aviv. His film work includes contributions to A Late Quartet, Ghost Town and Silver City.

Based in New York City, The Artery has established partnerships with iconic brands, ad agencies, and entertainment studios to create high profile and compelling visual content for feature films, TV programs, commercials, music videos and art installations.

Utilizing breakthrough technologies, The Artery’s uniquely talented, curated teams also create stunning virtual reality content, experiential brand events, and 360-degree experiences for clients around the globe. The Artery offers custom-tailored A-teams and production pipelines, focused solely on efficiently achieving outstanding results.

With its global perspective, top-tier talent, newest technologies and unlimited creative capabilities, The Artery has the proven expertise to efficiently deliver extraordinary content, branding, and multimedia experiences, worldwide.

Please visit The Artery’s Social Media Sites:
https://www.facebook.com/TheArteryVfx
https://www.linkedin.com/company/the-artery-vfx
https://twitter.com/TheArteryVFX

Alkemy X

Creative content company Alkemy X recently celebrated its 35th anniversary to cap off what was a fantastic 2016. Earlier this year, the company board named entertainment lawyer Justin B. Wineburgh as President & Chief Executive Officer. Wineburgh along with Alkemy’s senior executive team in New York oversaw the expansion of Alkemy X’s state-of-the-art VFX, production and post facility in New York City, as well as a 25% staff increase to accommodate growing client demands for Visual Effects across all platforms.

In continuing its tradition of high-end Visual Effects solutions for feature films and episodic television, Alkemy X contributed to several popular titles in 2016, including Power (Starz), Outcast (Cinemax), The Leftovers (HBO), Blindspot (NBC), Time After Time (ABC) and Frequency (The CW). The company also recently wrapped up work for some of 2017’s anticipated feature films, such as M. Night Shyamalan's upcoming thriller Split starring James McAvoy and Perry Lang’s An Interview with God. In the world of advertising, Alkemy X put its creative imprint on campaigns and content for Google, GEICO, and Comcast. They also notably produced a massive experiential brand activation for EY (formerly Ernst & Young) and its prestigious Strategic Growth Forum™. Integrating live performance with digital art and music, the 360 project ushered in an exciting new era for Alkemy X in the realm of VR and experience design. Alkemy X also expanded its footprint in original programming and digital content with the release of season two of Unique Rides on Velocity Channel, as well as recruiting former Travel Channel GM Andy Singer as EVP of Television and Digital Programming.

2017 looks to be another very busy year as Alkemy X continues to grow its reputation in the VFX and commercial space in New York, Los Angeles and Philadelphia.

Contact: Bob Lowery bob@alkemy-x.com.

Alchemy Post Sound

Alchemy Post Sound Supports Ten Sundance World Premieres with Foley

Westchester, New York — December 19, 2016 — Alchemy Post Sound provided Foley sound services for ten films premiering at the 2017 Sundance Film Festival. Among them are five films included in the U.S. Dramatic Competition, two films included in the U.S. Documentary Competition, one film in Premieres and two films included in the festival’s NEXT lineup. The Sundance Film Festival screens in January 19-29.

Alchemy Post Sound has a history of supporting independent film through its work as a premiere provider of Foley sound services. “We are passionate about quality filmmaking and are always excited to work with new and emerging filmmakers,” said Alchemy Post Sound COO Andrea Bloome. “We are very proud of our association with these nine great films and congratulate the filmmakers and their sound teams on their success.”

Sundance films supported by Alchemy Post Sound include:

• Rebel in the Rye (Premieres/World Premiere) Director and screenwriter Danny Strong’s portrait of the life and mind of reclusive author J.D. Salinger.
• Brigsby Bear (U.S. Dramatic Competition/World Premiere) Director Dave McCary’s comedy about a children's TV show produced for an audience of one.
• Golden Exits (U.S. Dramatic Competition/World Premiere) Director/screenwriter Alex Ross Perry’s drama about a young foreign girl whose arrival disrupts the lives and emotional balance of two Brooklyn families.
• Novitiate (U.S. Dramatic Competition/World Premiere) Director/screenwriter Maggie Betts’ story of a young woman training to be a nun during the Vatican II era.
• Patti Cake$ (U.S. Dramatic Competition/World Premiere) Director and screenwriter Geremy Jasper’s tale of an aspiring rapper fighting through a world of strip malls and strip clubs in an unlikely quest for glory.
• The Yellow Birds (U.S. Dramatic Competition/World Premiere) Director Alexandre Moors’ war drama about two young men who fight in the Iraq War.
• Trophy (U.S. Documentary Competition/World Premiere) Director Shaul Schwarz’s in-depth look into the powerhouse industries of big-game hunting, breeding and wildlife conservation in the U.S. and Africa.
• City of Ghosts (U.S. Documentary Competition/World Premiere) Director Matthew Heineman’s documentary which follows the extraordinary journey of “Raqqa is Being Slaughtered Silently,” a group of anonymous citizen journalists who banded together after their homeland was overtaken by ISIS.
• Dayveon (NEXT) Director Amman Abbasi’s story of a 13-year-old boy who becomes involved with a local gang in rural Arkansas.
• Thoroughbred (NEXT) Director/screenwriter Cory Finley’s thriller of two teenage girls in suburban Connecticut who rekindle their unlikely friendship after years of growing apart and learn that neither is what she seems to be.

About Alchemy Post Sound
Alchemy Post Sound is a 3,500 square foot, dedicated Foley studio designed specifically for Foley by resident Foley Artist Leslie Bloome. The company’s Emmy Award-winning staff has created sound for numerous major feature films, long-running television series, independent films and popular games. Alchemy’s services also include music recording, live performance, video production, ADR, and sound design. www.alchemypostsound.com

Contacts
Andrea Bloome
COO & Studio Manager
(914) 737-7350 studio
a.bloome@alchemypostsound.com

Press
Linda Rosner
ArtisansPR
310.837.6008
lrosner@artisanspr.com

Afterparty

Afterparty had a successful 2016. One highlight was our work as visual effects house on Captain Fantastic, which won the Un Certain Regard award for best Director at Cannes. Another was the continued festival success of founder David Gaddie’s science fiction short film, Beautiful Dreamer. We also produced and provided all post production for the election-year mockumentary Undecided:The Movie. In addition, we continued to create innovative work in advertising, particularly in the VR / 360° space where we created campaigns for Holiday Inn Express and Lipton’s Tea. You can check out a fun behind the scenes breakdown of the latter here. (https://vimeo.com/194432986)

For more information, contact Steven Kelleher, careers@afterpartyvfx.com.

Mechanism Digital

VFX: Before, During and After for Festival Films and VR

It’s been another busy year at Mechanism Digital, working on VFX for award-winning films. Some of the films we enhanced were Life, Animated, AWOL, Lost City of Z and Marathon: The Patriots Day Bombing, which garnered awards at Sundance, NY Film Festival and Woodstock, among others. We are happy to see many of these projects leveraging the Empire State Post Production and VFX Tax Credits.

During the past 20 years of VFX and post-production, we have noticed a curious pattern concerning films being submitted to film festivals: there are three distinct waves during which we get to collaborate and add a bit of movie magic -- before, during and after the festivals.

Before submission, producers want the story locked so it can be submitted . . . or simply step-up their game a bit to increase the chances of acceptance. For instance Pimp, directed by Christine Crokos, needed muzzle flashes and enhanced gunshot wounds/blood to increase the impact of the final shootout scene. This additional improvement in effects just might make the difference between going to Park City or not.

During the waiting period, after a film has been officially accepted for a festival but before it’s shown, there is typically a flurry of effort to polish the film for the “win.” Knowing a film will be in a reputable festival such as Sundance can encourage producers to put a bit more skin in the game. They might ask us to add VFX which they may have been on the fence about. Often these are effects the director had been asking for, but the financiers hadn’t yet found the necessary money or time to get them completed.

After the festival is over, we’ll get opportunities to work on films which were purchased and now have additional monies available to digitally re-work some shots. Also in situations where, a studio like HBO buys a film and has higher quality standards which need to be met before the sale is final.

In 2016, we began working on films submitted to festivals as 360/Virtual Reality experiences. Last year, Tribeca introduced Virtual Arcade for VR films including the Killer Deal, a horror-comedy in which our studio added digital blood spurting from a monster being chopped by Ian Ziering, a machete salesman in a surprisingly cheap hotel room. Next, Sundance 2017 is introducing its New Frontier category exhibiting innovative media projects, including several VR films/experiences for which we are in VFX discussions. This new format of storytelling is bringing the same three waves of VFX as standard features bring, although the total running times are typically much shorter. Don’t be fooled by the shorter film TRTs -- the 360 format can often require more time to execute VFX if not planned correctly. Definitely discuss post and VFX needs as soon as possible with a post or VFX supervisor to determine whether you’ll need VFX before, during or after the festival.

For more information, contact Lucien Harriot, lucien@mechanismdigital.com.

Magic Drop

MAGIC DROP offers sync licensing of songs and instrumental music. We represent only the most creative and thrilling musicians that come to you straight from the heart. In 2016 we expanded our catalog, and our artists were heard in projects like Cartoon Network's Adventure Time, Claire Carré's award-winning Embers, and many more.

Check out our roster of bands and composers at magicdropmusic.com.

For more information, contact Adam Oelsner, adam@magicdropmusic.com.

The Looping Division

THE LOOPING DIVISION Announces Current Loop Group Projects

Partners Jason Harris and Peter Pamela Rose (ADR Loop Group Coordinators) are happy to be coordinating the Loop Group on the following NY Projects: ABC’s Quantico, Amazon’s Sneaky Pete, SundanceTV’s Hap and Leonard, Netflix’s Master of None, TBS’ Search Party, Amazon’s Z: The Beginning of Everything, Showtime’s The Affair, Amazon’s Mozart in the Jungle, FX’s The Americans, as well as such films as: Jim Jarmusch’s Paterson, Brad Anderson’s Beirut, Marc Meyer’s My Friend Dahmer, and Fritz Boem’s Wildling. Other projects include: SyFy Channel’s 12 Monkeys, Nash Edgerton’s The Untitled Nash Edgerton Project, and Bethany Ashton Wolf’s Forever My Girl.

Email: JasonHarrisTLD@gmail.com / PeterPamelaRoseTLD@gmail.com
Cell: 917-405-5101 / 917-721-3395

Fall On Your Sword

Fall On Your Sword has had a jam-packed and fulfilling year. Multi-media composer and founder, Will Bates, scored a wide range of adored and revered pieces in both cinema and television. Alex Gibney’s documentary Zero Days (Showtime) is garnering Oscar buzz and was featured on Vulture’s list of The 10 Best Movies of 2016. HBO’s Bright Lights: Starring Carrie Fisher and Debbie Reynolds (Cannes Classics premiere, NYFF, HBO) was extremely well received with festival audiences and will be available for all on HBO come 2017. Imperium (Lionsgate), the crime-drama and thriller starring Daniel Radcliffe and Toni Collette, opened in theatres over the summer and Bates’s score was given quite the generous shout out… “I can’t not mention the score...The music truly fits the mood, the atmosphere. Sometimes music can fade into the background. Others it can ruin the whole experience. Then there are films lifted up at an extra end by their sound. Bates provides one of the latter scores, giving the whole movie’s atmosphere another dimension” said Father Son Holy Gore. In the world of TV, Bates continued scoring through Season 2 of both The Path (Hulu) and The Magicians (Syfy), along with Season 1 of Chance (Hulu) and Pure Genius (CBS). His music has been described as “raw and visceral”.

In the audio post world, FOYS has been just as busy. A few of the feature films we have had the pleasure of sound supervising and mixing are Bright Lights: Starring Carrie Fisher and Debbie Reynolds (Cannes Classics premiere, NYFF), My Entire High School is Sinking into the Sea (TIFF premiere, NYFF), and White Sun (TIFF premiere, Venice). In the new year, we’re super proud to be wrapping up the sound design and mix of Oscar winning director Shawn Christensen’s most recent feature, Sidney Hall, which will make its world premiere at Sundance; along with Alex Ross Perry’s newest feature, Golden Exits, which will also premiere at Sundance. Other special work that our fabulous team has mixed is Project Five by Five: Visit Seattle (Sundance premiere) and the eight piece short series The Players Tribune.

Fall On Your Sword is stoked about the coming year. To get in touch or receive more information about upcoming projects, visit our website http://www.fallonyoursword.com/#!contact and join our monthly mailing list!

Blue Table Post

Blue Table Post, a new post house offering editorial, sound mixing and design, and color grading, opened its doors in 2016. A long time dream of founder and editor Oliver Lief, Blue Table’s launch was the culmination of six years of planning and construction.

It’s first project was CNN’s We Will Rise, a documentary about Michelle Obama’s mission to educate girls around the world, for which Blue Table did all editorial, sound, color finishing and conform. “It was an exciting first project to have in the door,” says Lief. “We had the privilege of working with Meryl Streep and got to screen the film at the White House with the First Lady.” The film then went on to become the most watched documentary in CNN’s history and is a nominee for a 2017 ACE, Eddie Award.

Other projects in 2016 include color grading for Jackson, Maisie Crow’s documentary about the last remaining abortion clinic in Mississippi, sound mix and design for CNN’s This is Life with Lisa Ling, and ongoing editorial for Craig Macneill’s Lizzie, starring Chloë Sevigny and Kristen Stewart, cut by Abbi Jutkowitz.

The two-story studio features a Dolby Atmos mix room, color grading suite, and rooms for conform, vfx and editing off a beautiful terraced garden. Whether having lunch outside in good weather, or cozying up by the fireplace in winter, clients can enjoy the warm, welcoming atmosphere of Blue Table.

For more information, contact Oliver Lief, oliver@bluetablepost.com.

Big Film Design

Big Film Design wrapped up 2016 with a bang: creating poem animation and titles for Jim Jarmusch’s Paterson, and titles for Martin Scorsese’s Silence. Earlier in the year BFD created title sequences for Ron Howard’s Inferno, Terry George’s The Promise, Gary Ross’ Free State of Jones, Malcom Lee’s Barbershop: The Next Cut, and Joel and Ethan Coen’s Hail, Caesar!.

Already in the works at BFD for 2017 are title sequences for Lasse Hallström’s A Dog’s Purpose, Marc Webb’s Gifted, Trudie Styler’s Freak Show, Stacy Cochran’s Write When You Get Work, Brad Anderson’s Welcome to Beirut, Peter Landesman’s Felt, and Malcolm Lee’s Girls Trip, as well as visual effects for Ari Sandel’s When We First Met. BFD is also producing the visual effects for Spike Lee’s ten-episode Netflix series, She’s Gotta Have It.

On February 2, BFD’s Creative Director Randy Balsmeyer will be a special guest at La Nuit du générique 2017 in Paris. This is an annual celebration of title design, hosted by the association, We Love Your Names www.weloveyournames.com. For more information about BFD, please visit their website at www.bigfilmdesign.com.

dPost

Major Growth for dPost in 2016

dPost, Buffalo’s premier production/post company, experienced major growth in 2016 – both in physical space and project scope – laying the foundation for an exciting year ahead.

In early spring, dPost doubled its footprint by renovating 7,000 square feet in an adjoining building. “dStudio” filled a much-needed void in Western New York, offering a 2,000 square foot studio sound stage with a two-wall cyc and lighting grid. In addition to all new camera, grip and lighting equipment, amenities include a sizable and chic screening room, individual work stations, craft/catering areas and side-by-side make up and wardrobe suites. A second studio offers 3,000 square feet which comfortably houses multiple sets in one location and features a second floor loft for client screening.

dStudio was designed with post and FX in mind, by once editor and now company president Andy Donovan. The new production space complements the six upgraded edit suites at dPost, which enabled collaboration on many diverse post projects in the past 12 months.

A first for dPost was full production and editorial on a music video – So Alive by the Goo Goo Dolls (http://www.dpost.com/project/goo-goo-dolls-so-alive). The addition of Houdini software from SideFX significantly elevated a spec spot for BMW (https://vimeo.com/169127128). Creation of the photo realistic vehicle garnered attention from SHOOTonline, which hailed the project as “one of the greatest spots you’ll never see” (https://shootonline.com/video/best-work-you-may-never-see-bmws-harmony%C2%A0spec-spot-directed-ed-han). A web series for 1800contacts incorporated 2D illustrations in a 3D environment to teach tweens how to insert and remove their contacts (http://www.dpost.com/project/1800-contacts-putting-in-your-contacts).

dPost had the honor of producing a piece to generate awareness and fundraising dollars for Mercy Flight of Western New York (http://www.dpost.com/project/mercy-flight-full-length). This rewarding project staged a collision that caused a vehicle to roll resulting in life-threatening injuries. Along with the nuances of wrecking a vehicle in a realistic way that was also conducive for the camera, the sound design presented many complexities. Audio gathered while filming included the loud, raw and frenetic components of the helicopter landing and taking off, multiple sirens and victims screaming. While some crash audio was recorded on location, most of the vehicle wreckage was created in post. This was married with the on-location audio and original music composition for an overall sound design that made the piece.

“For years, dPost has had to fight geographic profiling, our name for the perception that quality production and post production can’t possibly be found in Buffalo,” explains Donovan. “We have chipped away at this misconception since we opened in 2000 and finally feel we have turned a corner. dPost has become a production destination for high-end work and is starting to attract more national brands and the film industry, all in our beloved city. We’re excited about what’s next.”

For more information, contact Beth Donovan, beth@dpost.com.

Susan Lazarus

SOPHIE AND THE RISING SUN wins the 2016 Panavision Award for Best Feature Film at the Santa Fe Film Festival.

Monterey Media releases the picture theatrically in LA on January 27 and in NY on Feb. 3.

Director: Maggie Greenwald
Co-Producer: Susan Lazarus
Editor: Keith Reamer
Assistant Editors: Zach Wolf, Jasmin Way
Supervising Sound Editor: Pam DeMetruis-Thomas
Post Production Accounting: Trevanna Post
Foley Recording: Alchemy Post
Dailies, Picture Editorial, ADR Recording, Titles, Digital Intermediate, Sound Editorial and Sound Mixing : Harbor Picture Company
Colorist: Roman Hankewicz
Re-Recording Mixers: Roberto Fernandez and Grant Elder

Joseph Miller

Joseph Miller is a music supervisor and clearance consultant. Originally from Long Island, NY, Joseph began his career in music creative and clearance at CBS Sports and A&E in New York City. This past summer he moved from New York to Portland, Oregon to continue working with and building west coast film/TV/and advertising clients. He is closing out this year with a short film airing on international television, a Christmas-meets Scott Pilgrim feature with major celebrities, and a slew of films screening at festivals worldwide. While he prefers working in film, he also worked daily on the latest TV shows, commercials, and digital content as a music supervisor for a catalog and composer house.

In 2016 Joseph immediately was brought on to work on a Sundance NEXT feature called Jacqueline (Argentine). 5 Doctors was his next feature that used exclusively vintage soul – one of Joseph’s favorite genres to listen to. In December he attended the premiere of Izzy Gets the F*ck Across Town, which stars Mackenzie Davis, Alia Shawkat, Haley Joel Osment, and Carrie Coon.

In addition to these features, Joseph worked on an incredibly powerful short called Hold Me Down. The film will begin airing on Swedish television and has been invited to screen at next years’ Sundance. Joseph also worked with multiple directors in the prestigious NYU film program, where he cleared major artist material for international festivals.

In 2017 Joseph looks forward to continue sourcing and clearing music for the non-profit documentary called This Is Alzheimer’s. The film is produced by Seth Rogen’s Hilarity for Charity. He also aspires to partner with content companies and become a go-to for anything music: cleared, catalog, or custom.

For more information, contact Joseph Miller, josephmillermusicsupervisor.com.

Jean Lane

JEAN LANE (Post Production Supervisor)

2016 has been a banner year and I’m proud to announce I post supervised four films premiering at Sundance.

The Discovery (dir: Charlie McDowell, editor: Jennifer Lilly) In a world where the afterlife has just been scientifically proven—resulting in millions of people taking their own lives to “get there”—comes this love story. Cast: Jason Segel, Rooney Mara, Robert Redford, Jesse Plemons, Riley Keough, Ron Canada

Bushwick (dirs.: Cary Murnion and Jon Milott, editor: Joe Hobeck) Lucy emerges from a Brooklyn subway to find that her neighborhood is under attack by black-clad military soldiers. An ex-Marine corpsman, Stupe, reluctantly helps her fight for survival through a civil war, as Texas attempts to secede from the United States of America. Cast: Dave Bautista, Brittany Snow, Angelic Zambrana, Jeremie Harris, Myra Lucretia Taylor, Arturo Castro

Where is Kyra (dir: Andrew Dosunmu, editor: Oriana Soddu) Pushed to the brink after losing her job, a woman struggles to survive. As the months pass and her troubles deepen, she embarks on a perilous and mysterious journey that threatens to usurp her life. Cast: Michelle Pfeiffer, Kiefer Sutherland

Sidney Hall (dir and editor: Shawn Christensen) Over the course of 12 years, and three stages of life, Sidney Hall falls in love, writes the book of a generation and then disappears without a trace. Cast: Logan Lerman, Elle Fanning, Kyle Chandler, Michelle Monaghan, Nathan Lane, Margaret Qualley

Other projects in 2016 include Trouble dir Theresa Rebeck, Wetlands dir. Emanuele DellaValle and Measure of a Man dir. Jim Loach.

Commercial Post Producing projects in 2016: Rock, Paper, Scissors NY – Ketel One Cut & Run NY – Walmart box Motion - Shiseido

I’m looking forward to taking on new projects in 2017, happy new year to all! Contact: NYCpostsupers@gmail.com

David Rogers

It's hard to say which came first for me – music or movies. Both have always been a part of my life. Until recently, however, they usually occupied two different spheres. Even as I kept writing and performing music, it was in a separate world from my film work.

I decided to use a different name for music: David O'Neal (just because I thought it sounded more “stagey”). But I didn't consciously make it a secret – in fact I always try to get as many people to my shows as I can (next one is March 18th)!

Over my years in editing, I'd observed the sometimes difficult process of finding and licensing music, whether for a featured track to emphasize the drama, or a song in a bar that's more sound effect than music. In 2013, when I finished my first CD, “Big Deal,” I thought – why not one of my songs?

I was an assistant editor then on a charming independent comedy called Premature. A scene in a bar needed music, and thanks to the friendly and open atmosphere fostered by writer/director Dan Beers, I felt comfortable proposing one of my songs. I think everyone was happy: the production got a cheap music cue, and I got my first licensing deal!

With a little more confidence, and experience of the business end of things, I offered my songs to people I know from the New York editing community.

Alisa Lepselter, editor for Woody Allen, tried an instrumental version of my song “Angel in the Snow” in a bar scene in Irrational Man (2015). Woody approved, and next thing I know I have a song in a Woody Allen movie, with the instrumental version included on the movie's soundtrack on iTunes.

I've had some more songs licensed since – one in FOX TV's Cooper Barrett's Guide to Surviving Life and one in HBO's The Night Of.

More unexpected, however, was the email from Woody Allen's producer, Helen Robin, asking for solo acoustic songs. I sent her a few. In her response she asked how I'd feel about performing one ON CAMERA? After blinking at this email for a moment, I replied “Yes. My answer is always 'yes.'”

As the shoot day approached, I expected them to come to their senses: someone will realize they need a real actor, or a younger one. But then I was fit for a costume, given my call time, a little make up, handed a guitar, and there I was on stage at the Bitter End, lip synching to my song as the camera tracked across the room. I got two takes. It was a thrill.

And I was back to my assistant editor job before lunch.

And not only did I make the cut in Woody's Amazon series Crisis in Six Scenes (episode 1), I even made the trailer!

Not sure where it's leading, but I have songs available for your project, too! And a show on March 18th!

For more information, contact David Rogers, dorogers@mac.com.

Dann Fink & Bruce Winant

Dann Fink & Bruce Winant – ADR Voice Casting/Loop Group: Incredibly proud to share our current NYC credits include the features Girl Trip, Beauty & the Beast, Collateral Beauty, Arrival, Manchester by the Sea, Rebel in the Rye, Where is Kyra?, The Discovery, Landline, Mudbound, The Big Sick, Before I Fall, Ballerina and The Guardian Bros.; current TV series include Unbreakable Kimmy Schmidt S3, Billions S2, Blue Bloods S7, The Deuce, Mosaic, VH1’s The Breaks, Gypsy, The Marvelous Mrs. Maisel, Divorce, The Get Down and The Night Of. dannfink@gmail.com, brucewinant@gmail.com

Cory Choy

In 2016 Cory Choy, normally a supervising sound editor, was very excited to be executive producer on Driftwood which won the Grand Jury Prize at Slamdance, the Golden Strands award at Tallgrass, and the Programmer's Choice Award at the Virginia Film Festival. He also co-produced A Stray, which was in competition at SXSW and won Best MN Narrative Feature at the St. Paul Internation Film Festival.

He is now in the middle of directing a documentary, The Best Little Coffeehouse in Maryland, and a feature animated film The Champion, as well as starting a new VR venture: www.silvr.nyc.

Cory is looking forward to collaborating with more PNYA members. 2017 here we come!

For more information, contact Cory Choy, cory@silversound.us.