Post New York Alliance Podcast

  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

  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

NYWIFT & the Post New York Alliance podcast are proud to present:   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 premi

NYWIFT & the Post New York Alliance podcast are proud to present:   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 premi

FIX IT IN...PREP? THE VALUE OF POST PRODUCTION ARTISTS EARLY IN THE PROCESS.. 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  

FIX IT IN...PREP? THE VALUE OF POST PRODUCTION ARTISTS EARLY IN THE PROCESS.. 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  

Introduction to Audio Post: ADR 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.   Introduction to Audio Post 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. Introduction to Audio Post 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.

Introduction to Audio Post: ADR 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.   Introduction to Audio Post 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. Introduction to Audio Post 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.

This was a panel presented as part of CCW/ NAB NY. The Post New York Alliance was proud to partner for the first time with NAB on this event. 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  

This was a panel presented as part of CCW/ NAB NY. The Post New York Alliance was proud to partner for the first time with NAB on this event. 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 )   Many established narrative editors have turned their hand to documentaries, while others have worked in the opposite direction working as documentarians who crossover into narrative territory. Whether working within fictional or non-fictional worlds -- we as visual storytellers are instinctively drawn to elements common to both genres, yet the filmmaking communities often exist separately.  What are the strengths, strategies and strokes of luck required to bridge the two worlds successfully?  BIOS  ALLYSON C. JOHNSON’s Feature Film work includes: Mira Nair’s A melia,The Namesake, Vanity Fair and M onsoon Wedding which received the Golden Lion for Best Film at the 2001 Venice Film. Her television work includes NBC’s S mash a nd T he Slap, The Wire, Quantico and M arco Polo for Netflix. She is presently editing Baz Luhrmann’s series T he Get Down for Netflix. Johnson received an Emmy Nomination editing the documentary T he Who’s Tommy: The Amazing Journey . Other rockumentaries include U p From the Underground ( Quincy Jones), S ay It Loud (VH-1) and her Triptych short film K ick Out the Jams appeared at the opening of the Rock and Roll Hall of Fame Museum. She has also collaborated with such filmmakers as Spike Lee and Griffin Dunne and Bill Moyers.  SAM POLLARD is an Emmy and Peabody Award winning feature film and television video editor, and documentary producer/director whose work spans almost thirty years. He recently completed as Producer/Director a 90-minute documentary titled A ugust Wilson: The Ground On Which I Stand for the PBS series American Masters. His first assignment as a documentary producer came in 1989 for Henry Hampton's Blackside production E yes On The Prize II: America at the Racial Crossroads for which he received a Peabody Award. Between 1990 and 2010, Mr. Pollard edited a number of Spike Lee's films: M o' Better Blues, Jungle Fever, Girl 6, Clockers, and Bamboozled and co-produced a number of documentary productions for Spike Lee Presents M ike Tyson, Four Little Girls, When The Levees Broke. TIM SQUYRES has edited several films for director Ang Lee; Pushing Hands, The Wedding Banquet , EatDrinkManWoman, Sense and Sensibility, The Ice Storm, Ride with the Devil, The Hulk, and Crouching Tiger, Hidden Dragon. The latter earned Mr. Squyres Academy Award, BAFTA Award, Hong Kong Film Award, and [American Cinema Editors (ACE)] Eddie Award nominations, as well as the Golden Horse Award (Taiwan's equivalent of the Oscar).He was an Eddie Award nominee for his workonRobertAltman'sAcademyAward-winning,G osfordPark ,whichalsoearnedMr.Squyresan American Film Institute (AFI) Award nomination.His other feature credits as editor include Stephen Gaghan's S yriana, starring Academy Award winner George Clooney; Paul Auster's L ulu on the Bridge and TheInnerLifeofMartinFrost; andGeorgeButler'sdocum

  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 )   Many established narrative editors have turned their hand to documentaries, while others have worked in the opposite direction working as documentarians who crossover into narrative territory. Whether working within fictional or non-fictional worlds -- we as visual storytellers are instinctively drawn to elements common to both genres, yet the filmmaking communities often exist separately.  What are the strengths, strategies and strokes of luck required to bridge the two worlds successfully?  BIOS  ALLYSON C. JOHNSON’s Feature Film work includes: Mira Nair’s A melia,The Namesake, Vanity Fair and M onsoon Wedding which received the Golden Lion for Best Film at the 2001 Venice Film. Her television work includes NBC’s S mash a nd T he Slap, The Wire, Quantico and M arco Polo for Netflix. She is presently editing Baz Luhrmann’s series T he Get Down for Netflix. Johnson received an Emmy Nomination editing the documentary T he Who’s Tommy: The Amazing Journey . Other rockumentaries include U p From the Underground ( Quincy Jones), S ay It Loud (VH-1) and her Triptych short film K ick Out the Jams appeared at the opening of the Rock and Roll Hall of Fame Museum. She has also collaborated with such filmmakers as Spike Lee and Griffin Dunne and Bill Moyers.  SAM POLLARD is an Emmy and Peabody Award winning feature film and television video editor, and documentary producer/director whose work spans almost thirty years. He recently completed as Producer/Director a 90-minute documentary titled A ugust Wilson: The Ground On Which I Stand for the PBS series American Masters. His first assignment as a documentary producer came in 1989 for Henry Hampton's Blackside production E yes On The Prize II: America at the Racial Crossroads for which he received a Peabody Award. Between 1990 and 2010, Mr. Pollard edited a number of Spike Lee's films: M o' Better Blues, Jungle Fever, Girl 6, Clockers, and Bamboozled and co-produced a number of documentary productions for Spike Lee Presents M ike Tyson, Four Little Girls, When The Levees Broke. TIM SQUYRES has edited several films for director Ang Lee; Pushing Hands, The Wedding Banquet , EatDrinkManWoman, Sense and Sensibility, The Ice Storm, Ride with the Devil, The Hulk, and Crouching Tiger, Hidden Dragon. The latter earned Mr. Squyres Academy Award, BAFTA Award, Hong Kong Film Award, and [American Cinema Editors (ACE)] Eddie Award nominations, as well as the Golden Horse Award (Taiwan's equivalent of the Oscar).He was an Eddie Award nominee for his workonRobertAltman'sAcademyAward-winning,G osfordPark ,whichalsoearnedMr.Squyresan American Film Institute (AFI) Award nomination.His other feature credits as editor include Stephen Gaghan's S yriana, starring Academy Award winner George Clooney; Paul Auster's L ulu on the Bridge and TheInnerLifeofMartinFrost; andGeorgeButler'sdocum

The Post New York Alliance &  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.  

The Post New York Alliance &  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.  

This is part 2 of the VFX Colorspace Seminar, given by Chris Healer, CEO of The Molecule VFX.