Post New York Alliance

Made in NY Post Production Training Program

The Made in NY Post Production Training Program prepares low-income and underemployed New Yorkers for work in the Post Production industry as Post PAs, Receptionists, Client Service Representatives, Media Management Technicians, etc. Our program provides a combination of soft skills and technical training in industry-standard software. After completion of the program, we provide career guidance and support to trainees for two years to help establish their careers.

We are currently seeking employers and productions with open entry-level positions for our graduates, who are mature, eager to work and hungry to learn more about post production. Many of our trainees have extensive work history in the industry. Wage reimbursements are available to qualifying employers. For more information, visit www.bwiny.org/post or email Program Director Ryan Penny at rpenny@bwiny.org.

Shade VFX

Shade VFX Opens Branch in Albany

What does every visual effects shot have in common? The ability to suspend disbelief? Make the impossible possible? It all starts with the foundation of rotoscoping, paintwork and camera tracking. Imagine being able to build this platform at a lower cost basis, while keeping your top tier talent focused where they should be; making amazing art.

Branch VFX is a division of Shade VFX, established in Albany NY, our state’s capital. Branch is located at 384 Broadway in the historic R.B. Wing building; built in 1845 and was originally a ship’s chandlery.

The talented group at Branch are focused on the details of their craft, taking pride in the exacting and invisible work that our core services provide. Knowing that our work is what the superstructure of visual effects is built upon, while never being seen, is our reward. Branch is purpose built to provide plate preparation services, and our prep specific pipeline gets projects off the ground quickly and efficiently.

One of the pain points of visual effects in New York City is that quality artists are expensive due to the cost of living, and hiring junior artists for routine tasks is equally expensive because of the price per square foot of space and the resulting overhead. The post incentive in NYC eliminates the ability to outsource to Asia, a time tested method to increase capacity and throughput. This ends up overtaxing high end artists with low end tasks like roto/paint/track/prep.

Branch will increase shade's overall throughput and efficiency by putting our prep work in a centralized location that is more affordable. This allows senior artists in NYC to focus on difficult tasks while allowing prep work like roto to be done by junior artists without breaking our tax credit obligations.

Most importantly, Branch is set up as a separate LLC, so that it can bid for these tasks on its own, allowing an additional 10% savings on all work performed at Branch. Albany is the southernmost region that allows for a full 40% post production incentive.
(https://esd.ny.gov/new-york-state-film-tax-credit-program-post-production)

Branch has an experienced management team in place, including both seasoned roto and tracking supervisors. Additional staff artists are coming online presently as we ramp up in the coming months.

Branch will make Shade and potentially other vendors more efficient than ever, breaking many of the existing bottlenecks inherent to producing vfx in NYC, but also allowing clients to save additional money above and beyond the NYC VFX production incentive.

Contact
https://www.branchvfx.com
Hello@branchvfx.com
(518) 220 3555

Mechanism Digital

Mechanism Digital Adds Staff and Facilities

Mechanism Digital is celebrating its 23rd year of producing VFX/CGI for New York’s film and television community and has been growing at a rapid clip with new hires and new locations.

MD is pleased to announce the appointment of PNYA Executive Board Member Chris Peterson as Executive Producer.

“I’ve known MD’s President, Lucien Harriot, for several years and always admired MD’s work – they were just too busy doing it to tell anyone about it. So I look forward to bringing them into more and more projects, while of course continuing to serve the creative community as a whole through the PNYA.”

Stephanie McGann has been added as Production Coordinator, coming from a background as a pre-production coordinator on series for CBS, MTV, VH1 and the History Channel.

MD has also expanded beyond its Chelsea headquarters, into an additional location within Blue Table Post in Boerum Hill, Brooklyn. “We know a lot of our clients live in Brooklyn, and more and more production and post is happening there, so it was a natural fit for us to have a footprint within a great facility like Blue Table.”

Projects of note include MD’s third season of TBS series The Detour starring Jason Jones, and hundreds of shots on an upcoming ABC series. And fingers are crossed for one of 2017’s highlights, The Big Sick, which is nominated for an Academy Award. Additionally, Come Sunday and Hereditary were at Sundance and Hereditary, Wild Nights With Emily and Galveston are headed to SXSW.

A compelling case study of how Mechanism leverages its years of experience into money-saving solutions for filmmakers is that of the comedy feature Sushi Tushi, or How Asia Butted Into American Pro Football. The challenge was to use VFX/CGI to fill an empty pro football stadium with thousands of screaming fans, while staying within an indie budget.

“CGI audience creation and duplication through crowd tiling weren’t going to work, so we had to find a novel solution,” says Harriot. “So we worked together with Executive Producer/Writer Richard Castellane to come up with the idea to create animated, dreamlike sequences! And producer Robert Altman loved it. The tracking still had to be rock solid, but the keying and color matching were much more forgiving. This reduced the shot count down to 443, and kept the production level high and the cost down.”

“MD was a blast to work with,” said Altman. “From the planning meetings, to the background shoot at the Buffalo Bills Stadium, all the way through delivery. Lucien has a great team.”

Contact
chris@mechanismdigital.com
http://www.mechanismdigital.com

Motion Picture Enterprises

Motion Picture Enterprises Launches Color Grading Facility

In late 2016, Motion Picture Enterprises (MPE) formed Color Grading and Finishing boutique, Hell’s Color Kitchen. The team is comprised of New York City post industry veterans Director of Finishing Keith Shapiro, Senior Colorists Rick Broat and Jon Fordham, and Manager of Operations Sheila Lynch. Together for the past 20 years, the Hell’s Color Kitchen team has won numerous Academy, Emmy, Tony, Grammy, Tribeca, and Sundance awards specializing in Color Grading and Finishing of documentaries, features, broadcast television series and promos.

In the Fall of 2017, Hell’s Color Kitchen unveiled a beautiful boutique with large theatrical style color grading suites, DaVinci Resolve, Avid Symphony, and Adobe Premiere Pro color & finishing systems, Teranex, Sony’s new 77” OLED A1E 4K/HDR monitors, Sony BVM-X300 4K OLED Broadcast Monitor, theater seats, and wall-to-wall custom sit-stand consoles. The team also takes extensive quality control measures to ensure every deliverable will meet industry technical specifications and standards. They can create virtually every file and tape format including; IMF, DCP, J2K, Cinedeck, APR 444, DnX, XDCam, HDCam SR, and archiving formats LTO, RDX, and The Cloud.

The Hell’s Color Kitchen team is well-known for their meticulous customer service with a client liaison assigned to every producer. The facility is designed with a serene client lounge fully equipped with cable TV, a full kitchen, and computer stations, overlooking a spectacular private terrace dedicated to offering clients high-class concierge service in an oasis outside the edit suite.

In 2018 Hell’s Color Kitchen looks forward to finishing their tenth season with The Metropolitan Opera series for PBS, Basketball: A Love Story, a ten episode, 2-hour series about the history of basketball for ESPN, and many other documentaries including; Fiddler On The Roof, Ballet Now, Miles Davis, Rigged, Detroit 48202, The Greatest Jazz Story Never Told, and narrative feature The Jingoist.

MPE’s 500 edit systems installed nationwide and throughout the 60,000 sq. ft. of short or long term post production space, now allows Hell’s Color Kitchen the ability to offer their clients facilities from beginning to end of the post production process.

To learn more, visit their websites mpenyc.com and hellscolorkitchen.com.

Alchemy Post Sound

Alchemy Post Sound Hones Innovative Approach to Foley Sound

Westchester, New York — Filmmakers seeking to enhance their projects with Foley sound effects continue to utilize the talents of the Westchester studio Alchemy Post Sound. The Foley specialists at Alchemy Post Sound have contributed to the soundscapes of over a hundred documentary/feature films and TV shows over the past year, including nine indie features that debuted at this year’s just concluded Sundance Film Festival (among them festival favorites Monsters and Men and Don’t Worry, He Won’t Get Far on Foot). The company also serviced a growing number of episodic television series, including HBO’s High Maintenance, USA Network’s The Sinner, EPIX’s Berlin Station and Hulu’s Looming Towers in 2017 alone.

In its quest to capture ever more realistic sound effects, Alchemy has been steadily expanding its resources. Last fall, the company added a second Foley stage with a “reverberant” sound environment. The new, 1300 square foot room’s natural ambiance contrasts with the studio’s original Foley stage which has a traditional “dry” sound, and makes it ideal for recording interior sound effects.

Alchemy’s Foley team has been using the new stage to great effect on the spy series Berlin Station. The crew employs large theatrical curtains hung in the room to mimic the sound environments of different interior locations. “If it’s an office or a small room in a house, we draw the curtains cutting the room in half; if it’s a hotel lobby, we open them up,” notes Foley artist Joanna Fang. “It’s amazing. We’re not only creating depth and contrast by using different types of shoes and walking surfaces, we’re doing it by adjusting the size of the recording space.”

Additionally, Alchemy continues to expand its use of “location Foley.” That involves sending a team out in the field to record Foley in real-world environments. One favorite recording spot is a local residence whose creaky doors and squeaky wood floors provide just the right touch for horror and suspense films. “Nothing beats Foley that’s performed in an environment similar to the one pictured on the screen,” says Leslie Bloome. “Working on location is challenging, but the payoff is huge.”

With film and television production on the rise, Alchemy is exploring ways to serve more productions while retaining the high quality and personalized touch that has become its trademark. “Our ability to record Foley in three, very different environments makes us unique,” says COO and Studio Manager Andrea Bloome. “It gives us a lot of flexibility to deliver the types of creative sounds that filmmakers want.”

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

Soundtrack NY

Soundtrack NY Hits The Ground Running In 2018 After A Successful Year

Full service post audio house Soundtrack NY had an incredibly productive 2017 full of projects spanning a wide variety of genres!

Tom Fleischman's latest in a lengthy list of stellar accomplishments is Rolling Stone: Stories from the Edge, a four-hour HBO documentary about the magazine that became a cultural touchstone, for which he was nominated for a CAS award. Earlier in the year Tom mixed the blockbuster American Made, starring Tom Cruise, and Monster, a drama film that will premiere at Sundance. In the next studio over, Bob Chefalas was hard at work mixing the hit Amazon docu-series Long Strange Trip about the Grateful Dead, for which he and Jacob Ribicoff were also nominated for CAS awards. Bob is currently mixing the upcoming CBS show Instinct, for which Soundtrack is also providing editorial, ADR, and foley services. Tom and Bob mix on Stages A and B respectively at our Film and Television location in Chelsea, which features two state of the art mix stages as well as an ADR/foley room.

Dom Tavella was hard at work down the street on Stage K at our 936 Broadway location. In February he tackled John Turturro's latest film Going Places, a spin-off of the beloved cult classic The Big Lebowski. In October, he and Jacob Ribicoff tag-teamed the mix for Private Life, an upcoming Netflix feature starring Paul Giamatti that will premiere the opening day at Sundance. On Stage F, Dan Brennan took on Brawl in Cell Block 99, a thriller starring Vince Vaughn and Jennifer Carpenter, and Sorry to Bother You, a comedic sci-fi film that will also premiere at Sundance.

Studio G, our newest 936 studio, has become a jack of all trades. In addition to being a full 7.1 edit/mix suite capable of recording VO and ADR, it is now equipped to support remote color correction sessions. Clients have the opportunity to supervise their project's mix in one studio and walk down the hall to sit in on a remote color session with our talented colorist Rob Bessette at Finish. We are ecstatic at the prospect of adding picture services to our repertoire and allowing clients to have the full post production experience.

As always, our ADR continues to be at the top of its game. Bill Higley is yet another Soundtrack engineer nominated for CAS awards for his re-recordist work on Stranger Things and Ferdinand. Bill, as well as our fellow outstanding ADR re-recordists Mark DeSimone and Scott Cannizzaro, have worked on Golden Globe nominees such as Mr. Robot, The Handmaid's Tale, Downsizing, and Baby Driver, to name a few. Bill, Mark, and Scott's work will also be featured at Sundance on such projects as Eighth Grade, Beirut, American Animals, and Blindspotting. We're incredibly proud to have the talents of both our mix and ADR staff represented at the festival.

Soundtrack is looking forward to an exciting 2018 in the post production world!

For more information, contact Lori Shinn, lorishinn@soundtrackgroup.com, Carlie Bergman, carliebergman@soundtrackgroup.com, or Emily Gilmer, emilygilmer@soundtrackgroup.com.

www.soundtrackgroup.com

Technicolor PostWorks

Technicolor PostWorks Prepares 18 Films for Sundance

Technicolor PostWorks provided post-production services for more than a dozen films screened at this year’s Sundance Film Festival. Projects spanned several categories including the festival’s U.S. and World competitions, and the Premiere, Midnight, Next, Special Events and Animated Short Films programs. Six Technicolor PostWorks clients garnered festival awards, including Audience Award winner The Sentence, Special Jury Award for Social Impact winner Crime + Punishment, and Special Jury Award for Outstanding First Feature winner Monsters and Men director Reinaldo Marcus Green.

Technicolor PostWorks performed editorial conforming and color grading. PostWorks provided ADR, sound editorial and sound mixing. The 2018 Sundance Film Festival ran January 18-28, 2018. Keep reading for a full list of Technicolor PostWorks projects.

Beirut (Premiere). Technicolor PostWorks provided dailies, editorial conforming, color grading and deliverables; PostWorks provided offline rentals, sound editorial and sound mixing.

King in the Wilderness (Documentary Premiere). Technicolor PostWorks provided editorial conforming, color grading and deliverables; PostWorks provided sound editorial and sound mixing.

Robin Williams: Come Inside My Mind (Documentary Premiere). Technicolor PostWorks provided editorial conforming, color grading and deliverables; PostWorks provided sound editorial and sound mixing.

Eighth Grade (U.S. Dramatic Competition). Technicolor PostWorks provided dailies, editorial conforming, color grading and deliverables.

Lizzie (U.S. Dramatic Competition). Technicolor PostWorks provided sound editorial and sound mixing.

Monsters and Men (U.S. Dramatic Competition). Technicolor PostWorks provided editorial conforming and deliverables. WINNER: Special Jury Award for Outstanding First Feature.

Sorry to Bother You (U.S. Dramatic Competition). PostWorks provided sound editorial. The Tale (U.S. Dramatic Competition). PostWorks provided offline rentals and ADR.

TYREL (U.S. Dramatic Competition). Technicolor PostWorks provided editorial conforming, color grading and deliverables; PostWorks provided sound mixing.

Wildlife (U.S. Dramatic Competition). Technicolor PostWorks provided dailies services.

Dead Pigs (World Cinema Dramatic Competition). PostWorks provided sound editorial, ADR and sound mixing. WINNER: Special Jury Award for Ensemble Acting.

Crime + Punishment (U.S. Documentary Competition). Technicolor PostWorks provided editorial conforming, color grading and deliverables; PostWorks provided sound mixing. WINNER: Special Jury Award for Social Impact.

Hale County This Morning, This Evening (U.S. Documentary Competition). Technicolor PostWorks provided editorial conforming, color grading and deliverables. WINNER: Special Jury Award for Creative Vision.

The Sentence (U.S. Documentary Competition). Technicolor PostWorks provided editorial conforming, color grading and deliverables; PostWorks provided sound editorial and sound mixing.

Piercing (Midnight). Technicolor PostWorks provided editorial conforming, color grading and deliverables; PostWorks provided sound editorial and sound mixing.

We the Animals (Next). PostWorks provided sound editorial and sound mixing. WINNER: NEXT Innovator Award (with Night Comes On).

The King (Special Events). Technicolor PostWorks provided editorial conforming, color grading and deliverables; PostWorks provided sound mixing.

The Shivering Truth (Animated Short Films). PostWorks provided sound editorial and sound mixing.

http://www.postworks.com

The-Artery

The-Artery 2017 Highlights

The-Artery is coming off the heels of a very busy year in 2017. The award-winning, full-service creative studio recently collaborated with Merkley + Partners to create a 360-degree HD experience showcasing the new 2018 Mercedes-Benz models. The-Artery's founder, Vico Sharabani, was at the helm directing the project.

The new Mercedes-Benz Atlanta Falcons Stadium houses the largest LED screen in the world; spanning 60 stories high and providing 63,000-square feet of viewable action. The-Artery and its production partners created a camera rig comprised of six Red Helium Weapons shooting at 8K, but cropped in virtually and with overlap left and right for the seamless stitching. The project was first-to-market and final delivered at 20K x 1080. The content was viewed on 11 HD screens looming high above the crowd on the stadium's Halo Board.

Additionally, The-Artery's features team produced VFX for writer/director, Dan Fogelman, and FilmNation Entertainment on the upcoming film, Life Itself. Other feature VFX projects in 2017 included the upcoming Warner Bros. film, Ocean's 8, helmed by writer/director, Gary Ross, PBS' film; The Chaperone, directed by Michael Engler and written by Julian Fellowes; Netflix's horror film, The Babysitter directed by McG; and the psychological thriller film, Lizzie, directed by Craig William Macneill and nominated for 2018's Sundance Film Festival's Grand Jury Prize.

http://www.the-artery.com

Goldcrest

Goldcrest Bolsters Staff

We are delighted to announce additions to our team, Jay Tilin and James Reyes. Jay, Head of Picture, who has joined Goldcrest from Company 3, is an industry leader in picture finishing craft and technology. He brings decades of experience to the Goldcrest picture department and management team. Jay is currently spearheading building out Goldcrest’s VFX and Dolby Vision capabilities.

James joins Goldcrest New York as our new Picture Producer. James has a wealth of technical, engineering, and client experience and is coming to us from Light Iron. James is also the deputy chair of the Blue Collar Post Collective (BCPC).

Goldcrest continues its reinvention evidenced by the biggest Sundance ever for the company with eight films for which we provided creative services in picture, sound, dailies, or all three including:

• The Miseducation of Cameron Post, winner of the Grand Jury Prize.
• Our New President, the festival documentary opener, for which Goldcrest provided sound editorial and re-recording services. Our New President won the Special Jury Award for Editing.
• Juliet, Naked (dir Jesse Peretz, starring Rose Byrne and Ethan Hawke, producers: Judd Apatow, Barry Mendel, Albert Berger, Ron Yerxa, and Jeffrey Soros). The film was a festival darling and sold to Roadshow/Lionsgate.
• A Kid Like Jake (dir Silas Howard, starring Jim Parsons & Claire Danes) was purchased by IFC and is expected to be released in the summer.
• Nancy (dir Christina Choe), Waldo Scot Screenwriting Award
• Sorry to Bother You (dir Boots Riley)
• Madeline’s Madeline (dir Josephine Decker)
• The Last Race (dir Michael Dweck)

In an effort to continue growing, Goldcrest has just completed a major overhaul of Studio Q, one of our 7.1 mix stages, by installing a pair of Avid S6 consoles. This February, Goldcrest broke ground on a new multipurpose picture finishing theater, which will be completed this spring.

http://www.goldcrestfilms.com/

Blue Table Post

Blue Table Post: Sound, Color and VFX Under One Brooklyn Roof

Just over a year ago, Blue Table Post opened its doors in Boerum Hill, Brooklyn. The very first project brought Meryl Streep in to collaborate for two weeks and things have been going strong since. Blue Table's seamless integration of color and sound has been a major appeal to local directors, production companies and advertising agencies and now in collaboration with Mechanism Digital, Blue Table can capitalize on over 20 years of experience in visual effects. Offering one point of contact and an integrated workflow reduces coordinating, shuttling back and forth and the juggling normally all too familiar to post supervisors today.

Blue Table recently did the color and sound for To Dust, starring Matthew Broderick and Gezha Rohrig. Alessandro Nivola, who produced the film with his wife and production partner Emily Mortimer, enjoyed the convenience of having post under one roof.

“Having a post house that provides both color and sound facilities with top class technicians, as Blue Table does, simplified our lives immeasurably,” says Nivola. “Oliver Lief who owns and runs the operation was flexible, accommodating, and generous. We couldn’t be happier finishing To Dust there and we will definitely be back with future projects.”

Director Shawn Snyder agrees: “Being able to do sound and color under one roof, on a quiet block in Brooklyn, in an intimate and personal setting, with warm collaborators (and a literal fire place) has been a delight. It might seem the least likely place to stumble across a top of the line post-house, but it is indeed a post-house and most certainly top of the line.”

Adding visual effects makes the workflow even easier. Different versions of each shot can be viewed directly in the conform as they are created, allowing them to be seen in context. Mechanism Digital's founder and VFX Supervisor Lucien Harriot says of the collaboration, “We know our clients have a lot of details to keep straight when it comes to visual effects/CGI and it may not always be convenient to travel into Manhattan to get work done. So together with Blue Table Post, we are pleased to offer the full range of Mechanism Digital’s services, seamlessly integrated into one workflow, under one roof, in beautiful Boerum Hill Brooklyn.”

Contact Blue Table to discuss a project, come for a tour or just have drinks by the fireplace.

bluetablepost.com · 718-734-0200 · @bluetablepost · oliver@bluetablepost.com

The Looping Division

THE LOOPING DIVISION offers Full Bi-Coastal Loop Group & Voice Casting Services

Partners Jason Harris and Peter Pamela Rose (ADR Loop Group Coordinators & Voice Casting Directors) offer full Bi-Coastal Services.

As the only truly bi-coastal Loop Group, The Looping Division includes the use of their broadcast quality Voice Over booths in both New York & Los Angeles for last minute placeholders, added cues or script changes. Turnaround can generally be done within one hour.

Current New York Projects include coordinating Loop Group and Voice Casting for: CBS’ Instinct; TBS’ The Last O.G.; Starz’ Sweetbitter; Amazon’s Sneaky Pete; TBS’ Search Party; SundanceTV’s Hap & Leonard; FX’s The Americans; and Amazon’s Mozart in the Jungle.

Current Los Angeles Projects include coordinating Loop Group and Voice Casting for: AMC’s The Son; USA’s Falling Water; Amazon’s The Dangerous Book for Boys; CBS’s Salvation, EPIX’s Get Shorty; Showtime’s The Affair; and SyFy’s 12 Monkeys.

Film credits include: Paul Weitz’ Bel Canto, Brad Anderson’s Beirut, Sara Colangelo’s The Kindergarten Teacher (Sundance); David M. Rosenthal’s Jacob’s Ladder among others.

For a resume and more information, please email: JasonHarrisTLD@gmail.com / PeterPamelaRoseTLD@gmail.com

Cell: 917-405-5101 / 917-721-3395 / http://www.theloopingdivision.com/

Mr. Wolf

Last year, we contributed over 100 shots for Nicole Holofcener's Land of Steady Habits as well as American Assassin. We are now nearing completion of six episodes of SyFy network's Channel Zero as well as contributions to Netflix feature film Hold The Dark.

In addition to feature films and episodic, Mr. Wolf regularly works with short form and promo departments across the Viacom family of networks. Contributions include MTV, VH1, TV Land, and Paramount Network, formerly known as Spike TV.

Mr. Wolf has relocated to Digital Arts at 130 W. 29th. St. where we have access to 4k theater, green screen stage and editorial and sound mix facilities.

http://mrwolf.us

Frame of Reference

From Set to Finish Red StripE Flava Di Moment TVC

We were contacted to do the Post Production for Red Stripe Xmas TVC by Natalie Thompson of Cinecom. With the release of Davinci Resolve 14, we decided to test our capabilities and use DR14 for the entire post production process.

Day 1
Again we shot some test shots so we could test our workflow once again before the action starts. Now onto the real deal, we received the first card and logged it into our DIT Report. We then copied the card using Hedge for Mac into the folder Camera A – A001. We then synced it with Chronosync onto Drive 2 and also the Drive 3 so the media is in 3 places for safety and peace of mind.

The next step was to import the RAW files into DR14 into a folder I called RAW-DAY 1-Camera A/B and the proxies into a folder called Proxies following the same name format, in the proxies folder we labelled everything accordingly.

For Camera B, we created a timeline and add all the Raw files to it and exported ProResLT files making sure to keep the filename the same.

Day 2
For Day 2 we followed the same steps we took on Day 1 and everything ran smoothly.

Post Production Phase
So we shot on Tuesday and Wednesday and a first cut was due Friday. After making 4 copies of the media, a copy was sent to the director for him to go through and select shots that he liked. We exported the Resolve project and sent it to him and he went in and marked shots that he liked. For the return I asked him to send us a Xml because he had placed the shots he liked on a timeline. We imported that timeline and to our surprise, Resolve automatically linked back all the files except for the music. It was there just not playing. We did some cleanup on the edit and shared it with the client.

A few days later we met up with the Agency and the Director for a session and we went through and made another cut and sent it off again for another review. A few more changes and adjustments were made such as adding a super at the end and cutting the 60 Second to four 15 Second and a 30 Second.

Color Grading
To grade we, conformed the files from the proxy we made to the RAW files. We did a grade and sent off for approval, a few changes were made to the edit but nothing major. We then exported a 2K file. From this we made the necessary 1080p files.

You can view the finished spot below at www.forpostprod.com

Keith Reamer

This past year, I was involved in two interesting projects. First, I edited Cuba Gooding Jr.’s directorial debut, Louisiana Caviar. We cut during the summer at Post Factory. Ernest Leif Boyd was the assistant editor.

The second is a project very near and dear to me, a film that I co-directed, edited and produced called, Made A Movie, Lived To Tell.

The backstory of it begins in 1983 when, as a young man, very green, I was involved in the production of what till now had been an exceptionally obscure sci-fi/detective film called Primal Scream (filmed as Hellfire). Shot in Atlantic City, NJ. Quirky and colorful and diy-ish in the extreme. Think low budget, backwater, sci-fi Disaster Artist - but kinder.

It fell into complete obscurity, until its profile was resurrected a few years back when film archaeologist William Wilson found an old VHS of it. He became obsessed with the film, tracked down the director, William Murray, and myself and a few others associated with the production and wrote a lengthy web article about it. That led to us being contacted by a specialty distributor about acquiring North American rights to the film, doing a small-scale restoration on it and getting it back out into the market. Which led to my idea to do a documentary that would chronicle not just the highly fraught, stop and start making-of, but the emotional odyssey the makers experienced both during, and after, the creation of this unique bit of distinctly small-town, regional filmmaking. So, co-director William Murray, original dp Dan Karlok and I took to the roads over the past year, to talk to many of the cast and crew members, revisiting their memories and having them take account of the effect their involvement in the production had on their lives.

Tone of the film is comic, confessional, a bit educational, bittersweet. Everyone interviewed was profoundly affected by the creative endeavor during its making and in the 30+ years after. I think it speaks to the why, how and why not aspects of taking the plunge in an enormous creative endeavor, even if one's experience level may not be fully up to the task.

Response from those who have seen it to date is very good, and we are just beginning to enter it into festivals.

Aside from co-directing and producing with Mr. Murray, I edited it and handled all finishing duties on the project through to the final mix, color correct and mastering. A labor of love.

http://keithreamer.com

Christopher North

Austin Born, Sundance Fellow and Multi-instrumental Composer Christopher North just hit his 50th composer credit on IMDB. Of those, he's proud to share that more than half of his collaborators are women (directors, writers, editors and producers.) With Sam Pollard's Music / Civil Rights features documentary Two Trains Runnin', nominated for a Grammy (BEST MUSIC FILM), he's thrilled to be a voting Recording Academy member. 2017 brought his concert music World premiere and LA conducting debut of his Eavesdrop Suite with the Hollywood Chamber Orchestra, as well as film scoring master classes at Brooklyn College / Steiner Studios, Pratt and SFA. All the while, he spent 2017 celebrating his 20 years in NYC, moving from Dallas in June 1997. 2018 brings more film scores, soundtrack releases, collaborations with women, conducting / concert music and more film scoring master classes.

www.christophernorth.com
www.imdb.me/christophernorth

Kieran Kaye

From Serving the Crown to Crown Heights

Moving 3,000 miles from jolly ol’ England to Brooklyn was definitely a challenge. So, when the opportunity arose to move my post production audio studio from Gowanus to Crown Heights - just 3 miles away, I didn’t even bat an eyelid!

My name is Kieran Kaye and I’m a sound designer and mixer for all types of content including films, docs, commercials, trailers, branded content, and podcasts. I recently moved my studio from a shared workspace to a much larger facility at 1000 Dean Street, Brooklyn. Why? Well, I’m always looking to stay innovative and yet still offer fantastic service for great value. The new facility offers more space that will give clients added comfort, especially if the whole team wants to attend a studio mix. Plus, the 5.1 Surround Sound and 360 VR Spatial Audio Services have drastically improved with a larger acoustic platform. The Crown Heights neighborhood has become a huge creative hub with dozens of production and creative agencies in the 1000 Dean building alone. It’s only minutes away from the easily commutable Atlantic Avenue Terminal, making attending sessions even more convenient.

To top it all off I’m located in the same building as the wonderful folks at Smorgasburg/Brooklyn Flea with the awesome Berg’n offering booze, food and extremely good coffee - all without leaving the premises.

I should add that rates remain exactly the same despite the extra square footage, technical upgrade and comfy sofa. I am now accepting credit card payments too.

If you’d like to see what projects I’ve recently worked on, check out the website: www.fullenglish.co

If you would like more information on rates or if you are interested in a studio tour, drop me an email or give me a call to arrange a look around. kieran@fullenglish.co · 718-502-7367