February 2019
PNYA Membership: 60 Companies and Labor Unions. 466 Individual
Members. 55 Sponsored Members.
New Revised Study on Post Production in New York State
THE FILM PRODUCTION AND POST-PRODUCTION TAX CREDITS HAVE SUPPORTED THE CREATION OF THOUSANDS OF WELL-PAYING, ACCESSIBLE JOBS FOR NEW YORKERS
10,800
PEOPLE WORK IN THE PP ECOSYSTEM, INCLUDING
3,560 FREELANCERS
13,250
ADDITIONAL JOBS ARE SUPPORTED
BY THE PP ECOSYSTEM ACROSS NEW YORK STATE
$83,400
AVERAGE INCOME FOR CORE PP JOBS, OF WHICH
40% DO NOT REQUIRE A BACHELOR’S DEGREE
22%
OF ALL NY STATE PP FIRMS ARE LOCATED
OUTSIDE OF NYC
THE POST-PRODUCTION ECOSYSTEM SUPPORTS GROWTH AND REINVESTMENT IN NEW YORK BUSINESSES THAT RIPPLES ACROSS THE NEW YORK STATE ECONOMY
1 Total estimated qualified and non-qualified spending tied to the Credits, per applications provided by Empire State Development.
2 Total impacts of Post-Production Ecosystem in 2017, generated by full ecosystem employment and including direct, indirect and induced impacts.
THE NY POST-PRODUCTION ECOSYSTEM IS HEALTHY, BUT STABILITY PROVIDED BY THE CREDITS IS CRITICAL TO ITS CONTINUED EXPANSION AND JOB GROWTH.
When the Credits are up for renewal, uncertainty over the future of the credits
leads to a decline in Credit spending and employment growth:
- Since the introduction of the Post-Production Credit (PPC) in 2010,
qualified and non-qualified spending tied to the PPC and the share
of Film Production Credit (FPC) spending attributable to
Post-Production activity grew at a compounded annual rate of
38% between 2010 – 2015. During the same period, ecosystem
employment grew by a compounded annual rate of 3% per year.
- In the context of uncertainty over the PPC’s renewal, post-production
spending tied to the credits declined by 20% between 2015 - 2016.
During the same period, ecosystem employment declined by 8%.
However, a rapid rebound illustrates the strength and resilience
of the post-production ecosystem.
- Following extension of the Credit, spending tied to the credits
grew by 30% between 2016 – 2017, while employment grew by 5%,
exceeding past growth between 2010 – 2015.
The Credits reinforce New York’s existing strengths as a hub
for post-production:
- The growing popularity of episodic television positions
New York for strength, attracting long-term episodic projects,
staff, and other investments with high quality of life.
- NY’s deep and established PP talent pool is attractive to
film productions that shoot both locally and out of state.
THE POST-PRODUCTION ECOSYSTEM PROVIDES ECONOMIC OPPORTUNITIES FOR AN INCREASINGLY DIVERSE SPECTRUM OF NEW YORKERS.
MADE IN NY POST-PRODUCTION ASSISTANT PROGRAM
Creating a more diverse talent development pipeline
As the post-production ecosystem has rapidly expanded since the introduction of the FPC and PPC, so has demand for post-production talent in New York—providing new opportunities to connect New Yorkers with quality economic opportunities in a dynamic industry.
The “Made in NY” Post Production Training Program, launched in May 2017, was designed to deliver a skills training and job placement program that helps underrepresented, low-income New Yorkers gain access to careers in visual effects, editing, and other post-production roles. Brooklyn Workforce Innovations (BWI) launched the program after working in partnership with New York City Small Business Services (SBS), the Mayor’s Office of Media and Entertainment, and a number of other community partners to develop the program and a training curriculum responsive to the needs of industry and existing workforce.
The Post-Production Training Program has gained momentum quickly. Now on its fourth cohort, the program has enrolled 61 individuals to date. 95% of program participants are people of color, and at enrollment, 75% of all program participants receive public assistance and nearly half of participants have educational attainment levels below a bachelor’s degree. Upon completion of the five week program, which covers basic post-production training across a number of disciplines, participants receive a free year of membership in the Post New York Alliance, allowing them to start building a strong network of future colleagues.
In its first three cycles, the program saw a 93% completion rate, with an average of 72% of graduates entering new post production careers after graduation. Notably, the placement rate in the second and third cycles increased to 86%. The program’s current group will complete the program in late February and looks forward to achieving an even higher placement rate.
ALCHEMY POST SOUND
Building long term careers in the Hudson Valley
Alchemy Post Sound is a woman-owned post-production company located in the Hudson Valley. Focusing primarily on foley sound and ADR, with some effects and editorial work, Alchemy was established in 2013 by Andrea Bloome and her partner Leslie Bloome.
Over the past five and a half years, Alchemy has experienced rapid growth, with consistent film and television post-production work supported by the Credits. The company has sent 11 films to Sundance, and has two to three active television projects at a given time. Alchemy estimates that 80% of its television work is Credit-supported, and approximately 90% of all its projects do both film and post-production in New York State. To meet demand for its work, Alchemy has doubled in size to six full-time staff, with plans to hire additional staff this year. It has also invested in new infrastructure, expanding to three foley sound stages and support space that has allowed the company to expand its project pipeline.
Being located in New York state has been critical to Alchemy’s growth and expansion since 2013. The activity supported by the Credits has deepened the pool of available talent, while New York’s existing strengths in adjacent industries and high-speed internet infrastructure in rural areas provide opportunities not available in other emerging film and television production hubs such as Georgia.
Alchemy has recognized the importance of local talent, and has established college and post-graduate internships to help create the next generation of post-production workers. While the company’s current employment is evenly split between women and men, its talent development and hiring efforts have recently focused on creating opportunities for women. Alchemy also conducts outreach to regional underserved schools, to establish early interest and opportunities for young people who may not have considered careers in sound.
Made in NY
Made in NY Places Grads Across Our Industry
To help under-served New Yorkers overcome barriers to entry in the TV and
film industry, the “Made in NY” Post Production Training Program was launched
in 2017 through a partnership with Brooklyn Workforce Innovations, the Mayor’s
Office of Media and Entertainment, and the NYC Department of Small Business
Services. Since then, 43 highly trained, ready-to-work post production professionals
have graduated, and more than 85% of our 2018 grads are currently working in the
industry.
Some of those grads include:
- David Edemeka, who worked as a VFX PA for Disney’s Mary Poppins Returns and is now working as a Post PA on 17 Bridges.
- Kashmere Dinkins, who was recently promoted to Post Coordinator for Netflix’s Happy! after one season as Post PA.
- Ayo Lijirin, who is full-time at Vice as a Digital PA.
Other positions our graduates have recently filled include Digital Archive
Assistant, Post Intern, Client Services Rep, Junior Compositor, and Dailies
Colorist Assistant for companies like Sim, The Molecule, Deluxe, and many others.
These varied skill sets and interests reflect our graduates’ diverse identities and
life experiences. For New Yorkers who are passionate about TV and film but may not
have been able to break into the industry because of systemic obstacles like economic
insecurity, or a lack of access to education, the MINY Post program provides the
tools they need. Through concept-based lessons and technical training in
industry-standard software, our trainees learn what it takes to establish a career
in the NYC Post Production Industry.
As we continue to train and graduate the people who are changing the face of
the industry, we’re always looking for new ways to help them get a foot in the
door. That’s why we’re seeking businesses and productions with open
entry-level positions for MINY Post grads. They’re vetted and trained —
often with extensive prior production experience — and hungry for more. Wage
reimbursements are available for qualifying employers.
We’d love to help you find a candidate for your next project in 2019. Learn
more at bwiny.org/post
or by emailing Program Director Ryan Penny at rpenny@bwiny.org.
NYS Governor’s Office of Motion Picture & Television Development
Connect with the Governor's Office
For information on the film industry, tax credits and locations in New York State,
go to the Governor’s Office of Motion Picture & Television Development’s website
www.nysfilm.org. And to keep up-to-date on the
latest news, follow them on Facebook, Twitter and Instagram by using the handle NYSFilm.
To subscribe to their monthly newsletter,
click here
and be sure to check the box for FILM/TV.
Mechanism Digital
Mechanism Digital Gets Scary Busy
2018 was another exciting year of big projects for Mechanism Digital. Our growing team completed thousands of VFX shots for films and television series including Hereditary and Luce (a 2019 Sundance selection), plus a number of shows for Netflix.
Luce required some complex compositing, and the short turnaround schedule for color correct required breaking up the work and tripling the number of artists. This flexible studio model is key to making sure we don’t delay the finishing phase. Adding artists in mid-project doesn’t affect costs as our bids are always based on the total number of artist hours required. Workforce flexibility is one of our secret weapons and we pride ourselves on sticking to our bids.
In both film and TV we are seeing many more screen burn-ins with the increase of mobile phones as parts of the story. In response to this, our design team developed an efficient system to build swipe graphics for social media sites like Facebook and Snapchat, who can be very picky about the accuracy of how their interfaces are depicted. Often footage is shot practically using made-up accounts, but there are often detail changes requiring that we edit the graphics and timings while matching the actors’ swipes.
Earlier in 2018 we completed Hereditary from A24. This horror film, which was a joy to work on, also had high levels of “gross” in post as it required extensive death and decay research with director Ari Aster to create CGI maggots. Ari also worked closely with our team to create a mixture of live action ants and CGI insects for a sequence where thousands of ants crawl through a house.
Mechanism’s team also provided VFX for several Netflix features and shows including many frames of cleanup on the episodic series Russian Doll, premiering on Feb. 1st, and camera/crew removal on several comedy specials including Chris Rock, Jim Gaffigan and John Mulaney, which won an Emmy! The film Come Sunday required seamless crowd duplication to create a mega-church’s audience of thousands. Galveston, a feature taking place during a hurricane in the 1970s, required CGI storm creation for backgrounds and compositing of many period elements.
2018 also saw our studio’s team expand including our most recent addition Miranda Jacoby, who comes with great technical and organizational chops that are very useful when it comes to managing the quality control on thousands of shots. New servers and workflow upgrades also gave us a nice boost in speed.
Currently we are working closely with Oscar-winning director Bill Guttentag on graphics and VFX shots for a documentary on the band Sublime.
2019 is going to be another great year!
Lucien Harriot and Chris Peterson – Mechanism Digital CGI, VFX, Design
www.mechanismdigital.com
Trevanna Post
Celebrating 2 years – Trevanna Tracks!
Jennifer Freed is celebrating 2 years, post-launch, of her music license management software, Trevanna Tracks - the production industry’s collaborative, cloud-based solution for researching, budgeting, tracking, paying and delivering music licenses in real-time. Freed, a founding member of the Post NY Alliance and part of the original group who lobbied for the post-only tax incentive in NY, is also the owner of Trevanna Post, a post-production accounting company with offices in New York, Los Angeles, and soon to be London (opening in March).
“The motivation behind developing this platform was driven by the simple desire to have everyone working on a project be on the same page, literally! It was through first-hand experiences with projects of all sizes, identifying a need in the marketplace, and collaboration with many experts in the industry that I was able to create this robust platform,” said Freed, who has worked in the film production industry for over 30 years. Through the many months of beta testing, to the launch of their live platform in early 2018, Trevanna Tracks has been used on hundreds of projects; for feature films, episodic television, documentaries and music marketing.
Trevanna Tracks streamlines and standardizes the process of managing music licensing. Now, at any time, from anywhere, everyone working on a project can know the current music choices, budget, status of each license and whether or not payments have been made. The platform optimizes your workflow and delivers each finished project in a consistent manner: complete, accurate and professionally organized. Production companies can easily access multiple projects with one log-in and can generate global reports for data across all projects. Built-in permission settings allow companies to limit who has access to specific information. And, with the increased need for capturing metadata, the platform provides fields for codes such as ISWC, ISRC and IPI #’s. Typical end-users include music supervisors, licensing VPs, clearance attorneys, music marketing departments, studio executives in production & finance, post accountants, and data management & information systems analysts. Trevanna Tracks is a one-stop solution for anyone licensing music for their feature film, television show, or marketing campaign.
On February 1st, Trevanna Tracks will be releasing Version 2.0, which includes an elegant design refresh and over 50 exciting new features, largely inspired by client feedback. “We are thrilled to share our newest version of Trevanna Tracks with our clients, and look forward to helping others in the industry save significant time and effort managing music licenses for all their projects,” Freed shared.
To request a demonstration of the platform, either in-person or on-line, please call 310-820-7678, or visit their website www.trevannatracks.com.
Sixteen19
Sixteen19 Expands During an Action-Packed 2018
2018 was a banner year for Sixteen19, marked by bold inroads into new markets, game-changing hires, and the kind of high-quality work that has been the boutique post shop’s calling card for the better part of a decade. The New York-based production and post services company had an action-packed year, featuring the launch of PowerHouse VFX, a high-end boutique visual effects company, and high-profile projects like Mary Poppins Returns, Isle of Dogs, and The Marvelous Mrs. Maisel.
Sixteen19’s partnership with PowerHouse VFX is a particularly important development, positioning the company to bring its sterling reputation and boutique approach into the visual effects sector. Built from the ground up as a partnership between Sixteen19 founders Jonathan Hoffman and Peter Conlin and VFX veterans Ed Mendez and Bob Lowery, the strategic alliance has proven an asset to both companies through co-ventures and collaboration on multiple projects including A Quiet Place, The Purge, and M. Night Shyamalan’s Glass. PowerHouse occupies 5,000 square feet within Sixteen19’s NYC facility.
The alliance between Sixteen19 and PowerHouse is built on a rock-solid relationship between the companies’ founders. “We’ve worked together on several projects over the years and share a similar mindset," says Hoffman. "We all believe that a culture of honesty and creativity translates directly into strong client relationships and high-quality work.”
“It’s a perfect partnership,” added Lowery. “Sixteen19 offers everything, from dailies through picture finishing, but desired a visual effects partner. We supply that piece of the puzzle. We see PowerHouse as an extension of the extremely positive working environment Jonathan and Pete have crafted over the years.”
PowerHouse isn’t the only exciting expansion of the past year for Sixteen19. After helping to bring Wes Anderson’s acclaimed Isle of Dogs to the screen in 2018, Sixteen19’s London office added an outpost in France to support Anderson’s next feature - a testament to the close client relationships Sixteen19 has forged over the years.
2018 also saw the release of a string of film and TV projects featuring Sixteen19’s groundbreaking work, including dailies and editorial for Mary Poppins Returns, which also featured visual effects from PowerHouse. The company’s work could also be seen on the big screen in A Quiet Place, Hereditary, and The Nutcracker and the Four Realms, and on TV in The Marvelous Mrs. Maisel and USA’s The Purge.
Looking ahead, the next year promises more exciting developments, starting with the release of Shyamalan’s Glass, which features work by both Sixteen19 and PowerHouse. 2019 will also see the company’s work on project’s like Showtime’s Black Monday, The OA season 2, and The Last Thing He Wanted directed by Dee Rees. In addition, Sixteen19 expects to add new HDR color suites and PowerHouse will press ahead with further expansion of their CG Department as well as branching into commercial VFX. All told, 2019 should be a year of building on strengths for this groundbreaking partnership among industry leaders.
Goldcrest
Goldcrest Expands Staff, Facility & Tech
At Goldcrest Post NY, we’re happy to say that we’ve had a great year of exciting additions to personnel, wide-spread advancements in technological capabilities, and extensive facility-wide improvements.
The most exciting change of all here at GCNY is our ability to now offer 25 to 30 off-line suites for rental for the first time in almost 10 years, which now gives us the opportunity to truly house the entire post-production process under one roof. We’re proud to be able to offer comfortable and state-of-the-art editorial/production rooms with Avids, expert engineering support, and suites with windows that look out on the scenic West Village.
But there’s much more happening at Goldcrest! We also have several impressive additions to our staff. We’ve welcomed a new colorist to our team, Marcy Robinson, who brings to Goldcrest an extensive background working with directors such as Noah Baumbach (Mistress America, Frances Ha), Ang Lee (Billy Lynn’s Long Halftime Walk), and Woody Allen (Magic In The Moonlight). Additionally, we’ve added to our staff colorist Ken Sirulnick (an Emmy-award winner who most recently worked on the documentary RGB), and colorist Evan Anthony (a highly experienced DI veteran who has worked on projects with HBO, Netflix, PBS, American Experience, and many others).
In our audio department, we’ve also had the good fortune of adding Bob Chefalas, a re-recording mixer who brings an impressive set of credits ranging from feature such as Apollo 13 and Me and Earl and the Dying Girl to episodic TV such as Quantico and Sex and The City.
And finally, in our engineering department, we’ve added Andrew Still as our new Director Of Engineering, who brings over a decade of experience at Deluxe, Technicolor as an engineer and a data manager to bear as he continues to advance Goldcrest’s technological capabilities.
It’s also been an eventful year for our facility itself, marked by the recent opening of our new 4K DI theater, which is outfitted with a Barco 4K projector, full Dolby Atmos 7.1 surround sound, and a 13.5 foot screen - all in a pleasant and roomy space designed for maximum functionality and comfort. Additionally, our picture department is now fully Netflix Snowball and Dolby Vision capable. In our audio department, we’ve added two AVID S6 mixing consoles in mix stages, and we’ve built out Dolby ATMOS 7.1.4 capabilities in our main mix stage.
Beyond that, we’ve also worked and continue to work on many incredible projects in 2018 and 2019: Tales Of The City (Lauren Morelli, Netflix); High Flying Bird (Steven Soderbergh, Netflix); Her Smell (Alex Ross Perry); Juliet, Naked (Jesse Peretz, Lionsgate); The Kid (Vincent D’Onofrio, Lionsgate); Russian Doll (Leslye Headland, Netflix); Billions, Season 4 (Brian Koppelman, David Levien, and Andrew Ross Sorkin, Showtime); and many more!
And finally, we’re thrilled to have worked on three films at Sundance 2019 – The Death Of Dick Long, Them That Follow, and Native Son.
It’s been an incredible year here at Goldcrest, and we’re looking forward to an even more successful year in 2019!
Eurofins
First dedicated media asset QC provider on the East Coast
Dolby Vision Certification Awarded to newly opened Eurofins Digital Media Services state-of-the-art Quality Control facility in New York City
Eurofins Digital Media Services (EDMS) announced that their recently opened New York facility has been granted a Certification in Dolby Vision Quality Control Services, becoming the first dedicated Dolby Vision QA facility on the East Coast, meeting the growing demand for QC and testing services in New York City.
Located in the bustling Chelsea district, the facility is the first of its kind in the Greater New York area, dedicated solely to Master Quality Control with a focus on 4K/UHD High Dynamic Range video and immersive audio formats.
Josh Erkman, EVP of Strategic Operations, said: “EDMS is proud of its ongoing relationship with Dolby Laboratories and committed to supporting a growing number of producers using Dolby’s HDR solutions to create phenomenal content. I am very pleased to also announce that Vincent Giambrone is heading our Operations on the East Coast and will oversee the expansion of our services in NYC. Vincent brings a wealth of QC and post production experience with him and we are excited to have him leading our East Coast efforts.”
The New York facility is already offering Master QC services to customers, including two of the largest television content providers in the city, and is expanding its portfolio of services to include 4K/UHD HDR Master file QC and IMF packaging in early 2019. Eurofins Digital Media Services (EDMS) is investing in equipping new suites with tools such as Colorfront’s Transkoder and GrayMeta’s Iris to support this expansion.
In addition to Master QC services for all digital file formats, EDMS provides digital and streaming quality control, storefront monitoring services, IMF packaging, and optical disc Quality Control services in Burbank and in New York City.
Founded in 2004, Eurofins Digital Media Services (EDMS) is a leader in quality control, technical analysis, and testing for major motion picture Studios, TV broadcasters, OTT and independent content producers. EDMS’ headquarters are in Burbank.
Want to know more? Stay tuned for more announcements. Contact us at: sales@eurofins-dms.com.
www.eurofins-dms.com
Soundtrack
SOUNDTRACK CELEBRATES A SUCCESSFUL YEAR AND LOOKS AHEAD TO 2019
Soundtrack had another action-packed year in 2018. Tom Fleischman mixed the HBO film Fahrenheit 451 and was nominated for a sound mixing Emmy, along with Soundtrack editors Dan Brennan and Chris Chae for sound editing.
Tom also mixed the buzz worthy Nat Geo do Free Solo, a truly spectacular event by any measure. Mixing in the second chair on this project was Ric Schnupp, who will see his own hard work pay off at Sundance in 2019 when the film Brittany Runs a Marathon makes its world premiere. Ric was the supervising sound editor and re-recording mixer, while the editorial team was comprised of our burgeoning staff editors Kristin Catuogno and Tyler Newhouse.
In addition to his editorial work on F451, Dan Brennan mixed Dragged Across Concrete, a thriller starring Mel Gibson and Vince Vaughn. This is the third feature Dan has mixed for director S. Craig Zahler. In the fall, Dan mixed Soundtrack's second season of the CBS show Instinct. Dan is double booked this winter and spring with both TV and film mixes.
Dom Tavella was back at the mixing console on several Ken Burns projects, including a Mayo Clinic documentary plus an incredible upcoming episodic documentary focusing on the history of country music. Dom resides in Scotland these days he can't get away from us or his clients, who bring him back across the pond for just 'one more mix.'
Chris Chae, one of our young sound geniuses, had the opportunity to second mix these projects with Dom. He also tackled projects of his own, including an episode of the PBS series American Experience titled The Eugenics Crusade.
Soundtrack served as the mix facility for several 4-walls. We welcomed mixers from Smart Post Sound in Los Angeles to finish the recent Jennifer Lopez film Second Act. Among other 4-wall feature credits are The Mountain, Captive State, and Luce. In addition, Soundtrack housed Nutmeg Audio for many months.
Our ADR division continues at the top of its game. Bill Higley, Scott Cannizzaro, and Mark DeSimone were hard at work on prominent projects such as Tell Me a Story. Illumination's The Grinch, Trust, The Little Drummer Girl, Stanger Things, Castle Rock, Camping, and The Report. Soundtrack has an abundance of talent and rooms constantly swirling around the ADR scene, as most New Yorkers are aware, and the ringleader of this group is Carlie Bergman, the magician who continues to keep this complex work flowing smoothly between New York and the rest of the world. Carlie also bids and runs post projects now.
Soundtrack successfully premiered its remote color solution this year on the film La Gran Madre. The colorist was in Boston and the client in NY. Color projects for VH1 and BET Network are rolling out for 2019.
Finally, the NY sound industry continues to evolve. Soundtrack welcomes Jay Fisher to its staff along with other former Sync Sound people now working through Soundtrack.
For more information on our services, people, or rooms, contact Lori Shinn, lorishinn@soundtrackgroup.com, Carlie Bergman, carliebergman@soundtrackgroup.com, or Emily Gilmer, emilygilmer@soundtrackgroup.com.
Sohonet
Sohonet’s first full year in New York City is done -- and what a year it’s been.
Just over a year ago, as part of global growth plans, Sohonet opened a New York office right here in Manhattan's SoHo (where else?!). While we were new to NY, we certainly weren’t new to the business -- Sohonet’s been connecting storytellers across the globe for over 23 years, enabling teams to collaborate on short and long-form content quickly and securely. Given the growing number of top production, post-production, and visual effects facilities based in NY, one thing’s for sure, Robert Hopkins, our Englishman in NY has been kept busy as we’ve grown our customer base in not only the traditional TV and Feature Film segments, but also Advertising and Social Media; both the latter industries increasingly producing longer form and high quality video content.
Aiding Remote-Collaboration
VFX and post-production have long been tied to big facilities in central city locations where working off-site is simply unfeasible due to the need to be working where the content and creative teams are based. This is all changing. Thanks to emerging technologies and tools, Sohonet is leading the way in enabling greater flexibility and more effective ways of working.
Sohonet’s real-time remote collaboration tool ClearView Flex has been designed to enable VFX artists, directors, editors, and post supervisors to work on content in real-time, be it across town, on the opposite coast, or overseas. The remote team requires no special hardware, software or training and best of all it comes with a pay-as-you-go cost model that matches the business needs. As rents soar and the demand from the artist to be untethered from central locations rises, we’ve seen a number of companies moving to outlying areas knowing they can rely on Clearview Flex and the Sohonet network to keep them connected.
A great example of this is London-based Dirty Looks who employed ClearView Flex to stream reviews of their upcoming TV drama The Virtues to director Shane Meadows, enabling him to color grade from his home in Nottingham (160 miles away). Dirty Looks’ owner Tom Balkwill provided a calibrated monitor for Meadows’ home to color match their Grade 1 Dolby monitor back in London. The whole team trusted and loved this seamless and fast workflow.
Expanding our network
Sohonet’s private fiber network continues to grow and help link NY-based content creators to their teams and partners worldwide. By cutting out the low performance public internet, they’re able to share content quickly and securely, without the slowdowns from contention and speed limits associated with shared internet connections. And in a world where people are still shipping hard drives, this really is opening doors for increasingly sophisticated global collaboration.
Connect with Sohonet
Sohonet work with over 450 media and entertainment companies spread across the globe. Their clients cover areas as diverse as studios, labs, post houses, facilities, VFX vendors, production companies, content delivery specialists and advertising agencies. To discuss your specific requirements get in touch today.
Bang
A fresh install upgrades BANG Music + Audio Post to version 2.0
After nearly three decades in Chelsea/Flatiron, BANG Music + Audio Post has found its new
home in the vibrant and bustling Garment District. The boutique shop is now located within USA
Studios and includes two composer rooms, administrative offices, and a spacious Studio A mix
room on the second floor of 253 35th Street.
The move comes in the middle of intensive music work on the second season of Netflix's
Abstract series, as well as, commercials for Dunkin' Donuts, Pepsi, and Schick. Audio Post
finished its eighth season mixing Ink Master with a thrilling double-prize winning finale shot live
in Las Vegas. Added to that a hard-hitting documentary special, Gretchen Carlson: Breaking the
Silence for Lifetime, the transition has already brought with it new and exciting opportunities.
And if that weren't enough news, BANG has partnered with the multifaceted Carousel NYC,
setting up an Audio Post room at their headquarters in Chelsea. Offering voiceover record,
sound design, and 5.1 mix for all in-house and outside clients.
2019 couldn't be more of a fresh start for BANG, who are excited to see what the next 30 years might bring.
Alchemy Post Sound
Alchemy Post Sound Delivers Foley for Eight Films Premiering at the Sundance Film Festival
Westchester, New York—December 05, 2018— Alchemy Post Sound provided Foley sound services for eight films screening in this year’s Sundance Film Festival. They include five world premiere features competing in the festival’s U.S. Dramatic Competition, as well as films appearing in the NEXT, Midnight and Spotlight series. The 2019 Sundance Film Festival runs January 24 to February 3 in Park City Utah.
Alchemy Post Sound projects include…
Big Time Adolescence (U.S. Dramatic Competition). Director and screenwriter Jason Orley’s tale of a suburban teenager who comes of age under the destructive guidance of his best friend, a charismatic college dropout. Supervising Sound Editor: Josh Berger.
The Farewell (U.S. Dramatic Competition). Director and screenwriter Lulu Wang’s story of a headstrong Chinese-American woman returns to China when her beloved grandmother is given a terminal diagnosis. Supervising Sound Editor: Gene Park.
Luce (U.S. Dramatic Competition). Director Julius Onah’s drama about a couple who are forced to reckon with their idealized image of their son, adopted from war-torn Eritrea, after an alarming discovery by a devoted high school teacher. Supervising Sound Editor: Leslie Shatz.
Native Son (U.S. Dramatic Competition). Director Rashid Johnson’s reimagining of Richard Wright’s seminal novel, about a young African-American man whose decision to work for an influential Chicago family, changes his life forever. Supervising Sound Editor: Ryan Price.
The Sound of Silence (U.S. Dramatic Competition). Director: Michael Tyburski’s drama of a New York City “house tuner” who calibrates the sound in people's homes to adjust their moods. Supervising Sound Editor: Ian Gaffney Rosenfeld.
The Wolf Hour (NEXT). Director and screenwriter Alistair Banks Griffin’s film about a counterculture figure living in self-imposed exile in her South Bronx apartment during the incendiary '77 Summer of Sam. Supervising Sound Editor: Tom Paul.
Sweetheart (Midnight). Director JD Dillard’s story of a woman washed ashore a small tropical island and finds herself completely alone. Supervising Sound Editor: Matt Yocum.
The Mountain (Spotlight). Director Rick Alverson’s tale of a man who, since his mother‘s confinement to an institution, has lived in the shadow of his stoic father. Supervising Sound Editor: Gene Park.
Alchemy Post Sound also provided Sound Design and Foley sound services for Lockdown, director Celine Held’s short, screening in the festival’s Competition Shorts series. Supervising Sound Editor: Joanna Fang and Logan Georges.
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
Gigantic
Gigantic At Sundance
The Gigantic Studios team is headed to SUNDANCE with 5 projects that posted at our studio. In attendance will be TOM PAUL, TRISTAN BAYLIS, NATHAN HASZ & founder BRIAN DEVINE.
The 5 projects are:
BEFORE YOU KNOW IT – U.S Dramatic Competition.
Directed by Hannah Pearl Utt. (Carly Brooke, Mandy Patinkin, Alec Baldwin)
HAIL SATAN – U.S Documentary Competition. (Magnolia Pictures)
Directed by: Penny Lane.
TIGERLAND – U.S. Documentary Competition
Directed by Ross Kauffman.
THE GREAT HACK – Documentary Premier
Directed by Karim Amer & Jehane Noujaim
THE WOLF HOUR – Next
Directed by: Alistair Banks Griffin (Naomi Watts/Emory Cohen/Jennifer Ehle)
Congratulations to everyone involved and we wish you luck!
Buttons
Buttons Seeking New Talent
Buttons NY has been busy fulfilling sound and post finishing projects while our future schedule fills and we seek to expand our staff searching for new post production talent.
ButtonsNY Feature Film finishing projects of Sound and Color include films like the Doc film As You Know, and the scripted drama, Home Coming.
Episodic Projects include ADR for The 100, The Village, Schitt’s Creek, Diggstown, Gravity and more.
Commercial projects include Donald Sutherland for Simply Orange, Estee Lauder Radio, Kevin Bacon for EE, and more.
All while Buttons is seeking new color, edit, sound, and creative talent, inviting any PNYA talent who finds our independent culture to be a good fit to do what you love doing.
Buttons NY, est. 1986, is a disruptive practice of the art of sound that combines musical talent, technical insights, and intuitive measure, with unconventional post production ideation that break boundaries.
Talent+Insight+Measure
The Looping Division
PNYA Company Member 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.
New York Projects include coordinating Loop Group and Voice Casting for: Netflix’s Russian Doll; CBS’ Instinct; Apple’s Dickinson; TBS’ The Last O.G.; Starz’ Sweetbitter; TBS’ Search Party; Facebook Watch’s Strangers; FX’s award winning The Americans, among others.
Los Angeles Projects include coordinating Loop Group and Voice Casting for: Netflix’s Chambers and Dead to Me; You Tube’s Champaign, ILL; CBS All Access’ No Activity; EPIX’s Get Shorty; USA’s Queen of the South; Showtime’s The Affair; among others.
Film credits include: Peter Hedges’ Ben is Back; Thor Freudenthal’s Words on Bathroom Walls; Sara Colangelo’s The Kindergarten Teacher; Guy Nativ’s Skin; 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
Frame of Reference
Frame of Reference Undergoes Extensive Colour Training
The Frame of Reference (FoR) team underwent a two day colour training with Colourist Alexis Van Hurkman so as to gain a broader knowledge of colour grading as well as to sharpen their skills. Alexis has graded features and shorts that have played at the Telluride and Sundance Film Festivals. He is the author of software documentation for DaVinci Resolve and the author of The Colour Correction Handbook.
What is colour grading? Simply put, Colour Grading is the process of altering and enhancing the colour of a motion picture/video. Colour grading encompasses both colour correction and the generation of artistic colour effects. If you aren’t applying any colour grading to either your videos, you are potentially missing a vital part of the process of the post production process. Colour grading can be one of the most impactful tweaks you can make to your work once it’s been shot. It has the potential to elevate a good image to great, or a great image to outstanding. Colour conveys meaning, it affects a mood and feel of a piece, and therefore how we interpret the feature.
So why bring Alexis to Jamaica? We wanted to learn how to not only be more efficient in how we grade our projects but also how to get more out of DaVinci Resolve and so it was a no brainer bringing Alexis to Jamaica, said CEO Twain Richardson.
Over the two days we covered topics like Grade Management Strategies, Different Ways to Build a Grade, Grading Skin Tones and more.
We also had a meet up where we met with other editors and filmmakers so we could educate them some more about colour grading. All in all it was a great experience for Alexis and we couldn’t be happier with the outcome.
Alexandra Boskovich
Alexandra Boskovich Completes Abe
In November 2017, Alexandra Boskovich was brought on as an assistant editor to the Brazilian director's Fernando Grostein Andrade feature film - Abe starring Noah Schnapp.
Abe is a 12-year-old boy from Brooklyn who cooks to unite his half Israeli and half Palestinian family, but everything goes wrong. Being an American born-Israeli, Alexandra was inclined to shed some light on the rather foreign nations to the editor Bruno Lesvisious by sharing her upbringing experience in Israel alongside Palestinians, the way many Peace organizations focus on planting the seed of peace and unity with open minded children rather than adults who are mostly set in their ways. Alexandra spent her time logging and categorizing the 2nd and 3rd unite footage while multi-grouping and media managing the entire project out of the onsite Brooklyn office until the film had wrapped production and returned to complete the edit in Sao Paulo, Brazil.
Ian Holden
Ian Holden, Editor and AE on Narratives and Docs
Redoubt: Matthew Barney Project: (AE) An experimental narrative feature that infuses landscape visuals with dance in the Sawtooth Mountain range of Idaho. Before its international screening tour and distribution, Redoubt will premiere at Yale University on March 1st and 2nd,
and will coincide with an installation and exhibit. Redoubt will also be screening at the Ullens Center for Contemporary Art in Beijing later in 2019.
Pat Steir: Artist: (Editor) A documentary feature that explores the life and career of artist, Pat Steir, a leading light in the development of Conceptual Abstraction and a trailblazing feminist who has been on the
forefront of American painting for half a century. Her professional and personal lives have intersected with many of the most influential artists and poets of her generation i.e. Sol Lewitt, Agnes Martin and John Cage. Pat Steir: Artist will be premiering at Lincoln Center on January 19, 2019.
Cracked Up: The Darrell Hammond Story: (Associate Editor) A narrative feature about legendary Saturday Night Live performer and impressionist, Darrell Hammond. Hammond reveals his dark history of child abuse and how comedy helped him cope. He was misdiagnosed and
wrongly medicated for decades, struggling with drugs, alcohol and nightmarish flashbacks, until he finally comes to terms with what happened. The film premiered at Doc NYC in November of 2018, and will be available on streaming platforms in 2019.
Skin: (AE) A narrative feature about a young Neo-Nazi who undergoes an arduous surgical tattoo removal process of the racist iconography on his face, when he attempts to disavow the party and reintegrate into society. Skin stars Jamie Bell, Vera Farmiga and Danielle Macdonald. The film is based on a true story about Bryon Widner, the subject of the 2011
documentary Erasing Hate. Skin premiered at the Toronto Film Festival in 2018 and received A24 distribution.
A Boy a Man and a Kite: (Editor) A short narrative film about a dying man who revisits his younger self and explores the cause of his coma. The film explores the trauma incurred from childhood sexual abuse
and its lifetime manifestations. It was an honor to collaborate with Academy Award winning sound mixer, Skip Lievsay (Roma, Gravity, Birdman), and Grammy nominee and composer Stephen Edelman (Flirting with Disaster).
The film will be premiering in LA in February, 2019. Winner–Best Short Film at Hollywood Reel Independent Film Festival.
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