Post Break: Remote Workflows, New Horizons (Audio)

New York State Post Production Community,

Now that working remotely has become commonplace, what are the broader effects on our industry going to be? This panel will move beyond the tools of remote work to examine:

• The pros and cons of managing teams remotely. 
  

• The changing role of the post-PA, and what new skills are now in demand.

• Whether post-production teams will become global, how that could facilitate work with previously unreachable clients, and what implications that could have for tax credits.

• How the need for data security affects everything.

Thursday, December 3rd at 4pm EST via ZOOM
Following the discussion we will be forming smaller networking "breakout rooms". A continued chance to meet and greet, expand your network!

Panelists:
Andrew Bly, Co-Founder/CEO, The Molecule VFX

Andrew Bly grew up in Milton, PA, where he had always known his future was in entertainment and entrepreneurship. After graduating from Full Sail University he moved to New York City at 19 years old. His first freelance gig landed him on the set of Beastie Boys "Ch-Check It Out" and solidified the next year working directly with Adam Yauch at the beginning of Oscilloscope Films.

In 2005 Andrew was one of the founding members of Molecule VFX. As CEO Andrew ensures that Molecule VFX remains true to their core values of delivering high-quality work within expected budgets, and has helped the company gain a foothold within a rapidly growing and challenging VFX landscape. Andrew has worked on a number of TV series and feature films such as "Unbreakable Kimmy Schmidt" (Netflix), "Billions" (Showtime), “Dickinson” (Apple), "Da 5 Bloods" (Netflix), "The Plot Against America" (HBO), and "Five Feet Apart" (Lionsgate).

Andrew is an active member of the VFX and Post-Production communities, having served as both a board member for the Post New York Alliance and Chair of the New York chapter of the Visual Effects Society. He has become one of these communities’ strongest advocates and has worked with everyone from lawmakers to local nonprofits in New York and LA to make sure that artists have the resources they need to be successful.

Diana Dekajlo, Post Production Supervisor

Diana Dekajlo is a New York-based post-production supervisor with extensive 4K/HDR experience. She began her career as a facility producer before moving to freelance post-production supervising. She has experience in both the documentary and narrative spaces, including Abstract: The Art of Design (Netflix), Springsteen on Broadway (Netflix), The Case Against Adnan Syed (HBO), Divorce (HBO), and The Queen's Gambit (Netflix). She is a member of the Post New York Alliance and the Producers Guild of America.

Yana Collins Lehman, Chairman of the PNYA Board and President / COO of Trevanna Post

Yana Collins Lehman, Chairman of the PNYA Board & President and COO of Trevanna Post - Yana currently oversees strategy and operations of the New York, Los Angeles, and London offices, overseeing a staff of 40. She has been a post-production accountant at Trevanna, working on feature films and television shows since 2004. She is an active member of Local 161.

Moderator:
Chris Peterson, Board Secretary / Executive Board Member, PNYA and Executive Producer

Chris Peterson has worked as an Executive Producer and media technologist at post-production facilities, VFX shops, sound/music houses, and systems integrators. His credits include Hereditary, Absentia (Sony/Amazon), Women of Troy (HBO), and Roger Waters’ concert tours and films. Prior to that, he was a producer/videographer/editor for the Howard Stern Show and on location for cable series in Brazil, Argentina, Trinidad, and around the United States. He is the host of the PNYA’s popular webinar series “Post Break,” which has been providing timely, post-Covid information and community for the post-production industry since April of 2020. 

"VFX for Post Supervisors",  a discussion on the work of producing and delivering VFX, the role of the VFX Producer, and what to do when you don’t have one. It will look at both facility and production-side roles, to reveal what’s going on behind the scenes at every stage of VFX production, and to also gives process tips to Post Supervisors who find themselves having to produce VFX on their jobs.

Thursday, November 12th at 4pm EST via ZOOM

PANELISTS:
Leslie Lerman, VFX Producer

Leslie Lerman has over 20 years experience producing visual effects for feature films. She fell in love with the art of visual effects working as a production assistant on  Fight Club. She honed her skills collaborating on five films with director, Marc Forster, including Finding Neverland & The Kite Runner. Leslie has continued to work with some of the industry’s most notable filmmakers. Her titles include Sam Mendes’  Skyfall & Spectre , Ron Howard’s In The Heart of the Sea and Rob Marshall’s  Mary Poppins Returns. Most recently, Leslie oversaw the visual effects for John Krasinski’s A Quiet Place 2.

Ryan Cunningham, Executive Producer, Powerhouse VFX/Company 3

Prior to joining PowerHouse, Ryan served as a Senior VFX Producer at Zoic Studios , Method Studios,  The Artery, as well as the Executive Producer of The Colony . Collectively, Ryan has produced VFX for both episodic and feature films on shows such as Warrior  for Cinemax/HBO, Glass for Universal,  Maniac! for Netflix and Servant  for Apple+. In addition to holding credits in visual effects, Ryan has produced multiple feature film projects and the Emmy nominated show Game Changers for CBS in 2013. Currently, Ryan oversees all productions at  PowerHouse. 

MODERATOR:
Ben Baker, Vice / HBO

Ben Baker’s professional experience has been across a broad range of projects in the US, the UK and Australia, working for broadcast networks, feature film studios and independent producers as a post supervisor, producer, project consultant, manager and executive.
His most recent credits include VP of Studio Services at HBO  and VP of Post Production for Vice Studios. 

How does a supernatural drama series manage its way through Post Production, when a real life "Coronapocalypse" horror suddenly hits?

"Lessons Learned When Covid Hit, Post / Production Collaboration" features representatives from the AMC/BBC America series, "NOS4A2". Good communication is always important, and a solid workflow is essential for every show, so find out how this worked when Post Production was sent into home isolation, and how mutual trust became more important than ever to deliver the show. 

Thursday, October 29th at 4pm EST via ZOOM

PANELISTS:
Nate Overstrom, Creative Director, Zoic

Nate Overstrom has been drawing for as long as he can remember and applies his artistic talents to the world of VFX and animation. A fifteen+ year industry veteran, Nate is known for his mastery of CG and live-action compositing, having worked on dozens of projects that span across feature films, television shows and commercials. A Connecticut native, he earned a BFA in Computer Art from NYC’s School of Visual Arts in 2003. After graduation, he made his way out to Los Angeles and began his career at Zoic as an intern. After honing his technical and creative skills he transitioned back to the east coast to spend 2 years at Look Effects in NYC. Zoic recruited Nate in 2014 to spearhead its NY studio as a VFX Supervisor, where his work earned him three VES Award nominations as well as multiple Emmy nominations, including a 2016 Emmy nomination for “Outstanding Special Visual Effects” on the Amazon original series “The Man in the High Castle.” Nate continues to serve the New York office as Creative Director.
The Grey, Noah, Warm Bodies, The Man in the High Castle, White Collar, Quarry, Banshee, Quantico, Homeland, Lawless, Straw Dogs, Crossbones, Once Upon a Time, V, Prison Break, Marvel Studios: The Defenders, Marvel Studios: Iron Fist, Mother!, Hold the Dark, Dead Pigs, Manhunt: Unabomber, Warrior, WuTang: An American Saga, NOS4A2, Judas and the Black Messiah, The Many Saints of Newark.

Shana Fischer Huber, Producer

Shana Fischer Huber is a freelance Post Producer in Film and Television. She started her producing career on the Critically Acclaimed series “Once and Again” for Ed Zwick and Marshall Herskovitz.
Her most recent project with long-time collaborator Veena Sud, “The Lie” is a Blumhouse/Universal Pictures feature that premiered on Amazon Prime Video earlier this month as part of the “Welcome to the Blumhouse” series. Shana previously worked with Veena on the Pilot and 4 Seasons of the Award-Winning cult favorite “The Killing” for AMC and Netflix.
This summer she wrapped 2 seasons of the Genre show NOS4A2 for AMC, based on Joe Hill’s beloved novel. Prior to that she worked on several streamers including “Hand of God” for Amazon, “Seven Seconds” for Netflix and “The Red Road” for the Sundance Channel. Recent Premium projects for HBO include “Looking: The Movie” and Season 1 of the hit show “Insecure.”
Shana attended Loyola Marymount University School of Film and Television for graduate school. She is a long-time member of the Producer’s Guild of America. She lives in Los Angeles with her husband, son and yellow lab.

Carly Wilson, VFX Producer

Carly has worked in the VFX industry for over 10 years on both the vendor and show side and most recently was the VFX Producer for NOS4A2 Season 2.

MODERATOR:
Lauren Ritchie, VFX Producer / Post Supervisor

Lauren Ritchie has over 25 years of experience in the film industry. She began her career in NY producing music videos in the late 80's and then a few years later moved back to Los Angeles to work in film. She discovered her love of visual effects after working with James Cameron on the 1993 feature "True Lies". That then led to various production side and vendor side jobs and in 1998 asked to become the Senior VP in Charge of Visual Effects at Newline Cinema. At New Line she was responsible for overseeing such films as "The Lord of the Rings" and "The Golden Compass". After working at New Line Cinema for 10 years, she left and opened her own small boutique vfx company, Wildfire VFX, based in Los Angeles and New Orleans. Since moving to NY in 2014 she has worked show side on a variety of films including "Zoolander 2" and "The Greatest Showman". She currently resides in the East Village with her husband, son and dog Emily.

On the heels of World Mental Health Day this weekend, PNYA POST BREAK brings you “Building Mental Resilience in the Age of COVID”. We've all been experiencing varying levels of anxiety since March! According to a global study, 2020 is considered the most stressful year ever, and most of us aren’t sure how to deal with it. We bring you experts in various fields related to mental well being. They will share easy to use strategies that will help you in moments of stress.

Thursday, October 15th at 4pm EST via ZOOM

PANELISTS:
DEBBY GERMINO

Debby Germino is a film and television editor (Fargo, Agents of S.H.I.E.L.D., Smallville, Genius), endurance athlete and author of the Happiness in Training publication on Medium. She writes about happiness, health and mindful living. She has studied mindfulness for the past 10 years and enjoys helping and supporting others in creating happy and fulfilling lives. Happiness is a practice that can be strengthened with training. If you would like to become more resilient, less anxious, and enjoy more ease in life, download Debby’s Happiness in Training Starter Kit today.

MICHELLE COLT

Michelle Colt is passionate about helping people connect to their authentic selves, get past their perceived limitations and shine in their lives and careers.
She is a nervous system expert. For 16 years she has been teaching INSIDE GAME in New York City, Los Angeles and San Francisco.
Her clients consistently experience rich, powerful, lasting career and life changes. Equally important, they have “let go” of the resistances and fears that held them back and feel a rich connection to the pulse of life which gives them a deep sense of confidence, grounding and well being.

LILLIAN GALLINA

Lillian Gallina is a Licensed Clinical Social Worker at the Actors Fund ~ She supervises the Mental Health Program in the Eastern Region. The Actors Fund provides services to ALL professionals in performing arts and entertainment.
Lillian Gallina (she/her/hers), LCSW is a licensed clinical social work and supervisor at the Actors Fund, a human services organization serving all professionals in arts and entertainment. She oversees the Entertainment Assistance program, Eastern region, which provides emergency financial assistance, clinical case management, and mental health services to entertainment professionals. In addition to her work with individuals, she has developed and led a variety of workshops and trainings on such topics as Responding to Sexual Harassment, Addressing Workplace Dynamics, Managing Anxiety and Depression, and Identifying & Responding to Substance Abuse. Lillian holds a Masters of Social Work from Hunter College and a Bachelor of Science in Creative Arts Therapy from the New School.

MODERATOR:
Isabel Sadurni

Isabel has been working in documentary-filmmaking for nearly twenty years. Her work includes award winning feature-length documentaries and short narratives that have played in top-tier festivals such as Berlin, Telluride and Tribeca and on HBO, PBS and The Discovery Channel including the recently released WHAT SHE SAID THE ART OF PAULINE KAEL (Juno) and THE AMERICAN NURSE (Kino Lorber). She's collaborated with film professionals in over 35 countries and is currently writing a fictional multi-episode girl-gang Western. She's also collaborating with the creators of WisdomVR Project on a VR documentary project set in her home town of Mill Valley, California and Mount Tamalpais.

The Future of Post Production

“The Future of Post Production” will explore a post-Covid view of what post production might look like based on needs and preferences, specifically, predictions on services and workflows creatives will want to continue to lean into because it provides them a flexible or more creative way of working. We will get specific to remote, hybrid and on-premises workflows for ADR, Color, Offline Editorial, Sound, and delivery.

Thursday, October 1st at 4pm EST via  ZOOM

PANELISTS:
Chris Arruda, Post Supervisor

Chris began his career as a commercial producer. After a successful 26 year run producing TV campaigns, he made the switch to long form narrative post production. He cut his teeth as a post supervisor on shows like Happyish (Showtime), Vinyl (HBO), Gypsy (Netflix) and The Sinner (USA). Chris became head of post for Warrior (Cinemax) where he began his collaboration with showrunner Jonathan Tropper for 2 seasons on that fantastic show. He's now working with Tropper on Seasons 2 and 3 of SEE (Apple +)

Zak Tucker, CEO & President, HARBOR

Zak Tucker is the Co-Founder and CEO of HARBOR, a top-tier, global production and post-production studio serving the feature film, episodic, and advertising industries. For more than twenty years, he has been strategically disrupting to create the first end-to-end, cross genre, independent production studio of its kind.
Starting his career as an editor for commercials and documentaries, Zak soon progressed to directing. He launched Swete Post in 2000, which he grew successfully until the 2012 launch of HARBOR in Soho, NY. By 2018, Zak had built HARBOR from a staff of four and a footprint of 400 square feet, offering just two services, into a staff of one hundred and a campus of 70,000 square feet, offering the full range of production and post-production services. Zak’s skill, insight, business acumen, and holistic understanding of the creative community, have helped establish HARBOR’s reputation for delivering award-winning talent, service excellence, and technical innovation in a collaborative culture, as well as improving its financial performance year after year.
Notable feature and episodic post-production projects include, Once Upon A Time in Hollywood, directed by Quentin Tarantino for Sony Entertainment, The Irishman, directed by Martin Scorcese for Netflix, Solo: A Star Wars Story, directed by Ron Howard for Lucasfilm, Ocean’s 8, directed by Gary Ross for Warner Bros., Arrival, directed by Denis Villeneuve for Paramount, Billions, created by Brian Koppelman, David Levien and Andrew Ross Sorkin for Showtime, and Sweetbitter, executive produced by Stuart Zicherman for Starz. HARBOR’s advertising brand clients include American Express, Nike, Adidas, Swarovski, Gap, Victoria’s Secret, Dior, Versace, Estee Lauder, Tommy Hilfiger, Ralph Lauren, Tide, Mercedes, Toyota, Walmart, Citibank, Eliquis, Humira, Sanofi, Bounty, Olay, Crest, and Cascade.

Peter Postma, Managing Director of FilmLight Americas

Peter is Managing Director of the Americas at FilmLight, developing tools incorporated into the Truelight and Baselight systems. 
Previously Peter worked as a systems engineer at Eastman Kodak helping pioneer digital intermediate technology. Peter has taught seminars on colour management for production and post-production around the world and holds a BFA in Film and Animation from Rochester Institute of Technology.

MODERATOR:
Diana Dekajlo, Post Supervisor

Diana Dekajlo is a New York-based post production supervisor with extensive 4K/HDR experience. She began her career as a facility producer before moving to freelance post production supervising. She has experience in both the documentary and narrative spaces, including Abstract: The Art of Design (Netflix), Springsteen on Broadway (Netflix), The Case Against Adnan Syed (HBO), Divorce (HBO), and the upcoming The Queen's Gambit (Netflix). She is a member of the Post New York Alliance and the Producers Guild of America.

2020 Edition of our PNYA General Membership Meeting, open to members AND non-members, where we discussed the NY State Film & Television Tax Credit Program, our lobbying efforts and political updates. We will also discuss our latest diversity initiatives, PNYA membership levels, perks, committees, and upcoming events.

Wednesday, Sept 16th 

Via Zoom 10:00 - 11:15 AM


If you have any questions about joining or renewing your membership, please email membership@postnewyork.org.

A Conversation about Color Finishing: Demystifying the Use of Rec 709

This week we have a conversation between DI colorists on the use of Rec 709.

Thursday, Sept 17th at 4pm EST via ZOOM

PANELISTS:
Lucie Barbier-Dearnley, Senior Colorist / SIM New York

Lucie, Senior Colorist at Sim New York, is passionate about color grading and brings expansive credits across features, episodic television, and documentaries. Originally from France, Barbier-Dearnley studied at the Université Sorbonne Nouvelle and L'Ecole des Nouveaux Métiers de la Communication in Paris, and at New York Institute of Technology. Her studies in fine arts and her passion for painting provided the perfect education for her move into color grading. She began her career in post-production at Company 3 New York, as a Digital Restoration Specialist. After transferring to the company's London facility, she advanced to Color Assistant, Junior Colorist, and ultimately Colorist. Her recent credits include the feature film You Should Have Left, and the documentary series Hillary and High Score.

Sean Dunckley, Senior Colorist / Light Iron New York

Light Iron Senior Colorist Sean Dunckley has collaborated with some of the industry’s top talent in the feature, commercial and episodic worlds. Since joining Light Iron in 2013, his credits have included the features The Night House, Villains, Late Night, Brittany Runs a Marathon and Life Itself. In the episodic world, Sean has collaborated on such celebrated series as Girls, Tales of the City and Dickinson. In his spare time, he enjoys hitting the links and has played a good percentage of the top 100 golf courses in America.

Moderator:
Freddy Hernandez, Director of Business Development /Light Iron New York

Freddy Hernandez joined Light Iron’s Los Angeles facility in 2016 as a DI producer and recently moved to Light Iron New York to serve as Director of Business Development. With more than 10 years of experience, his credits include Transformers, The Lone Ranger, The Circle, A Star Is Born, 24 Hours to Live, Ingrid Goes West, Last Flag Flying and Hot Summer Nights. Freddy represents Light Iron as a member of the Post New York Alliance and is a frequent public speaker on post-production topics. 

Post Break- The Business of Animation: Past, Present and Future

Animation house owners in conversation about the pre and post pandemic landscape, how tax credits help or hurt and what positions are animation companies looking to fill.

Thursday, August 27th at 4pm EST via ZOOM

PANELISTS:
James Belfer, Founder and CEO, Cartuna

James Belfer is the Founder and CEO of Cartuna - an award-winning, Brooklyn based, full-service animation studio. James has executive produced original series with NBCU, Comedy Central, Quibi, SYFY and Snap Originals. He executive produced the first two adult animated series for Facebook Watch, one of which was nominated for Best TV Production at the 2019 Annie Awards. Additional original series have been licensed to Comcast, IFC and Comedy Central. Recently Cartuna produced the new animated opening sequence for the At-Home Edition of the Tonight Show Starring Jimmy Fallon, a 30-minute special report for HBO's VICE News Tonight, and animated segments for Showtime’s Desus and Mero.
As an independent film producer, James has produced thirteen feature films - four animated and nine live-action. He has premiered work at the Sundance Film Festivals eight times, winning the 2011 Grand Jury Prize for the film Like Crazy and a 2016 Special Jury Prize for the animated documentary NUTS!. His films have also premiered at SXSW, Berlinale (Golden Bear for Best Director), Annecy International Animation Film Festival, Ottawa International Animation Festival, Tribeca Film Festival and Toronto International Film Festival. His films have been acquired by Paramount Pictures, Amazon Studios, Shudder, Magnolia Pictures, IFC Films, Sony, Anchor Bay and Kino Lorber.
James is a graduate of Northwestern University and received his MBA from NYU Stern School of Business. Since 2013 James has been an Adjunct Professor for NYU Tisch School of the Arts. Currently, James resides/quarantines in Brooklyn, NY with his dog Leela.

Mary Nittolo/ Founder/ECD

Mary was born in Brooklyn and except for a 2 year stint in San Francisco has lived in NY her entire life. Her segue from street kid with a Rosie Perez accent to a degree in Philosophy and Comparative Religions to Founder and Creative
Director is largely based on the native Brooklynite’s penchant for self invention.
She founded the STUDIO, a creative production and animation company, just over 30
years ago. Her clients include everyone from media giants like Disney and Viacom to
major brands, museums, artists and filmmakers, start-ups, non-profits, etc., essentially
creating for them the images that are needed to persuade, influence and inspire. the
STUDIO’s projects have included feature films, Museum exhibitions, Time Square &
Stadium takeovers, installations, data visualization, internal communications, advertising,
social media content, and so on.
In addition to her role at the STUDIO, she is an adjunct professor at NYU and serves on the Advisory Board of AoIT High School in Brooklyn, NY.
She is proudest however of having been a single mother of two extraordinary daughters
both active voices for social change.

MODERATOR:

Yana Collins Lehman, Chairman of the PNYA Board & President and COO of Trevanna Post - Yana currently oversees strategy and operations of the New York, Los Angeles and London offices, overseeing a staff of 40. She has been a post production accountant at Trevanna, working on feature films and television shows since 2004. She is an active member of Local 161.

Expanding the Community (Audio)

Post Break- Interrupting our Regularly Scheduled Program: Expanding the Community

The Post New York Alliance (PNYA) has always been an association of film and television post production facilities, labor unions and individuals operating in New York but what initiatives has the PNYA taken to expand our post community? How can we make a lasting difference now?

This episode discusses the newest opportunities the PNYA is working on: networking one-on-one or in group settings, workshops, building accessibility to other post professionals or just getting to know your peers.

Find out about our upcoming programs and events. Learn more on how you can get involved.

Thursday, August 20th at 4pm EST via ZOOM

Post Break - Making Moves: How To Get Promoted in Post

This week’s post break will focus on moving up and advancing in the post industry. Hear from our panelists on how they made the jump from one position level to another, what their expectations were, any surprises they had along the way, and how their experiences may have differed.

Thursday, August 13th at 4pm EST via ZOOM

PANELISTS:
Gloria Tello, Apprentice Editor

Gloria has worked in NY post production for the past five years. She recently transitioned into the world of assistant editing as an Apprentice Editor on Lee Daniels’ The United States vs Billie Holiday. Before that, she worked as a Post PA on four narrative features and one television series. With the goal of editing feature films, she continually edits shorts and web-series on the side.

David Massachi, Assistant Editor & Editor

David Massachi is a film editor who has worked in post-production for over 20 years. He started his professional career in Portland, Ore., where he edited several live-action and animated shorts, as well as many commercials and industrials. He relocated to New York City in Sept 2001, and worked as an assistant editor on films by noteworthy directors including James Ivory, Ron Howard, David Chase, and the Coen brothers. Massachi was the additional editor on Foxcatcher, Allegiant, and The Nutcracker And The Four Realms. He was the editor of the feature film Dixieland (dir: Hank Bedford), which premiered at the Tribeca Film Festival, as well as the award-winning shorts Approaching A Breakthrough and Lefty/Righty. Most recently, he was the assembly editor for the HBO mini-series The Undoing (dir: Susanne Bier), and the editor of The Laureate (dir: William Nunez), an independent feature currently in post-production. 

Shelby Siegel, Editor ACE

Shelby Siegel is an Emmy award winning film and television editor that has been working in New York for over twenty years. She began her career with some of the industry’s top directors: Paul Haggis, In the Valley of Elah, Mike Nichols Charlie Wilson’s War and Ang Lee on his Oscar winning films, Crouching Tiger, Hidden Dragon and Brokeback Mountain. In addition, Shelby worked on the critically acclaimed series The Wire.
After The Wire, she worked as an editor on Andrew Jarecki’s Capturing the Friedmans (DVD) and All Good Things, Jonathan Caouette‘s Tarnation, Gary Hustwit’s Helvetica and Urbanized. Other projects include Jared Leto’s Artifact (Supervising Editor) and Zach Heinserling’s Oscar nominated documentaryCutie & The Boxer (Consulting Editor). She won both an Emmy and ACE award for her work on the acclaimed HBO six-part series The Jinx: The Life and Deaths of Robert Durst. Most recently Shelby edited episodes of Quantico (ABC), High Maintenance (HBO) and The Deuce (HBO).

Jamal Bilal, Post Production Supervisor

Jamal has worked on the likes of The Deuce, Quantico, and Tommy. Over the last ten years, Jamal has gained experience in both production and post-production honing his craft as a storyteller and expressing it through writing, producing, and directing. In 2020 he had his directorial debut at the New Faces, New Voices film festival where The Norm won the audience choice award. He has written and produced two comic books, the latest of which, Half Breeds was released this year and has been well received. He produced the indie feature Long Goodbye, among several shorts. Jamal had many adventures before finding his way into film and television. Jamal Bilal was born on an island in the Caribbean known as TNT. One filled with sorrel and sand, as opposed to the island with subways and skyscrapers he lives in today. He is a storyteller, who has enjoyed many detours working as an airplane cleaner and loader, an academic advisor at a community college, and he's even spent a little time on the line as a steakhouse cook. Jamal is also a burgeoning entrepreneur having founded two fledgling companies both in the pursuit of developing outlets for creators to show their talents. Same But Different is a film development and production company, and Between The Page turns written poems and stories into wearable art. But Jamal isn't all work, he enjoys learning to surf, reading sci-fi and fantasy novels and the odd comic book, riding his bike and lifting things up and putting them down.
See some of Jamal's work at www.jamalbilal.com.

MODERATOR:
Claire Shanley, Post Producer

Claire Shanley is a Post Producer whose recent projects include The Plot Against America and The Deuce. Her background also includes post facility & technical management roles, among them Managing Director for Sixteen19, Technical Director for Broadway Video, and others. She Co-Chairs the Board of Directors of the NYC LGBT Center and serves on the Advisory Board of NYWIFT (NY Women in Film & Television).

The Post New York Alliance Education & Events Committee

postnyalliance.slack.com

Post Break: Re-imagining Post Production During and After COVID-19

Re-imagining post production during and after the pandemic. How are facilities handling their clients and staff remotely and the re-opening of their facilities? Is remote post production the new normal? Join us to chat with a variety of post facilities in NY about their current and future plans.

Thursday, August 6th at 4pm EST via ZOOM

PANELISTS:
Kim Spikes, SIM NY

Currently the Senior Vice President of Post in New York, Kimberly has been with Sim, previously FactoryNY, for over 11 years. Along the way, she has overseen five facilities throughout SoHo, TriBeCa and Brooklyn providing dailies, offline, picture and sound finishing to hundreds of film and television shows

Rochelle Brown, The Mill 

Rochelle is a PNYA Company Board member with 20 years of TV/Film Production experience beginning in 2000 in commercial broadcast production and moving into post in 2007. Her cutting-edge expertise has catapulted her to become an Executive Producer at The Mill Group, in NY where she currently manages the telecine department supporting both long and short form projects ranging from commercials and music videos to scripted and feature films.

Carlie Bergman, Soundtrack NY

Carlie joined the Soundtrack family in 2003 after receiving her Bachelor of Science Degree in Sound Recording Technology. Originally working on the stages as an ADR recordist she soon moved her focus toward ADR Scheduling and management of Soundtrack’s episodic and long form work. Her time on the ADR Stage gave her a unique skill set and perspective of workflow that she uses for all the projects she looks after. Carlie aims to make the post sound process as easy and stress-free as it can be.

Stina Hamlin, East Coast Digital

Stina Hamlin, Director of Post Production at East Coast Digital, is also a traditional producer and an award-winning VR creator. A long time member of the Producers’ Guild, she continues to be an active member of the New York creative media community. In her 20 year career, she has worked in many positions; from being in the field, to production management, and finally landing in post production supervision. Being of Cherokee and Choctaw descent, her focus is on projects that amplify Indigenous voices, in front of and behind the camera. In addition to running East Coast Digital, she is currently working on XR project, Blood Memory: The Experience, Red House Series, a multi-platform project, and she produces and edits the podcast, Not Invisible: Native Womxn on the Frontlines.

MODERATOR:
Russ Hammonds, Producer

Russ Hammonds is a producer with over ten years of experience in post production and supervision for scripted episodic television. Recent credits include Netflix’s interactive project, “Unbreakable Kimmy Schmidt: Kimmy Vs. The Reverend”, and Syfy’s “Happy!” Prior to joining the post community, Russ worked as a talent manager, representing actors.
Russ also serves as a co-founding board member of The Uncomfortable Conversation, which produces shortform video content dedicated to normalizing conversations around sexual violence, particularly among young men.

The Post New York Alliance Education & Events Committee

postnyalliance.slack.com

POST BREAK- Music Edit: Make Em' Laugh, Make Em' Cry, Scare the Hell Out of Em'

What is Music Editing? What are the differences between features/docs and scripted TV? How the scale of the gig, budget, time can determine the job? A step by step process from getting hired, to spotting sessions, temp score vs composers or source music, recording music, creating sessions and stems for mixes through final delivery. We'll address what needs to change to help break into the industry.

Tomorrow, Thursday, July 30th at 4pm EST via ZOOM

PANELISTS:
Shari Johanson

Shari is a NYC-based music editor who has been working in the film and television industry for nearly 30 years. She has collaborated with directors such as Milos Forman, Cary Fukanaga, and Kevin Smith, as well as with composers such as R.E.M., Howard Shore, and Hans Zimmer, among others.
Shari won a Motion Picture Sound Editors Golden Reel Award for Best Music Editing for her work on the film High Fidelity, and was nominated for the M.P.S.E Golden Reel Award for both the Showtime series Billions as well as for the Netflix limited series Maniac.
Additional credits include the Oscar- and Golden-Globe winning biopic I, Tonya; the HBO sensation Bad Education; the Emmy-winning hit series True Detective; the Netflix original series Marco Polo; and most recently, John Turturro’s Jesus Rolls.

Dan Evans Farkas

Dan has been a music editor since the mid-90s. He’s worked with composers Jeff Russo, Jeff Beal, Howard Shore, Marc Shaiman, Shigeru Umebeyashi and a host of others. A sampling of directors/showrunners: Michael Moore, Sidney Lumet, Nora Ephron, Noah Hawley, Steve Zaillian, Jonathan Tropper, John Cameron Mitchell, Darren Aronofsky. 
Project highlights: The Impractical Jokers: The Movie, The Night Of (2016), Let’s Be Cops (2014), Smash (2012-13), Winter’s Bone (2010), The Wrestler(2008), SiCKO (2007), Ed (2001-2003) and The Game (1997). 
His career is a long justification for having all those records and CDs. 

Jennifer Dunnington

Jennifer has worked with critically acclaimed directors such as Martin Scorsese, Rob Marshall, Peter Jackson, Ang Lee, Mira Nair, Barry Levinson and David Cronenberg among others. Her projects range from large musicals to intimate documentaries and include films such as Mary Poppins Returns, The Irishman, Spotlight, The Wolf of Wall Street, Into The Woods, The Hobbit: An Unexpected Journey, George Harrison: Living in the Material World andBoardwalk Empire. She is currently working on In The Heights.
She has won several Motion Picture Sound Editors’ Golden Reel awards and a prime-time Emmy award.

Todd Kasow 

Todd has over 120 films to his credit, including a 30 year collaboration with Carter Burwell and the Coen Brothers. He iknows all the ins and outs of film and film mixing while also being able to act as a creative producer on the scoring stage and in the mix studios. His collaborative skills between composers and directors have always kept him in high demand. Directors he’s worked with include Ethan and Joel Coen, Alan J Pakula, Martin Scorsese, Todd Haynes, Bill Condon, George C Wolfe, Michael Mann, Nora Ephron, Robert DeNiro, and Ted Demme. He’s worked with top composers including, Carter Burwell, Elliot Goldenthal, Howard Shore, Alexander Desplat, Nicholas Britell, Branford Marsalis, Terence Blanchard, Robert Glasper, Antonio Pinto, Burt Bacharach, Robbie Robertson Gil Evans, and many others. While continuing to work, Todd made an effort to give back to the next generation for the last 7 years teaching Music Editing for Motion Pictures at NYU.

MODERATOR:
David Woods, Producer

David is an experienced Award-Winning Producer, Post Production Supervisor, and Filmmaker with experience on scripted television shows, documentary feature films, scripted feature films and short films.

REGISTER HERE  If you have any questions or suggestions, email membership@postnewyork.org  or in the #member_events channel of our  PNYA Slack Workspace .

The Post New York Alliance Education & Events Committee

postnyalliance.slack.com

New York State Post Production Community,

The 13th in our series, POST BREAK- Anatomy of a Scene: Breaking Down the Editing Process. Industry veterans, Shannon Baker Davis and Allyson Johnson will discuss the art and craft of film editing by breaking down their favorite scenes while giving us an insight into their creative process. 

Thursday, July 23rd at 4pm via ZOOM

The following projects and scenes will be discussed.

-The Get Down: P1/Ep5. Netflix—First 10 minutes of the episode.
-The Photograph: Universal Pictures—First 10 minutes of the feature film.
-#BlackAF: S1/EP5. Netflix—Video Call with Kenya Barris, Issa Rae, Ava Duverney, etc. (start at 37:20 to 42:37)

PANELISTS:

Shannon Baker Davis, ACE 

Shannon is an award-winning television and film editor, who began her career in New York, editing unscripted shows and documentaries. After 10 years working on many iconic and Emmy-winning shows such as Top Chef and Project Runway, Shannon began adding narrative television and feature films to her resume. Her credits include Insecure, from Issa Rae, Grown-ish, a spin-off of the highly acclaimed series, Black-ish, from creator, Kenya Barris and Queen Sugar, from creator Ava DuVernay. In features, she edited Armstrong, starring Vicky Jeudy, Sean Parsons, Jason Antoon and Kevin Pollak, and The Weekend (Lionsgate), starring Sasheer Zamata, Tone Bell and DeWanda Wise, from director, Stella Meghie. The Weekend had it’s World Premiere at Toronto Film Festival in 2018, and screened at AFI Fest, South by Southwest and Tribeca Film Festival. Next, she cut the feature, The Obituary of Tunde Johnson, directed by Ali LeRoi (creator, Everybody Hates Chris) which premiered at TIFF in 2019. Shannon reunited with Stella Meghie on The Photograph (Universal), starring Issa Rae and LaKeith Stanfield. Her most recent project is the Netflix series #blackaf, created by Kenya Barris (Black-ish, Grown-ish, Mixed-ish), which stars Barris and Rashida Jones. Her series and film credits run the gamut, from funny to heartbreaking, provocative to visual-effects-heavy and action-packed. She is a member of ACE, where she is a mentor in their Diversity Mentorship Program, and she is the Co-chair of the African-American Steering Committee of the Motion Picture Editors Guild. Shannon grew up in Augusta, GA, earned degrees from Howard University and The American Film Institute, and resides in Los Angeles, CA, with her husband and 2 children.

Allyson C. Johnson, ACE

Allyson graduated from SUNY Purchase with a BFA in Clarinet Performance and lives in Jersey City, NJ with her wife and son. Her editing career began in documentaries working with Bill Moyers at PBS and then moving into Rockumentaries such as Say It Loud: A Celebration of Black Music in America and The Who’s Tommy: The Amazing Journey for which she received an Emmy nomination. Johnson’s move into narrative began with Spike Lee’s He Got Game and Summer of Sam where she was Associate Editor to Barry Alexander Brown. Her feature work as an editor includes such works as: Mira Nair’s Monsoon Wedding (2001 Golden Lion winner for Best Film at the Venice Film Festival) The Namesake and Vanity Fair plus Evening. To Dust which won the audience award and Best New Director at the Tribeca Film Festival, Griffin Dunne’s Fierce People and Rock & Roll films like Prey for Rock & Roll and Losers Take All. Her television work includes: Smash, The Wire, The Slap and The Good Fight among others. For Netflix she edited Baz Luhrmann’s The Get Down, Marco Polo, Soundtrack and Armistead Maupin’s Tales of the City. Allyson is currently editing the Apple TV series Mosquito Coast and is temporarily working remotely from her cabin in upstate NY until life goes somewhat back to normal.

MODERATOR:
Isabel Sadurni, Producer & Editor 

Isabel has been working in documentary-filmmaking for nearly twenty years. Her work includes award winning feature-length documentaries and short narratives that have played in top-tier festivals such as Berlin, Telluride and Tribeca and on HBO, PBS and The Discovery Channel including the recently released WHAT SHE SAID THE ART OF PAULINE KAEL (Juno) and THE AMERICAN NURSE (Kino Lorber). She's collaborated with film professionals in over 35 countries and is currently writing a fictional multi-episode girl-gang Western. She's also collaborating with the creators of WisdomVR Project on a VR documentary project set in her home town of Mill Valley, California and Mount Tamalpais.

The Post New York Alliance Education & Events Committee

postnyalliance.slack.com

New York State Post Production Community,

Join the Post NY Alliance & the Visual Effects Society for the 2nd part of our event  POST BREAK: VFX Solutions to Covid Problems - Part II

A continuation of Panel I, we will explore the new workflows, new teams, shifting schedules and new technology available to help solve some of these post-COVID problems. We'll be taking an in-depth look at traditional VFX vs Virtual Production; Where does one excel over the other? What are the capabilities and potential pitfalls? How might it change our workflows and how can we prepare for the future? We'll be discussing this and more with experts in the fields of Virtual Production, LED, VFX Compositing and CG. Join us to listen and bring your questions to the table!

Thursday, July 16th at 4pm via ZOOM

New York State Post Production Community,

Join the Post NY Alliance & the Visual Effects Society for the 2nd part of our event  POST BREAK: VFX Solutions to Covid Problems - Part II

A continuation of Panel I, we will explore the new workflows, new teams, shifting schedules and new technology available to help solve some of these post-COVID problems. We'll be taking an in-depth look at traditional VFX vs Virtual Production; Where does one excel over the other? What are the capabilities and potential pitfalls? How might it change our workflows and how can we prepare for the future? We'll be discussing this and more with experts in the fields of Virtual Production, LED, VFX Compositing and CG. Join us to listen and bring your questions to the table!

Thursday, July 16th at 4pm via ZOOM

PANEL II-PANELISTS:

Leslie Chung, VFX Supervisor

Leslie’s dreams of being an artist began when she was three years old, drawing on the walls and furniture of her childhood home in New York City. In time, her artistic pursuits led her to the School of Visual Arts, where she majored in computer art before landing in the world of VFX. Now a 12 year veteran of the industry, the roster of studios she has worked for is numerous. Some highlights include several years at Psyop, Look FX, MPC, and now Crafty Apes. Leslie has worked on commercials, game cinematics, films and TV shows as a compositor, producer, and supervisor, with credits including VFX designer for The Knick, Midsommar, Deadpool 2, Boardwalk Empire, Marvel Runaways and most recently 3 seasons of Star Trek Discovery. In addition to her day job, she has also spent the last six years helping to grow the VFX community in New York, and has been heavily involved on the VES New York board as a past chair officer. But she still makes time for her artistic passions, including illustration, painting, and photography, along with taking care of her three adorable pet rats.

David Eschrich, CG Supervisor / On-Set Supervisor / VESNY Co-Chair

David Eschrich is a seasoned CG supervisor with extensive experience across episodic, feature film and commercial. A self-taught artist, he built his own portfolio and left a career in finance to become a highly sought after artist and now supervisor in the NYC VFX industry. He has worked for top NYC shops including The Mill, Look Effects, Brainstorm Digital, The Molecule and Alkemy X, and is currently at Zoic studios. His credits include work on films and episodics such as Noah, Warrior, Iron Fist, The Walking Dead, Game of Thrones, Homeland and The Lost City of Z. David is an active member of the visual effects community and currently serves on the VES New York board as Co-Chair.

Robert Keyghobad, Virtual Productions Producer

Robert Keyghobad began his career in Hollywood working for former Sony Pictures Entertainment CEO Peter Guber. Over the past 20 years, Robert set up several major studio deals including the acclaimed HBO series “Carnivále,” and the detective comedy “Honey Vicarro” with Jenny McCarthy at 20th Century Fox and Fox Broadcasting Corporation. Robert has also worked on numerous projects with artists such as screenwriter-producer David S. Goyer (Man of Steel), pilot director David Nutter (Game of Thrones), and producer David Heyman (Harry Potter).
After working on director Robert Zemeckis’ “A Christmas Carol,” and Disney’s “Tron Legacy,” Robert took a position with video game developer Electronic Arts (EA) at its worldwide virtual production studio in Vancouver, Canada. In this role, Robert oversaw all aspects of EA’s worldwide physical and virtual production. From there he worked as Consultant/UPM on the Starz sci-fi drama series “Incursion,” created by Steven DeKnight (Spartacus); as Virtual Production Producer for Legendary and Universal Studios on “Warcraft”; and as Production Consultant/UPM on Alejandro G. Iñárritu’s virtual reality short, “Carne y Arena” for Prada/Legendary Entertainment.
Robert then took an executive consulting position at Netflix, and in that capacity covered over 50 International Original series. He returned to the freelance market and is currently consulting for Amazon Studios.

Dan Pack, Managing Director

Dan Pack has been working in NY production and post for nearly the past 20 years. As a founding partner and Managing Director of Brooklyn-based Silver Spoon, Dan Pack oversees all production, client relationships and R&D, notably in the ever expanding field of virtual production. Dan and his team have contributed their motion capture and animation services to numerous commercials, video games, television shows, and features, with recent innovations in real-time character animation, broadcast AR and LED wall production. Prior to Silver Spoon, he held the position of Director of Business Development for Click 3X, and served as an Executive Producer for ASB, a global 3D previz shop. He began his career as a production assistant at Aero Film before joining Grey NY as a producer.

MODERATOR PART II:
Tehmina Beg, VFX Supervisor, VESNY Treasurer

Tehmina grew up in a family of artists, musicians and engineers - and has always had a keen interest in photography, science, and world building. From a very early age, she wanted to understand everything needed to create what she imagined. She studied audio engineering, film and computer science and then worked as a programmer for four years before transitioning into visual effects through NYUs Digital Imaging Masters program. She started as a 3D artist in commercials, working for studios such as MassMarket, The Mill and MPC. She gained experience in over 20 of the VFX studios in New York, before moving into episodics where she became well versed in matte painting and compositing techniques. Her first on set experience was with AMCs docu-drama, Making of The Mob, where she fell in love with the magic of the film world. She has since gone on to supervise on 11 shows including Roman Empire, Manifest, Wu-Tang American Saga, Defenders and Miracle Workers. She has also worked as a senior artist on countless shows with Stephen David and Zoic studios and is currently a VFX supervisor with The Molecule. Tehmina serves on the New York VES board as treasurer and is an active advocate for the visual effects community.

REGISTER HERE  If you have any questions or suggestions, email membership@postnewyork.org  or in the #member_events channel of our  PNYA Slack Workspace .

The Post New York Alliance Education Committee

postnyalliance.slack.com

New York State Post Production Community,

Join the Post NY Alliance & the Visual Effects Society for the 2nd part of our event  POST BREAK: VFX Solutions to Covid Problems - Part II

A continuation of Panel I, we will explore the new workflows, new teams, shifting schedules and new technology available to help solve some of these post-COVID problems. We'll be taking an in-depth look at traditional VFX vs Virtual Production; Where does one excel over the other? What are the capabilities and potential pitfalls? How might it change our workflows and how can we prepare for the future? We'll be discussing this and more with experts in the fields of Virtual Production, LED, VFX Compositing and CG. Join us to listen and bring your questions to the table!

Thursday, July 16th at 4pm via ZOOM

New York State Post Production Community,

Join the Post NY Alliance & the Visual Effects Society for the 2nd part of our event  POST BREAK: VFX Solutions to Covid Problems - Part II

A continuation of Panel I, we will explore the new workflows, new teams, shifting schedules and new technology available to help solve some of these post-COVID problems. We'll be taking an in-depth look at traditional VFX vs Virtual Production; Where does one excel over the other? What are the capabilities and potential pitfalls? How might it change our workflows and how can we prepare for the future? We'll be discussing this and more with experts in the fields of Virtual Production, LED, VFX Compositing and CG. Join us to listen and bring your questions to the table!

Thursday, July 16th at 4pm via ZOOM

PANEL II-PANELISTS:

Leslie Chung, VFX Supervisor

Leslie’s dreams of being an artist began when she was three years old, drawing on the walls and furniture of her childhood home in New York City. In time, her artistic pursuits led her to the School of Visual Arts, where she majored in computer art before landing in the world of VFX. Now a 12 year veteran of the industry, the roster of studios she has worked for is numerous. Some highlights include several years at Psyop, Look FX, MPC, and now Crafty Apes. Leslie has worked on commercials, game cinematics, films and TV shows as a compositor, producer, and supervisor, with credits including VFX designer for The Knick, Midsommar, Deadpool 2, Boardwalk Empire, Marvel Runaways and most recently 3 seasons of Star Trek Discovery. In addition to her day job, she has also spent the last six years helping to grow the VFX community in New York, and has been heavily involved on the VES New York board as a past chair officer. But she still makes time for her artistic passions, including illustration, painting, and photography, along with taking care of her three adorable pet rats.

David Eschrich, CG Supervisor / On-Set Supervisor / VESNY Co-Chair

David Eschrich is a seasoned CG supervisor with extensive experience across episodic, feature film and commercial. A self-taught artist, he built his own portfolio and left a career in finance to become a highly sought after artist and now supervisor in the NYC VFX industry. He has worked for top NYC shops including The Mill, Look Effects, Brainstorm Digital, The Molecule and Alkemy X, and is currently at Zoic studios. His credits include work on films and episodics such as Noah, Warrior, Iron Fist, The Walking Dead, Game of Thrones, Homeland and The Lost City of Z. David is an active member of the visual effects community and currently serves on the VES New York board as Co-Chair.

Robert Keyghobad, Virtual Productions Producer

Robert Keyghobad began his career in Hollywood working for former Sony Pictures Entertainment CEO Peter Guber. Over the past 20 years, Robert set up several major studio deals including the acclaimed HBO series “Carnivále,” and the detective comedy “Honey Vicarro” with Jenny McCarthy at 20th Century Fox and Fox Broadcasting Corporation. Robert has also worked on numerous projects with artists such as screenwriter-producer David S. Goyer (Man of Steel), pilot director David Nutter (Game of Thrones), and producer David Heyman (Harry Potter).
After working on director Robert Zemeckis’ “A Christmas Carol,” and Disney’s “Tron Legacy,” Robert took a position with video game developer Electronic Arts (EA) at its worldwide virtual production studio in Vancouver, Canada. In this role, Robert oversaw all aspects of EA’s worldwide physical and virtual production. From there he worked as Consultant/UPM on the Starz sci-fi drama series “Incursion,” created by Steven DeKnight (Spartacus); as Virtual Production Producer for Legendary and Universal Studios on “Warcraft”; and as Production Consultant/UPM on Alejandro G. Iñárritu’s virtual reality short, “Carne y Arena” for Prada/Legendary Entertainment.
Robert then took an executive consulting position at Netflix, and in that capacity covered over 50 International Original series. He returned to the freelance market and is currently consulting for Amazon Studios.

Dan Pack, Managing Director

Dan Pack has been working in NY production and post for nearly the past 20 years. As a founding partner and Managing Director of Brooklyn-based Silver Spoon, Dan Pack oversees all production, client relationships and R&D, notably in the ever expanding field of virtual production. Dan and his team have contributed their motion capture and animation services to numerous commercials, video games, television shows, and features, with recent innovations in real-time character animation, broadcast AR and LED wall production. Prior to Silver Spoon, he held the position of Director of Business Development for Click 3X, and served as an Executive Producer for ASB, a global 3D previz shop. He began his career as a production assistant at Aero Film before joining Grey NY as a producer.

MODERATOR PART II:
Tehmina Beg, VFX Supervisor, VESNY Treasurer

Tehmina grew up in a family of artists, musicians and engineers - and has always had a keen interest in photography, science, and world building. From a very early age, she wanted to understand everything needed to create what she imagined. She studied audio engineering, film and computer science and then worked as a programmer for four years before transitioning into visual effects through NYUs Digital Imaging Masters program. She started as a 3D artist in commercials, working for studios such as MassMarket, The Mill and MPC. She gained experience in over 20 of the VFX studios in New York, before moving into episodics where she became well versed in matte painting and compositing techniques. Her first on set experience was with AMCs docu-drama, Making of The Mob, where she fell in love with the magic of the film world. She has since gone on to supervise on 11 shows including Roman Empire, Manifest, Wu-Tang American Saga, Defenders and Miracle Workers. She has also worked as a senior artist on countless shows with Stephen David and Zoic studios and is currently a VFX supervisor with The Molecule. Tehmina serves on the New York VES board as treasurer and is an active advocate for the visual effects community.

REGISTER HERE  If you have any questions or suggestions, email membership@postnewyork.org  or in the #member_events channel of our  PNYA Slack Workspace .

The Post New York Alliance Education Committee

postnyalliance.slack.com

Post Break 11 - VFX Solutions to Covid Problems: Part I

How can Visual Effects help production & post in a post Covid Landscape? These two panels will join Visual effects experts and have conversations geared towards post production. The initial panel will be an overall view of what is being asked of Visual Effects and what that means for production and post. The second panel would be covering and discussing new technology and new tools Visual Effects can offer.

Thursday, July 9th at 4pm via ZOOM

PANEL I:

Jim Rider, Visual Effects Supervisor

Jim Rider is a NYC-based visual effects supervisor with 30 years of experience in the industry. After starting his career in New York in commercial production, Jim moved to Los Angeles in the ’90s, where he specialized in motion control camera work and models/miniatures, shooting fun things like spaceships for Star Trek and submarines for Titanic. As the industry moved toward more digital visual effects, Jim transitioned to Flame and Nuke compositing, working as an artist and VFX supervisor at facilities such as Method, Gravity and The Mill. As an independent visual effects supervisor, Jim is able to bring his extensive on-set experience as well as post-production knowledge to help clients solve problems and bring their projects to life. Jim’s recent credits include The Plot Against America, The Deuce and Fahrenheit 451.

Julie Long, Visual Effects Producer

Julie Long is an award-winning Visual Effects Producer for Film and Television. After graduating from NYU's Tisch, she began her career at CHRLX, an animation and design studio in New York. She went on to join the initial VFX team at Shade New York, where she discovered her passion for producing. In her four years at Shade, she led her team to Emmy nominations and awards for their work on Marvel / Netflix's Daredevil and HBO's Westworld. Following Shade, Julie explored working production side, joining the VFX production team for Sci-Fi’s Happy! Season 2. Missing direct collaboration with the artists and working on multiple projects at a time, she decided to return back to the vendor side and helped establish the Episodic Department at Framestore New York, alongside Creative Director, John Kilshaw. Julie's passion for visual effects is deepened by her team's enthusiasm for the work and collaborating with creatives to help realize their vision

Greg Anderson, VFX Supervisor/Head of Studio

Greg Anderson is currently Sr. VFX Supervisor and Head of Studio for the New York office of FuseFX, a global visual effects studio for television, features and commercials. He started the office in 2014 and since then, it has grown to over 70 employees. In his role as VFX Supervisor, most recently, he supervised the visual effects for the Netflix limited series, When They See Us, written and directed by Ava DuVernay. He has directly supervised the visual effects for several hit Marvel television shows as well; Luke Cage, The Punisher and Iron Fist. In addition, he has overseen the work on several other award-winning shows like The Blacklist, The Get Down and Mr. Robot; the last of which, he and his team were nominated in 2018 for an Emmy in the category of Outstanding Special Visual Effects in a Supporting Role.
Originally from St. Louis, Greg attended Massachusetts Institute of Technology and earned a B.S. in Art and Design and an M.S. with a focus in Design and Computation, both from the School of Architecture and Planning. He started his career at Sony Pictures Imageworks designing the visual effects for several blockbuster, Oscar-nominated features including Starship Troopers, Hollow Man, Spider-Man and Matrix Revolutions. He then transitioned into advertising as a visual effects supervisor and director of campaigns for Target, Nissan, Microsoft, and many others. In 2009, he co-founded his own design/vfx studio called burn.crash.repeat., producing promos for MTV, Comedy Central and OWN. This experience led to his current position with FuseFX.
Greg is a member of both the Television Academy and the Academy of Motion Picture Arts and Sciences.

Lotta Forssman, VFX Supervisor / VESNY Board Member

Lotta Forssman is a VFX supervisor at The Molecule VFX. She grew up in Sweden prior to graduating College at Ohio University with a major in Video Production and minor in film.
She was introduced to the world of Post-production at her first internship on a Swedish Game Show. She started as a PA then got experience as an Assistant Editor and Motion Graphics Artist before making a move into Visual Effects. In 2009 she moved to New York and in 2010, joined The Molecule team as an artist. From there she transitioned to a VFX editor and worked her way up to a Visual Effects Producer and now, Visual Effects Supervisor. Experience being the best teacher, Lotta credits her understanding of the full process to her having had many seats within the company.
Some of the projects Lotta has overseen as VFX Supervisor have been Ballers for HBO, Good Cop, Master of None & Gypsy for Netflix, Red Oaks for Amazon and most recently the Apple series Dickinson.

Moderated by:

Leah Orsini - Visual Effects Producer / VESNY Secretary

Leah has 15 years of TV/Film Production experience beginning her career in production for commercials in 2005 before moving to post in 2008, then finding her passion for visual effects in 2011. She has worked as a VFX Producer on TV, Feature Films and commercials for several companies including Framestore, Method, Alkemy X and Zoic where she was nominated for a Creative Arts Emmy. For the past 2.5 years Leah has been working as a VFX Producer on the show side recently completing 2 seasons of WARRIOR for Cinemax. Once shooting resumes, she will be in production for HBO’s, The Gilded Age. In her spare time, Leah enjoys photography, music and spending time with her family, including her new 10-month old baby boy, her husband & their rescue dog, Clark.

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New York State Post-Production Community!

The 7th in our PNYA POST BREAK series - this week “Ask Us Anything: Post Budgeting, Tax Credits, Post Everything....”. All the questions you have about the NYS Tax Incentive program will be answered at this week’s ASK US ANYTHING. Our panel of Tax Credit experts includes tax credit application administrators, auditors and certifiers. Join us for a Q&A on the current state of the incentive, recent changes to the legislation and what the future may bring. All topics incentive and post budget related are up for discussion.

POST BREAK: Ask Us Anything: Post Budgeting, Tax Credits, Post Everything....

Thursday, June 4th at 4pm on Zoom

PANELISTS:

Connie McFeeley, Director, NYS Film/Commercials/Musical & Theatrical Programs, Economic Incentives, ESD

Kelsey Schuyler, Trevanna Representative and PNYA Treasurer. Kelsey has been a post production accountant at Trevanna Post since 2011. She is an active member of Local 161.

Daniel Gates, Brauer & Co. - has been working at Brauer & Co. for the last eight years. He manages the day to day audit of tax incentives and specializes in the following jurisdictions: New York, New Jersey, North Carolina, New Mexico, and Virginia. 

David Brauer, CPA, Brauer & Co. - has been working in the entertainment industry for 25 years. For the last 10 years, he has been involved with tax incentives audits throughout the United States, including, but not limited to New York, New Jersey, Georgia, North Carolina, New Mexico, California, and Hawaii. Additionally, he has worked with incentive programs on drafting audit procedures to test compliance.

MODERATOR:

Yana Collins Lehman, Chairman of the PNYA Board & President and COO of Trevanna Post - Yana currently oversees strategy and operations of the New York, Los Angeles and London offices, overseeing a staff of 40. She has been a post production accountant at Trevanna, working on feature films and television shows since 2004. She is an active member of Local 161.

The Post New York Alliance Education Committee

__________________________________________

New York State Post-Production Community!

The 5th in our PNYA POST BREAK series - this week “A Conversation With NY Post Supervisors” – Catherine Farrell, Matt Shapiro, Kendall McCarthy and Ben Urquhart. The many paths and decisions that led them to supervising. The changes we see happening and how they are navigating remote work. 

POST BREAK: A Conversation with NY Supervisors

Thursday, May 21st at 4pm on Zoom

PANELISTS:

Catherine Farrell, has collaborated with the Coen brothers, David Frankel, Noah Baumbach and most recently Greta Gerwig on Little Women. She is known for her work on Inside Llewyn Davis, Hail, Caesar!, The Ballad of Buster Scruggs, While We're Young, Rose Water, and The Good Liar.

Matt Shapiro, he is known for his work on Amazon Prime's Marvelous Mrs. Maisel, M. Night Shyamalan's Split, and Glass for Universal Pictures, Barry Levinson's Paterno and Wizard of Lies on HBO.

  
Kendall McCarthy, she is known for her work on Tales of the City for Netflix/NBC, The Americans for FX Network, and The Looming Tower on Hulu, Hap & Leonard for Sundance Channel, Sense8 on Netflix, and Mildred Pierce, an HBO miniseries.

Ben Urquhart, Ben's film career started with PA work in California, Post PA work in NY, and moved to the studio side in 2004. Twelve years at Focus Features, followed by Universal since 2016. Currently Post Executive on several features, and Product Owner of uTRACK, Universal’s proprietary workflow engine, tracking feature operations from script-to-screens.

MODERATOR:

Vivian Connolly, chief executive officer and founder of Phosphene since 2008. Some recent projects include John Chu and Lin Manuel Miranda’s In The Heights for Warner Bros., The Plot Against America for HBO, Hunters for Amazon, and A Beautiful Day in the Neighborhood for Sony.

New York State Post-Production Community!

The 3rd in our PNYA POST BREAK series - this week “A Conversation with New York Editors” – Louise Ford, Andy Weisblum, and Kate Sanford. We are so lucky to have NY veteran editors join our Post Break to answer all your questions about Editing in NY. Where we’ve come from and where we might be going?

POST BREAK: A Conversation with New York Editors

Thursday, May 7th at 4pm on Zoom

PANELISTS: 

Louise Ford - Worked as a journalist in London for 10 years before moving to New York and becoming a film editor. She is known for her work on Bad Education (2019), The Lighthouse (2018), Wildlife (2018) and Thoroughbreds (2017)

Andrew Weisblum - An American film and a visual effects editor. He has collaborated frequently with directors Darren Aronofsky and Wes Anderson. He is known for his work on Black Swan (2010), Moonrise Kingdom (2012), Mother! (2017) and The Wrestler (2008).

Kate Sanford - A seasoned feature film and series television editor. She has collaborated with filmmakers Tim Blake Nelson and Michael Corrente, She is known for her work on The Wire (2002), The Marvelous Mrs. Maisel (2017), Boardwalk Empire (2010) and Treme (2010)

MODERATOR: 

Yana Lehman - Chairman of the PNYA Board & President and COO of Trevanna Post, Inc. Yana currently oversees strategy and operations of the New York, Los Angeles and London offices, overseeing a staff of 40. She has been a post production accountant at Trevanna, working on feature films and television shows since 2004. She is an active member of Local 161.

The 2nd installment in our PNYA POST BREAK series - this week “Pivoting in Post” – about career moves made sideways, up, down and all around. Why did our panelists decide to change paths and how they did they make the jump from facility to scripted, reality to scripted TV? And how did they make the move from production camera loader to feature AE? How did starting in features, stepping into reality and back to scripted again, make them a better Editor?

 POST BREAK: Pivoting in Post
Thursday, April 30th at 4pm on Zoom

PANELISTS:
Inga Moren - Assistant Editor: The Photograph, 15: A Quinceañera Story, Sleepless in America
Veronica Vozzolo - Assistant Editor: Billions S5, Da 5 Bloods, She's Gotta Have it S2
Christina Delerma - Post Supervisor: various projects Jigsaw Productions, Lenox Hill Docuseries, Mayday (Indie)
Jamie Kirkpatrick - Editor: Gravesend, Critical Thinking, We Summon the Darkness
Moderator - Kendall McCarthy: Post Producer: Tales of the City, The Americans, The Looming Tower

Thursday, April 23 at 4pm on Zoom

Post Break: How is NY Posting Now? will begin with short updates from members in picture, sound, music and VFX reflecting on working remotely – their learning curves, struggles and solutions, and if any of the new procedures look to be legitimate alternatives to our usual models.

Please join the conversation, ask questions, and share your experiences.

Picture Editorial: Nick Ramirez, AE/Editor: mid90s, Little Women, Mayday

Rebekah Hernandez, Post Super/Coordinator: Billions, Forty Year Old Version, Gemini Man

Sound Editorial: Gregg Swiatlowski, Supervising Sound Editor: Billions, Godless, Hustlers Ryan Price, Re-Recording Mixer: Good Time, Her Smell, Billions

ADR/Looping: Dann Fink, ADR Voice Casting: In the Heights, Halloween Kills, The Marvelous Mrs. Maisel

DI Finishing/Color: Clark Henderson, VP, Theatrical Service Technicolor/PostWorks: - On The Rocks, Uncut Gems, Harriet

Anastasia Cipolla, Freelance Colorist: Why Not Choose Love: A Mary Pickford Manifesto, Art Of Style, Sneaker Hustle

VFX: Andrew Bly, EP/CFO The Molecule: Dickinson, Fosse / Verdon, Five Feet Apart

Moderator: Chris Peterson, EP on vendor side: Absentia, Women of Troy, Hereditary

What effect will cloud computing and collaborative workflows have on the post production industry? Learn from the experts in this podcast produced by Chris Peterson and Nathaniel Bonini (PNYA) and Tom Mauro, John Gallagher and Conny Gordon (SMPTE).

Panelists
Todd Kelly, Avid Technology
Diana Dekajlo, Post Production Supervisor
Nathaniel Bonini, BeBop Technology

This podcast was recorded thanks to the staff at the Dolby 88 Theater.

and moderator Larry Scherer - State & Broad.

In an often male-dominated world of the film and television post production, find out how this post-producer, picture editor, sound editor, music editor and composer made their way to the top.

Suzana Peric, Music Editor has been active in post production since 1981. Growing up in Croatia she attended conservatory and was on track to be a concert pianist — until she suffered a block during a performance, which ended that career. She studied film in Chicago where she gravitated towards picture editing and got a PA job on Arthur Penn’s Four Friends (1981). She then joined the post-production of the film, which brought her to New York. There, she apprenticed in sound and picture until a music editor asked her to be his assistant. Since that discovery, Peric has been music editor for the likes of Mike Nichols, Martin Scorsese, Jonathan Demme, Peter Jackson, Roman Polanski, Robert Benton, Wes Anderson and David Cronenberg, to name but a few, most of these with repeat collaborations. Her most recent work with Demme is Ricki and the Flash.

Nancy Allen, Music Editor discovered music editing at NYU, where she attended the graduate program in Music Technology. It was in the Audio for Video class that she met Suzana Peric, the music editor with whom she worked for nearly 10 years, and learned almost everything she knows about the craft.  Since then, Nancy has worked on films with Darren Aronofsky (Black Swan, Noah, the upcoming film MOTHER!), John Cameron Mitchell (Short Bus), Paul Haggis (The Next Three Days), Julie Taymor, Barry Levinson (Liberty Heights, You Don’t Know Jack) and David Frankel (Hope Springs, One Chance, Collateral Beauty). She has been nominated for 2 Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO’s Bessie.

Eliza Paley, Sound Editor has worked in film, production and post for over 30 years. Beginning in location mixing, moving gradually to the editing room and then to sound editing where she has had an established career since 1988. As supervising sound editor, Eliza has worked with numerous talents including Robert Altman (A Prairie Home Companion, The Company, Tanner On Tanner, Short Cuts), Cary Fukunaga (True Detective), and Hector Bebenco (Caradiru, Foolish Heart). Eliza had Co-Supervised or Supervised Dialogue/ADR editing for directors including Todd Haynes (Wonderstruck, Carol, Mildred Pierce, Velvet Goldmine), The Coen Brothers (Hail , Caeser!) and Julie Taymor (Across the Universe, The Tempest). Additionally she was a sound editor on numerous well known films including Adventureland, Age of Innocence, Casino, Last Temptation of Christ, Crooklyn, Malcolm X, The Hudsucker Proxy, Pret-A Porter and The Wrestler.

Wendy Blackstone, Composer has composed original film scores for over 130 film and TV projects, 9 of which have been nominated for or won Academy Awards. Feature films include: New Jersey Drive directed by Nick Gomez and The Dutch Master directed by Susan Seidelman. Wendy has scored 5 Primetime TV series:  For The People (Lifetime, drama), and MasterClass (HBO). Recent documentaries include: The Girl In the River for HBO, I am Not Your Guru: Tony Robbins, Larry Kramer In Love and Anger, which premiered at Sundance 2015, Dangerous Acts Starring the Unstable Elements of Belarus (HBO), Whitey (CNN), Weight of the Nation (HBO), Crude, and Alive Day Memories: Home from Iraq (HBO). Wendy’s work in theater includes Anna Deavere Smith’s Tony-nominatedTwilight: Los Angeles, directed by George C. Wolfe for both the Public Theater and Broadway’s Cort Theatre.

Susan Lazarus, Producer, Post Producer, Post Production Supervisor, began as an Assistant Editor and Sound Editor on documentaries including the Academy Award-nominated feature,The War At Home, and was a producer on Image Before My Eyes. She then moved into narrative film on Reds (Warren Beatty) and The King of Comedy (Martin Scorsese). Susan combined producing and editing knowledge to become one of New York’s first Post-Production Supervisors for feature films such as Mississippi Masala (Mira Nair), The Boxer (Jim Sheridan), Inside Man (Spike Lee), Foxcatcher (Bennett Miller). Only Lovers Left Alive and Paterson (Jim Jarmusch). Non-Fiction projects include Naqoyqatsi (Goddfrey Reggio), Apache 8 (Sande Zeig) Love, Marilyn (Liz Garbus), and The Jinx: The Life and Deaths of Robert Durst (Andrew Jarecki). She was Co-Producer of the feature Sophie and the Rising Sun (Maggie Greenwald).

Kristina Boden, Picture Editor credits include work with directors such as Brian DePalma (Carlito’s Way), Mira Nair (Kama Sutra, My Own Country, Hysterical Blindness), Lodge Kerrigan (Claire Dolan), Paul Schrader (Light Sleeper, Auto Focus) and Lasse Halstrom (Dear John).

Isabel Sadurni, Moderator, Picture Editor/Producer, To find out more, please visit: www.isabelsadurni.com

In 2012, Sound One, possibly the most successful post-production facility in New York City’s history, closed its doors after 44 years of business. What caused the demise of Sound One is a point of contention between the clients, former owners, founders and staff, who hold multiple theories about why it failed financially. Some blame a distant holding company in Denver who some say were out of touch with the needs of the local community in New york and undermined the business practices which required creative and financial flexibility to maintain its base of both established and up and coming filmmakers. Others cite a long process of chipping away at the character of Sound One over a period of time during which the company was bought and sold five times to various entities.

Here former staff and clients explain in their words, how the end of Sound one came to be and how in the wake of its undeniable force created new pools of talent and multiple post-production facilities in New York, all of them strengthened by the work ethic and familial bonds of developed at Sound One.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

PART 6. LEADING THE DIGITAL REVOLUTION

FxF008: The Sound one era 1968-2012

Part 5: The Foley Artist

Elisha Birnbaum, co-founder of Sound One, is considered one of the best NY foley artists of his generation. His stage looked like a suburban garage or basement or attic with various surfaces on the floor and, shelves filled with props used to create sounds. You would often meet Elisha walking around the hallways of Sound One in cut off jean shorts, and womens high heels,  which he wore when foleying the sound of womens footsteps. Here, staff and clients retell stories of working with Elisha and others at Sound One in recognizing the creative genius behind Elisha’s work and the role of the foley artist.

From 1968 to 2012, Sound One grew from a solo operation to becoming the most successful post-production sound and editing facility on the East Coast. At its apex, Sound One inhabited five floors of the famed Brill Building housed 150 edit suites and over 300 clients and staff at its apex and commanded 85% of post-production business in New York. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of  filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore, Ken Burns and countless post-production professionals and helped post-produce some of cinemas most influential works.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

Part 4. A Day In the Hallways

 

FXF008: THE SOUND ONE ERA 1968-2012

PART 3: Tribute to Bill Nisselson and Sybil Brown

Bill Nisselson was often described as the heart of Sound One. As managing Director from 1979-2001, Bill, alongside co-founder Elisha Birnbaum, set the tone of interaction, organized the deals and orchestrated the cross-traffic of post-production work between staff and clients which at its apex commanded 6 floors in the Brill Building and took in over 85% of the post-production film business in New York.

Not far from Bill’s office Sybil Brown, the receptionist from 1985-2005, offered a warm welcome, fresh flowers and the uncanny ability to locate people by phone in crucial moments and also stood as essential to the heartbeat of the Sound One experience. 

In this episode, staff and clients remember their interactions with Bill Nisselson, and Sybil Brown and share their stories about how both Bill and Sybil played a dominant role not only in shaping the working environment of  Sound One, but also in shaping peoples lives.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

Part 2: Family

In the late 1960’s and early 70’s, years before Sound One had established itself as one of the most successful and highly respected sound facilities on the East Coast, it was a solo operation. Elisha Birnbaum, a sound editor and foley artist who had recently emigrated from Israel, worked with a small team but quickly developed a reputation for creating a highly productive, family atmosphere filled with astonishing creativity, quality product and quick turnaround time that attracted both the established and uninitiated to work at his studio. 

At its apex of productivity Sound One would take in 85% of all post-production work in New York City and would help launch the careers of both post production professionals and filmmakers like The Coen Brothers, Spike Lee, Alan Pakula, Michael Moore and Ken Burns among others.  Here staff and clients share stories about the personal bonds and animal spirit that helped define the dynamics at work at Sound and how they created what has come to be known as the Sound One Family.

From 1968 to 2012, Sound One grew from a solo operation to becoming the most successful post-production sound and editing facility on the East Coast. At its apex, Sound One inhabited five floors of the famed Brill Building housed 150 edit suites and over 300 clients and staff at its apex and commanded 85% of post-production business in New York. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of  filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore, Ken Burns and countless post-production professionals and helped post-produce some of cinemas most influential works.

The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

FXF008: THE SOUND ONE ERA 1968-2012

PART 1: THE Beginning

From 1968 to 2012, Sound One grew from a solo operation run by Elisha Birnbaum a foley artist and sound editor recent emigrated from Israel to becoming the most successful post-production sound and editing facility on the East Coast. Inhabiting seven floors of the famed Brill Building and commanding at least 85% of post-production business in New York, Sound One housed 150 edit suites and over 300 clients and staff at its apex. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of  filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore and Ken Burns and countless post-production professionals generating some of cinemas most important films. 

The Beginning tells the story of how Sound One answered a need for local sound stages in the early 1970's  New York film industry and redefined the post-production community in the process.

The Sound One Era: 1968-2012 multi-part segment series is a part of the Frame By frame podcast series co-presented by Motion Picture Editors Guild and Post New York Alliance.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

FXF007: Sidney Lumet's NETWORK- Alan Heim, Mark Laub, Michael Jacobi and Jeffrey Wolf.

In 1976, an American satirical film written by Paddy Chayefsky and directed by Sidney Lumet, called Network, about a fictional television network, UBS, and its struggle with poor ratings, starring Faye Dunaway, William Holden, Peter Finch,  Robert Duvall and Beatrice Straight was nominated for 12 Academy Awards including best film, best director and best editor. Network, won four Academy Awards, including Oscars for Chayefsky’s script, Beatrice  Straights’ performance as an outraged wife, Faye Dunaway’s performance as a cynical programming executive and Peter Finch’s frenetic portrayal of Howard Beale, the troubled “mad prophet of the airwaves.”

 Thirty-five years later, “Network” remains an incendiary if influential film, and its screenplay is still admired as much for its predictive accuracy as for its vehemence and a relentless sense of purpose. Screenwriter Aaron Sorkin, cited Chayefsky when he accepted his Oscar for the screenplay of “The Social Network,” and wrote later that “no predictor of the future — not even Orwell — has ever been as right as Chayefsky was when he wrote ‘Network.’ ”

 Alan Heim, the picture editor of the film, Mark Laub, one from a team of sound editors, Michael Jacobi and Jeffrey Wolf, the first assistant editor and the apprentice editor on the film at the time, tell their stories of how the film came together and what it was like in various stages working with director Sidney Lumet, writer Paddy Chayefsky and Producer Howard Gottfried.

In the first episode of Frame By Frame Season 2, picture editor, Jay Rabinowitz, sound editor, Chic Ciccolini  and re-recording mixer, Dominick Tavella talk about their craft and process in collaborating with filmmaker Jim Jarmusch on his films from the 1980’s and 90’s Coffee and Cigarettes, Night On Earth, and Ghost Dog.  

 Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

Post Factory Founder, Alex Halpern and picture editor Angelo Corrao talk about their collaboration on Nine Good Teeth  as well as Angelo’s work on Bruce Weber’s Let’s Get Lost and their experiences coming up in the 1980's New York film scene and developing early relationships with filmmakers like The Coen Brothers.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

Sound editor, Maurice Schell  (Gimme Shelter, Serpico, The Missouri Breaks,  Apocalypse Now, All That Jazz, Melvin and Howard, Reds, Scarface) , re-recording mixer, Lee Dichter, (Grey Gardens, Sophie’s Choice, Hannah and Her Sisters, Miller’s Crossing, The Civil War) and picture editor Peter Frank, (The Verdict, Cadillac Records, Dirty Dancing) share stories about coming up in the 1960's 70's and 80's in the New York film industry and their collaboration on Sidney Lumet’s The Verdict.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

 

In Episode 3, picture editor Tim Squyres and sound editor, Phil Stockton share stories from collaborating together for over 20 years working with film directors such as Martin Scorsese, Ang Lee, Robert Altman, the Coen Brothers, Jonathan Demme and Spike Lee and how advances in technology have encouraged a merging of their roles.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.

The Second seminar in a series about the Audio Post Production process, the PNYA Education Committee in tandem with Soundtrack NY present Mixing 101: A Step by Step Guide Into the World of Sound Mixing.


This event took place at 7pm on September 29th at Soundtrack FT, 128 West 22nd St. 

The recording takes you step by step through the process of sound mixing. Feature films, television series, and independent projects will all be covered in detail followed by a live in­-studio walkthrough. Leading members of the New York audio community will share their expertise in each of these fields.

Participants include Tom Fleischman ReRecording Sound Mixer, Bob Chefalas Re­recording Sound Mixer, Dan Brennan Re­Recording Sound Mixer, Jacob Ribicoff Supervising Sound Editor, Louis Bertini Supervising Sound Editor, Craig Kyllonen Supervising Sound Editor.

Television and feature film editors Kate Sanford (The Wire, The Deuce) and Tim Streeto (The Squid and the Whale, Greenberg) describe their process in developing the hit series Boardwalk Empire with Martin Scorsese, Tim Van Patten and Terry Winter as well as how they worked together  with Martin Scorsese, Terry Winter and Mick Jagger to create Season 1 of Vinyl.

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema professionals working in New York today. Through intimate, informal discussions between collaborators about craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories with the people that continue to define New York as an essential capital of the global film industry.

Hosted by Isabel Sadurni.                         

Produced by Isabel Sadurni and Ben Baker.      

Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories with the people that continue to define New York as an essential capital of the global film industry.

Picture editor, Craig McKay and Re-recording mixer Tom Fleischman talk about early influences getting started in the New York film industry of the 1960’s and 70’s as well as their work on the film by Warren Beatty, Reds.                     

Hosted by Isabel Sadurni.                         

Produced by Isabel Sadurni and Ben Baker.      

Music in Post: The Key Players.

This panel includes an award-winning music supervisor, a music editor and a composer who offer advice on a smooth music production for film and television post production. Panelists will also show musical examples of their work and explain how they help to create a finished soundtrack. This event is specifically aimed at helping editors, producers, post supervisors and others to better understand the complexities of working with music during post.

Some of the topics that will be addressed during the panel:

What materials is an editor responsible for giving to each member of the music department?

What is the interaction with each other? Who works with who? Is there a hierarchy? 

How to know whether or not a piece of music is working within a scene.

How do you communicate with music people if you aren't a musician?

How much creative control should you give a music supervisor or composer?

Panelist Bios:

Jim Black, Music Supervisor

Jim Black is an award winning music supervisor with over twenty years in the music industry.  In 1998 he founded Clearsongs Inc.  a full-service music supervision and consulting company for Motion Pictures and Television and has worked on over 90 films and tv shows, including Academy Award winners such as Black Swan, The Wrestler and HBO’s Treme and True Detective. He is just finishing up Season 2 of Marco Polo for Netflix and setting up for Amazon's Z: The Beginning of Everything  and Season 2 of Billions for Showtime.

Nancy Allen, Music Editor

Nancy Allen has over 20 years of experience in the film and TV industry.  She worked for almost 10 of those years with esteemed music editor Suzana Peric.  Her first film with Suzana was Scorsese’s Kundun (scored by Philip Glass). Together with Suzana, she worked with directors like Roman Polanski (The Pianist, The Ninth Gate), Mike Nichols (Angles in America, Closer, Charlie Wilson’s War), Jonathan Demme (Beloved, Heart of Gold, Rachel Getting Married), and Peter Jackson (The Lord of the Rings: The Fellowship of the Rings).  Since then, Nancy has worked on films with: Darren Aronofsky (Black Swan, Noah, the upcoming film starring Javier Bardem and Jennifer Lawrence), John Cameron Mitchell (ShortBus), Paul Haggis (The Next Three Days), Barry Levinson (Liberty Heights, You Don’t Know Jack) and David Frankel (Hope Springs, One Chance), with whom she is currently working on Collateral Beauty, starring Hellen Mirren, Kate Winslet, Will Smith, Kiera Knightly, and Naomi Harris. Most recently, she completed the first season of Billions for SHOWTIME. She has been nominated for 2 Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO’s Bessie. 

Ben Holiday, Film Composer

Ben brings more then 15 years of experience composing soundtracks for film. With a background as a jazz trombonist, Ben attended the Berklee College of Music where he studied classical composition, conducting and electronic music production. Ben learned the language of film music by working "in the trenches” with music editor Jennifer Dunnington and composer Howard Shore on such films as Spotlight, Hugo, Shutter Island, The Departed, and The Aviator. Most recently Ben wrote the orchestral score for the feature film Drawing Home and assisted the Blair Brothers with their score to the punk rock thriller Green Room. 

Ian Blume, Picture Editor

Ian Blume has worked in feature film postproduction for 16 years, spanning such films as Chocolat, Doubt and The Bourne Legacy. Armed with a bachelor's degree in Film from Emerson College in Boston, MA, Ian built a strong foundation at Sound One NY. Since then, he climbed the ranks as an assistant editor, working on 18 features of all budget levels, in the US and abroad. He has collaborated with many top-tier, award winning filmmakers - including editors Tim Squyres, John Gilroy, Dylan Tichenor, Barbara Tulliver and Andrew Mondshein, writer / directors John Patrick Shanley and M. Night Shyamalan, and producers Akiva Goldsman and Scott Rudin. An active member of the Motion Picture Editors Guild and the Post NY Alliance, Ian is currently finishing his 4th narrative feature film as an editor. Along the way he has compiled a variety of temp scores and has worked directly with music editors, supervisors and composers to take those films from the first spotting session to the final mix. 

 Isabel Sadurni, Picture Editor & Moderator

Isabel has over 15 years experience as an international feature film editor and producer. Her work includes award winning feature-length documentaries and short narratives that have played in top-tier global festivals and nationally on PBS and Discovery. She's a regular contributor to ACE's Cinema Editor Magazine is a proud member of Post New York Alliance. Listen for her upcoming PNYA podcast series, Frame By Frame, where New York's most influential post-production professionals share their process, techniques and stories as a celebration of New York's essential contribution to the global film industry.

 

 Hosted by 

 

 

Making the Cut: Editors Talk Collaborations and Career

Editing is such a fluid experience. You never know what you will need for the story or what the working relationship with the director is going to be like. Each situation is different. 

Forging a career as an editor can be just as varied. Before digital technology and software became as accessible as they are today, you came up the ranks from apprentice, assistant, to one day becoming an editor. Now you could take on a low-budget film, working as your own assistant and editor, or perhaps collaborate with an established editor and come on as a co-editor. Always, the major skill is storytelling & building relationships. It’s about living your life and understanding that the material for editorial decisions can come from anywhere, and everything you experience. 

Join this panel of talented women editors/filmmakers as they share their journey to the edit chair, and explore the collaborations they’ve built along the way. 


Panelists

R. A. Fedde is an editor and producer, whose film and television work has covered a wide range, from two past presidents to paparazzi on the run. Her editing credits include 10 Days that Unexpectedly Changed America: Antietam, winner of a 2006 Emmy Award for Best Non-Fiction Series; $ellebrity, which premiered at South by Southwest in 2012; Running Wild: The Life of Dayton O. Hyde, which Fedde edited and co-produced, premiered at Slamdance 2013; The Last One, won the Best Social Issues Documentary Award at the 2014 Atlanta Docufest and aired on Showtime in December 2014; and Once and for All, which closed the DocNYC 2015 with a sold-out house. Her editing on Frontlne's Growing Up Online garnered another nomination for a 2009 Emmy. In 2004, Fedde won the prestigious Gracie Allen Award for her work as editor on Pure Magic: The Mother Daughter Bond. Currently she is working on a feature-length PBS project on WWI and a short documentary project of her own about Hindu god lithographs.

Carla Gutierrez is an editor based in New York City. She edited the Oscar nominated film La Carona for HBO and the Emmy-nominated documentary Reportero, which was broadcast on POV. She also edited Kingdom of Shadows that premiered at SXSW and opened theatrically in Mexico. Her latest work, When Two Worlds Collide will have its world premiere at the 2016 Sundance Film Festival as part of the world documentary competition. Gutierrez’s other editing credits include: Wonder Women!, Las Marthas, Tales of the Waria, She Is The Matador, Surviving Hitler: A Love Story, and Iraq For Sale. She has been a creative adviser for the Sundance Edit Lab, and a mentor for Firelight Producers’ Lab.

Geeta Gandbhir's honors include an Academy Award, two Emmy Awards and three Peabody Awards. Most recently, a feature documentary she produced with Perri Peltz and directed with Academy Award winning director Sharmeen Obaid-Chinoy, A Journey of A Thousand Miles: Peacekeepers, premiered at the 2015 Toronto International Film Festival. She is currently co-directing and co-producing a Conversation series on race with The New York Times Op-Docs. She co-directed and edited the film Remembering the Artist: Robert De Niro Sr. with Perri Peltz for HBO. Additional notable works as an editor include, Mr. Dynamite: The Rise of James Brown, Moms Mabley: I Got Somethin’ to Tell You, When the Levees Broke … A Requiem in Four Acts, By the People: The Election of Barack Obama, Music by Prudence, Budrus, If God is Willing and da Creek Don’t Rise, and God is the Bigger Elvis.

Sheila Shirazi's feature editor credits include the forthcoming Bright Lights: Starring Carrie Fisher and Debbie Reynolds, which will premiere on HBO later this year, and Shola Lynch's Free Angela and All Political Prisoners, which premiered at the 2012 Toronto International Film Festival. She has been an assistant editor for the Academy Award-winning Inside Job, the groundbreaking PBS series, Women, War & Peace, and the Sundance Documentary Edit Lab. She produced and wrote the film Arusi Persian Wedding, which won an ITVS Open Call finishing grant and was broadcast on PBS' Independent Lensseries. Shirazi also enjoys the creative (and financial rewards) of editing short-form content for ad agencies, NGO's and corporate clients. 

Cheree Dillon (Moderator) is an independent film/tv editor based in New York City. Most recently she co-edited Death by Design, a feature documentary collaboration from Ambrica Productions and Impact Partners. Her first feature doc, Off and Running, premiered at the Tribeca Film Festival, was broadcast on PBS’s P.O.V. series, and nominated for an Emmy. Cheree’s other feature doc credits include the broadcast version of The Homestretch for PBS’s Independent Lens 2015 series, Sense The Wind, Sons of Ben, Surviving Amina, and Song of Hannah, along with cutting long format programs for Discovery, NBC Sports, and The Science Channel. She has also edited several award-winning short docs including Southmost USA, An Imaginary Thing, and Article of Faith. Dillon is a member of the NYWIFT documentary committee and has produced several panels focused on interactive filmmaking, independent film distribution and social media/marketing.

Produced by Cheree Dillon

 Hosted by 

sponsored by Nice Shoes, Filmlight, and SONY

Most producers have a strong concept of what they want their project to look like, but they don’t always consider editorial, visual effects, music or color grading during the pre-production phase. Bringing post artists into the conversation at the onset of a project leads to enhancing imagery rather than "fixing” in post. In this session, producers will speak directly about the nature of their collaboration with their post team, and share how the early reliance on their skills and experience expanded the possibilities for their projects. Incorporated during prep or on set, your post artists have all kinds of ways to get the most out your of budgets and schedules, as well as that final cut.

Speakers

Alison Beckett
Post Production Supervisor

Kill The Messenger, The Hundred-Foot Journey, Bessie

Brad Carpenter
Co- Producer

Vinyl, Boardwalk Empire, Nurse Jackie

Chris Ryan
Colorist at Nice Shoes

Peter Saraf
Producer / Chair of the PGA East

About Ray, Safety Not Guaranteed, Little Miss Sunshine

Dan Schrecker
Senior VFX Supervisor, Psyop Film and Television

Hail Cesar, Black Swan

Tim Squyres
Editor

Billy Lynn’s Long Halftime Walk, Life of Pi, Unbroken, Lust/Caution,

Moderator

Jennifer Lane
Post Production Supervisor; / Secretary of the Post New York Alliance

Billy Lynn’s Long Halftime Walk, Into the Woods, The Bourne Legacy, Revolutionary Road

Thursday September 3rd, 2015 @ 7pm 

Soundtrack NY @ 936 Broadway, 4th Floor

The first in a series about the Audio Post Production process, the PNYA Education Committee in tandem with Soundtrack NY, as well as Dann Fink and Bruce Winant, are hosting ADR 101: An Introduction to the Audio Post World.

The seminar will take place at 7 pm on September 3rd, 2015 at Soundtrack NY, 936 Broadway at 22nd Street, 4th Floor. Drinks and snacks will be available starting at 6:30pm.

The evening will shed light on the individual components of the ADR process. Spotting, scheduling, Principal ADR, Group ADR and Foley will all be covered in detail followed by a live in­-studio walkthrough. Leading members of the New York audio community will share their expertise in each of these fields.

Scheduled participants include Craig Kyllonen, Supervising Sound Editor; Mark DeSimone ADR Mixer; Jacob Ribicoff ,Supervising Sound Editor;Maegan Hayward, COO Soundtrack New York; Dann Fink, Loop Group Supervisor; Alex Carpenter, Foley Artist; and Justine Baker, ADR Recordist.

Seating in the studio for this event is limited, so please RSVP to seminars@postnewyork.org. to reserve your place!

The workshop is free for members ­- $10 for non members.

What Keeps a CTO Up At Night?

If you're doing post production in New York in 2015 – face it, it's not as easy to figure out as even a few years ago. Your production must deal with new formats – it might be 4K, 6K "future proofing," ProRes versus RAW. The Academy of Motion Pictures & Television wants you to move to ACES – but what's that all about? Did we mention that you must be proficient in cloud computing, distribution to multiple smartphone formats, and now – oh my - Virtual Reality? 

That's why you'll want to join in conversation with our esteemed group of CTOs and Technologists. These are the experts from top New York post houses who know how the latest technologies might help – or hinder – your bottom line. Our panel will help you understand best practices from camera slate through to the final render, what new workflows can save you time and money, and how to make sense of it all.

MODERATOR

Ben Baker
Digital Workflow, Post Production Supervision, Chair of Education Committee
Post New York Alliance

 

PANELISTS

Joe Beirne
CTO of Technicolor 
PostWorks in New York

Avi Laniado
Chief Engineer
Harbor Picture Company

Chris Parker
Chief Technology Officer, President of Post 
Post Production Division, SIM Group

Harry Skopas
Director of Technology
The Mill

Transitioning from Docs to Drama

Join us for a podcast with host Isabel Sadurni and New York’s top Editors, about how they consistently and successfully bridge the worlds of non-fictional to scripted editorial. Followed by Q&A.

PANELISTS:

ALLYSON C. JOHNSON

(The Namesake, Vanity Fair, Monsoon Wedding )

SAM POLLARD

(If God Is Willing And Da Creek Don’t Rise, 4 Little Girls, Clockers)

TIM SQUYRES

(Life of Pi, The Armstrong Lie, Syriana)

CRAIG McKAY

(Sin Nombre,Silence of the Lambs, Philadelphia)

ALAN OXMAN

(Control Room, Happiness, Welcome To The Dollhouse )

the Visual Effects Society New York, 

in cooperation with 

The Academy of Motion Picture Arts and Sciences, 

present:

THE ACES PIPELINE PRIMER: POST & VFX

July 16, 7pm

Venue- The School of Visual Arts Theatre

333 West 23rd Street

After years of research and development, the Academy Color Encoding System (ACES) 1.0 has arrived! It is becoming the standard for color management and image interchange for motion pictures, television, commercials and other forms of professional content. This session will deliver an overview of the engineering and science as well as practical information needed to understand and implement ACES into postproduction and VFX pipelines.

ACES enables DPs and directors to better preserve their creative intent from on-set monitoring and look management, to dailies, editorial, VFX, the DI and on into archiving. It does this by addressing the long-standing color management issues facing today’s productions. ACES expands the creative palette with its high dynamic range and wide color gamut capabilities, while streamlining collaboration with standardized encodings and file formats.

Alex Forsythe, Academy technical lead on the ACES project, is traveling to New York to speak about the development of, and latest innovations in, ACES and how it helps color management and workflows. His presentation will be followed by a discussion about practical, real-world implications with several key members of the New York post production and VFX community.

Hear how ACES is being implemented with today’s tools on-set and at leading facilities in VFX, post and mastering. Seating is limited so please RSVP to seminars@postnewyork.org to reserve your place.

PNYA & VES members are free- $10 non members.

You can listen to this presentation by Subscribing Here and selecting option 2.

Here's a statement she gave us for our blog:

Technicolor PostWorks New York
110 Leroy Street
New York, NY 10014

November 6, 2014 @ 7pm 

The final session in the popular Turnover Series is Turnover to VFX, a conversation between a visual effects editor and visual effects supervisor about what goes into their work together. Technicolor again hosts us in their comfortable Leroy Street ground floor theatre. If you can’t make it, be sure to check out our podcast recording.

This Turnover to VFX workshop will cover the full visual effects editorial process. We’ll hear from top working pros just how visual effects shots move through their workflow from editorial versions to finishing.

Seating in the theatre is limited to 30. Don’t be disappointed by not securing a seat! Please RSVP to seminars@postnewyork.org as soon as you can. Seats will be allocated on a first-come basis.

Speakers on the night are:

Zana Bochar has been working in postproduction in NYC since graduating from Florida State University’s College of Motion Picture Arts. Zana joined the Editors Guild as an apprentice on A Serious Man. Her feature film work includes Black Swan and Men In Black 3. Zana started in visual effects editorial as a visual effects assistant editor on The Bourne Legacy and Noah. Most recently she was the visual effects editor on Chris Rock's upcoming Top Five.

Chris Healer’s varied career includes finishing a film degree at University of Colorado/Boulder, building a 16mm projector out of Legos and writing a 3D graphics library in DOS, Chris transitioned from web design to motion capture and 3D animation while in Denver. He moved to New York in 2002 to complete work on Below the Belt (Sundance 2004). By 2005 Chris founded visual effects house The Molecule (http://www.themolecule.com). At The Molecule, he splits his time as CEO, CTO, Visual Effects Supervisor, VFX Consultant, Creative Designer, Software Developer, Producer, and Chief Scientist. 

Chris has worked on a variety of film and television projects, including The Affair, Nurse Jackie, Sex & Drugs & Rock & Roll, The Americans, Unbreakable Kimmy Schmidt, Rescue Me, Damages, 30 Rock, Rubicon, Royal Pains, Smash, Blue Bloods, Golden Boy, A Walk Among the Tombstones, The Giver, Hellbenders, Beasts of the Southern Wild, and many more.

Ben Baker, series’ moderator and PNYA Education committee chair, has worked across a broad range of studio and independent films in both the UK and US as an executive producer, post supervisor, project consultant, workflow designer and manager. His work has covered areas as diverse as on location dailies and editorial for digital cinematography, high-end digital intermediate mastering, feature film restoration and digital asset management over the life-cycle of an entire project, from development to distribution. 

Ben’s credits include his work on Casino Royale, The Narnia Chronicles Trilogy, and Generation Kill (HBO). His film and digital restoration work is extensive, including mastering hundreds of films. While living in the UK, Ben ran the Digital Lab at noted facility Framestore. He now lives in the New York area.

The workshop is free for members- non members can sign up on the night!

TECHNICOLOR POSTWORKS NEW YORK

110 LEROY STREET 

NEW YORK, NY 10014
THEATRE

OCTOBER 14, 2014 @ 7PM

The workshop will cover picture turnover from editorial to a picture finishing/ DI department. Seating in the theatre for this event again is limited, so please RSVP to seminars@postnewyork.org to avoid disappointment. Seats will be allocated on a first-come basis.

Speakers this evening are:

Ian Blume has worked in feature film postproduction for 15 years, spanning such films as CHOCOLAT, DOUBT and THE BOURNE LEGACY.

A graduate of Emerson College (Film Studies, 99), he started out in NYC by building a strong foundation at Sound One. There he established close ties in the industry, and quickly became part of a tightly knit family.

Ian has climbed the ranks as an assistant editor, working on 14 features of all budget levels, in the US and abroad. He has collaborated with many top-tier, award-winning editors, directors, writers and producers, and accumulated valuable experience, technique and guidance from all of them.

Ian is currently working as editor on his 2nd narrative feature film, DRAWING HOME.

Matthew Schneider leads the research and workflow development effort at Technicolor - PostWorks through the Test Lab. He assists clients in workflow design and implementation, and other issues related to digital camera systems and formats. He also serves as liaison to Avid and other technology manufacturers to assist in product development and customer support.

Prior to joining Technicolor - PostWorks New York in 2003, Schneider worked as a support engineer for Avid Technology, where he assisted with large-scale broadcast network deployments, and workflow design for feature film and television clients. He is an active member of SMPTE New York and the Sony Cine-Alta User Group.

Ben Baker has been across a broad range of US and UK studio and independent films as an executive producer, post supervisor, project consultant, workflow designer and manager, in areas as diverse as on location dailies and editorial for digital cinematography, high-end digital intermediate mastering, feature film restoration and digital asset management over the life-cycle of entire project, from development to distribution. He lived in the UK for 10 years and ran the Digital Lab at Framestore during that time. He now resides in New York.

The workshop is free for members- non members can sign up on the night!

POSTWORKS NEW YORK

100 AVE OF THE AMERICAS

NEW YORK, NY 10013

THEATER – 10TH FLOOR

SEPTEMBER 16, 2014 @ 7PM 

Following up form the successful AE/ DIT Seminar, PNYA is holding a series of workshops on the editorial turnover process.

The first, Turnover To Sound, is being held on September 16, 2014 at PostWorks New York.

The workshop will go through the reason for and creation of the key deliverables for sound finishing. Assistant editor and editor Ian Blume and Supervising Sound Editor Alexa Zimmerman will lead the session.

Seating in the theatre for this event is limited, so please RSVP to seminars@postnewyork.org to avoid disappointment. Seats will be allocated on a first-come basis.

The workshop is free for members- non members can sign up on the night!

Speaker Bios:

Ian Blume has worked in feature film post-production for 15 years, spanning such films as CHOCOLAT, DOUBT and THE BOURNE LEGACY.

A graduate of Emerson College, he started out in NYC by building a strong foundation at Sound One. There he established close ties in the industry, and quickly became part of a tightly knit family.

Ian has climbed the ranks as an assistant editor, working on 14 features of all budget levels, in the US and abroad. He has collaborated with many top-tier, award-winning editors, directors, writers and producers, and accumulated valuable experience, technique and guidance from all of them.

Ian lives in Astoria, Queens, and is currently working as editor on his 2nd narrative feature film, DRAWING HOME.

Alexa Zimmerman has been working in the sound post field for 14 years, working most recently as an Supervising Sound Editor on Julie Taymor's MIDSUMMER NIGHT'S DREAM, dialogue editor on the series BOARDWALK EMPIRE and ROYAL PAINS, and assistant editor on features including THE FIFTH ESTATE and LEE DANIEL'S THE BUTLER.

PNYA Seminar #1: 

The Assistant Editor and the Digital Image Technician

Light Iron- 580 Broadway, 8th Floor  

June 18, 2014 @7pm

The first seminar in the 2014 PNYA seminar series kicked off a discussion between prominent Assistant Editors and Digital Image Technicians, talking about roles, expectations and making the communication from shoot to post as smooth as possible.

Speakers include:

• Ben Baker, Post Production Supervisor & Moderator
• Adriaan Van Zyl, Assistant Editor (Noah)
• Ryan Heide DIT (Blue Bloods)
• Jordan Maltby (Beautiful Creatures)
• Paul Moore, East Coast Executive Director MPEG.

With thanks to Light Iron for the venue and recording, and Buttons NY for help with the sound prep.

Our panel features some of today’s most successful producers and industry leaders who will share their practical insights and best business practices.

MODERATOR/HOST: Matt Lefferts – Franklin, Weinrib, Rudell & Vassallo (FWRV)
PANELISTS:
Peter Gilbert ("Unexpected” – Sundance 2015)
Chris Webber ("Unexpected” – Sundance 2015)
Nancy Schafer (8750 Films)
Claudine Marrotte ("I Am Michael” – Sundance 2015)
Jake Levy (FWRV)
Kimberley Skyrme (KS Casting)
Melanie Miller (Fishbowl)