Category Archives: New Hire

Justin Martin joins Hush as technology director

Design agency Hush has added Justin Martin as technology director. A technologist who has worked in a variety of jobs — from programming and research to engineering and visual effects — Martin joins Hushafter spending the last two years at The Barbarian Group, where he last served as senior developer and worked with clients such as Google, Samsung, IBM and Intel.

“A lot of the work at Hush requires working with non-traditional mediums and integrating with technologies that require significant research and development,” the Brooklyn-based Martin says. “Having studied architecture and worked in diverse technological fields, I have a unique vantage point that allows me to talk concept, form and experience — but through the lens of practical and realistic execution.”

Along with his Barbarian Group background, which includes work on a 7K interactive retail experience for Samsung, Martin used his technical experience in research and engineering while at Look Effects for feature films such as Darren Aronofsky’s Noah and Wes Anderson’s Moonrise Kingdom, as well as his favorite project, decoding a satellite’s telemetry data using only ‘70s-era mission manuals when it passed by Earth in 2014.

Founding partner/creative leader David Schwarz adds that Martin’s broad technical skill set provides something wholly unique to the experience design agency. “Justin has that impossible-to-find balance of qualities: deep, detailed knowledge mixed with the broader skill of being able to articulate that knowledge to our clients, peers, and partners,” he notes. “Having him involved allows us to begin solving complex challenges quickly and iteratively, and with an elasticity I’ve never seen at our company to date.”

Quick Chat: Efilm’s new managing director Al Cleland

Al Cleland has been promoted to managing director of Deluxe’s Efilm, which is a digital color, finishing and location services company working on feature films, episodics and trailers. For the past eight years, Cleland has been VP of trailers at Efilm.

A 30-year veteran of the post business, Cleland started his career at Editel and joined CIS, which later became Efilm, as one of the company’s original employees. He served as senior V/GM at Technicolor Creative Services for 10 years, and at Postworks, Los Angeles, returning to Efilm as VP of trailers. We threw three questions at Cleland, let’s see what he had to say…


After working on trailers for the last eight years, you must be excited to be working in all aspects of what Efilm does.
Our trailer department started out dedicated to finishing one studio’s trailers and we’ve expanded into a dedicated hub for the marketing departments of all the studios. Our trailers department has had the advantage of connectivity and common practices with all of Deluxe’s facilities throughout the world. I’ve loved being part of that growth process and, in my new position, I’ll continue to oversee that vital part of the company.

What’s challenging about trailers that people even in the business might not think about?
The great team in that division have to pull together shots and visual effects while the film itself is being finished, which is a unique logistical challenge. And they’re doing all kinds of small changes and creating effects specific to the trailer and to the MPAA requirements for trailers. It’s a unique skill set.

What do you hope to accomplish for Efilm going forward?
Efilm is expanding in terms of the amount of work and the kind of work we’re doing, and I intend to push that expansion along at an even faster rate. We’ve always had an amazing team of colorists, producers and editors that are really the heart of Efilm. We have wonderful technical and support staff. And, of course, we have access to all of those elements at our partner companies and we continue to build on that.

It’s early to talk about specifics, but we all know the industry is changing rapidly. We’ve been among the very first to introduce new technologies and workflows and that’s something the team here is going to expand on.

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Quick Chat: Josh Haynie Light Iron’s VP of US operations

Post services company Light Iron has named veteran post pro Josh Haynie to VP of US operations, a newly created position. Based in Light Iron’s Hollywood facility, Haynie will be responsible for leveraging the company’s resources across Los Angeles, New York, New Orleans and future locations.

Haynie joins Light Iron after 13 years at Efilm, where, as managing director, he maintained direct responsibility for all aspects of the company’s operations, including EC3 (on-location services), facility dailies, trailers, digital intermediate, home video and restoration. He managed a team of 100-plus employees. Previously, Haynie held positions at Sunset Digital, Octane/Lightning Dubs and other production and post companies. Haynie is an associate member of the ASC and is also actively involved in the HPA, SMPTE, and VES.

“From the expansion of Light Iron’s episodic services and New York facilities to the development of the color science in the new Millennium DXL camera, it is clear that the integration of Panavision and Light Iron brings significant benefits to clients,” says Haynie.

He was kind enough to take time out of his schedule to answer some of our questions…

Your title hints Light Iron opening up in new territories. Can you talk about this ? What is happening in the industry that this makes sense?
We want to be strategically located near the multiple Panavision locations. Productions and filmmakers need the expertise and familiarity of Light Iron resources in the region with the security and stability of a solid infrastructure. Projects often have splinter and multiple units in various locations, and they demand a workflow continuity in these disparate locations. We can help facilitate projects working in those various regions and offer unparalleled support and guidance.

What do you hope to accomplish in your first 6 to 12 months? What are your goals for Light Iron?
I want to learn from this very agile team of professionals and bring in operational and workflow options to the rapidly changing production/post production convergence we are all encountering. We have a very solid footing in LA, NY and NOLA. I want to ensure that each unit is working together using effective skills and technology to collaborate and allow filmmakers creative freedom. My goal is to help navigate this team though the traditional growth patterns as well as the unpredictable challenges that lie ahead in the emerging market.

You have a wealth of DI experience and knowledge. How has DI changed over the years?
The change depends on the elevation. From a very high level, it was the same simple process for many years: shoot, edit, scan, VFX, color — and our hero was always a film print. Flying lower, we have seen massive shifts in technology that have re-written the play books. The DI really starts in the camera testing phase and begins to mature during the production photography stage. The importance of look setting, dailies and VFX collaboration take on a whole new meaning with each day of shooting.

The image data that is captured needs to be available for near set cutting while VFX elements are being pulled within a few short days of photography. This image data needs to be light and nimble, albeit massive in file size and run time. The turnarounds are shrinking in the feature space exponentially. We are experiencing international collaboration on the finish and color of each project, and the final render dates are increasingly close to worldwide release dates. We are now seeing a tipping point like we encountered a few years back when we asked ourselves, “Is the hero a print or DCP?” Today, we are at the next hero question, DCP or HDR?

Do you have any advice for younger DI artists based on your history?
I think it is always good to learn from the past and understand how we got here. I would say younger artists need to aggressively educate themselves on workflow, technology, and collaboration. Each craft in the journey has experienced rapid evolvement in the last few years. There are many outlets to learn about the latest capture, edit, VFX, sound and distribution techniques being offered, and that research time needs to be on everyone’s daily task list. Seeking out new emerging creative talent is critical learning at this stage as well. Everyday a filmmaker is formulating a vision that is new to the world. We are fortunate here at Light Iron to work with these emerging filmmakers who share the same passion for taking that bold next step in storytelling.

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Stop-motion director Anthony Farquhar-Smith joins Not To Scale

Film and animation production company Not To Scale has signed stop-motion director Anthony Farquhar-Smith, who will work across all of their studios in London, New York and Amsterdam.

In addition to working with feature film directors like Wes Anderson on Fantastic Mr. Fox and Tim Burton on Corpse Bride, Farquhar-Smith has directed TV commercials in the UK and internationally.

Before joining Not To Scale, Farquhar-Smith worked with clients such as Kellogg’s, HSBC, Cadbury, Samsung and Audi. A two-year stint working in the industry in Los Angeles also led to commercials for Barbie, Intel, Xbox and Alamo. He is currently working on a short film called Drawer. He also lectures at several animation courses around the country.

“We’ve been looking for a stop-frame director of Anthony’s experience and caliber for some time,” says Dan O’Rourke, founder and chief executive producer at Not To Scale. “We were delighted to meet him and sign him onto our roster and even more delighted to get him working with St Luke’s and Very in his first week.”

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Ronen Tanchum brought on to run The Artery’s new AR/VR division

New York City’s The Artery has named Ronen Tanchum head of its newly launched virtual reality/augmented reality division. He will serve as creative director/technical director.

Tanchum has a rich VFX background, having produced complex effects set-ups and overseen digital tools development for feature films including Deadpool, Transformers, The Amazing Spiderman, Happy Feet 2, Teenage Mutant Ninja Turtles and The Wolverine. He is also the creator of the original VR film When We Land: Young Yosef. His work on The Future of Music — a 360-degree virtual experience from director Greg Barth and Phenomena Labs, which immerses the viewer in a surrealist musical space — won the DA&D Silver Award in the “Best Branded Content” category in 2016.

“VR today stands at just the tip of the iceberg,” says Tanchum. “Before VR came along, we were just observers and controlled our worlds through a mouse and a keyboard. Through the VR medium, humans become active participants in the virtual world — we get to step into our own imaginations with a direct link to our brains for the first time, experiencing the first impressions of a virtual world. As creators, VR offers us a very powerful tool by which to present a unique new experience.”

Tanchum says the first thing he asks a potential new VR client is, ‘Why VR? What is the role of VR in your story? “Coming from our long experiences in the CG world by working on highly demanding creative visual projects, we at The Artery have evolved our collective knowledge and developed a strong pipeline into this new VR platform,” he explains, adding that The Artery’s new division is currently gearing up for a big VR project for a major brand. “We are using it to its fullest to tell stories. We inform our clients that VR shouldn’t be created just because it’s ‘cool.’ The new VR platform should be used to play an integral part of the storyline itself — a well crafted VR experience should embellish and complement the story.”

 

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Deluxe hires Walter Schonfeld as president of digital cinema global ops

Walter Schonfeld, formerly CEO of SDI Media Group and president of Technicolor Entertainment Services, has joined Deluxe as president, digital cinema global operations (DTDC).

DTDC, a joint venture between entertainment services companies Deluxe and Technicolor, handles digital mastering, distribution and key management for feature film titles released worldwide.

Schonfeld is the former CEO of localization company SDI Media Group, where he introduced technology-based tools and services to maximize its scale and scope, integrating global operations. Previously, he was also president of Technicolor’s worldwide entertainment services group for six years, and was instrumental in transitioning the company to digital services and expanding the geographic scope of its operations. Prior to Technicolor, Schonfeld was a SVP at MCI Telecommunications, heading international business development and developing global strategies and partnerships for the S&P 500 firm. He is also a veteran, having served as a US Air Force officer during the first Gulf War.

Schonfeld, based in Burbank, takes over the leadership role of DTDC as Deluxe veteran executive Warren Stein departs at the end of the year. Stein and Schonfeld will work closely during this time to ensure a consistent and smooth transition of all projects, processes and operations.

Schonfeld said, “DTDC is highly regarded throughout the industry and well known for the quality of their work. The organization and its professionals around the world are top notch, and I’m looking forward to being part of the team John has been assembling and the new energy and vision he has brought to Deluxe.”

Schonfeld will guide operations and teams across DTDC facilities worldwide — Los Angeles, London, Toronto, Sydney and Madrid.


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Arnold Worldwide adds Jon Drawbaugh as director of integrated production

Arnold Worldwide has named Jon Drawbaugh as EVP/director of integrated production. Reporting to global chief creative officer Jim Elliott, Drawbaugh’s role is meant to further grow the agency’s integrated production offerings across Arnold and Studio6, a content production studio that is part of the Havas Network (Arnold’s parent company). Studio6 works with Arnold as well as outside clients.

Elliott and Drawbaugh had previously worked together at Goodby, Silverstein and Partners on campaigns for various brands, including as HP and Denny’s.

Drawbaugh will oversee Arnold’s cross-channel production efforts, and work closely with EVP/director of content production Bill Goodell to advance content production efforts across Arnold’s Boston and New York offices.

“Jon comes to us with extensive experience building contemporary integrated production capabilities, and we are extremely excited to have him aboard,” says Elliott.

Prior to joining Arnold, Drawbaugh led integrated production at DDB San Francisco, where he oversaw their Speakeasy content studio. In that role, he built a team of cross-platform production experts focused on creating innovative media agnostic communications for brands like Oracle, Slim Jim, Clorox and Qualcomm — including Qualcomm’s Fabric Content film series and Invisible Museum AR app.

Previously, he worked as SVP/director of integrated production at Mullen LA. He joined Mullen from FCB West where he oversaw a wide range of integrated production assignments. He also established the Foundry, the agency’s in-house production entity, which played a critical role in winning Levi’s business. Before that, Drawbaugh was a senior producer at Goodby, Silverstein and Partners, working on top brands like Chevrolet, Sprint, Hewlett-Packard, Dickies, Comcast, Cheetos, Denny’s, eBay, Starbucks, Subway, Kayak.com and AIDES.


MPC New York staffs up for growth with Kathrin Lausch, Nick Haynes

In response to an increasing amount of work in the city, MPC New York has added two senior industry vets to it staff — Kathrin Lausch and Nick Haynes.

Lausch, most recently executive producer at NYC’s Ntropic, has joined as head of new business development to focus on the growing area of client-direct work. She brings two decades of experience as an EP to her new position at MPC, having worked with a roster of production and post companies that includes B-Reel, Partizan Entertainment and Compass Films, among others. A native of Germany with advanced degrees in law and marketing, Lausch has owned and managed her own companies as well as run multinational production projects for advertising and entertainment clients during her career.

Haynes, who has a wealth of VFX and post experience, moved to New York from London in 2002 to help launch the first US office of The Mill. In his 10 years with the company he held a range of production and management positions that helped spur growth. After leaving The Mill he joined Absolute Post as GM/EP, where he helped build its New York office and supervised sales, VFX, motion graphic and design work.

“I’ve known Kathrin for some time and felt she’d be a perfect fit with what we’re doing here at MPC,” says Justin Brukman, managing director of MPC’s New York office. “Her experience, insight and contacts are unparalleled, and we’re confident she’s going to build our brand relationships across the board. And bringing on an EP of Nick’s stature to work with executive producer Camila De Biaggi ensures that we’ll continue to grow our core visual effects capabilities while we expand into areas like VR, AR, client direct and live-action production.”

These new signings come on the heels of other new hires at MPC New York, including EP Dani Zeitlin, who joined recently from Crew Cuts to lead its color grading work, and senior producers Elissa Norman and Brendan Khan.

We here at postPerspective have had the pleasure of knowing Kathrin from her Ntropic days. After hearing about her new position, we reached out with some questions.

Why was now the right time to make a move, and why MPC?
I’ve known MPC’s managing director, Justin Brukman, for a few years and have been quite impressed with his clear vision and strategy for MPC.  I personally wanted to be at a studio that has the strength and muscle to deliver, but also the flexibility to see where the marketplace is going and quickly react to changing needs. After reconnecting with Justin I felt such a strong connection and a similarity in ideas about where the business is headed, and felt that MPC would make the perfect platform for me to put my views on growing new business opportunities into practice.

You will be focusing on client-direct work. Can you talk more about that?
We’ve all seen how fast the market landscape has changed in the past few years, where vendors are becoming partners in order to facilitate the need for more content with faster execution times and more immediate responses to changes or adaptations. Client-direct work seems to be a natural progression for companies that can offer VFX, post and production, not just under one roof but across a global network. We also understand that bringing in the right creative thinking is crucial to delivering what clients need today. MPC recognizes this new opportunity and is building out that capability for specific clients. We’re not changing who we are; we’re just reacting to segments of the business that are in transition.

How important will VR and AR be in the continued growth of MPC New York?
I think VR and AR will become an ongoing part of brand engagement as an aspect of the many channels or platforms clients need to engage different demographics. Of course, both have very different emotional and functional engagement levels and will be used by brands for different purposes. We’ve been producing some amazing VR experiences and are developing great ideas, both for clients and for our own original MPC content.

In the music space, for example, we recently did a stunning VR music video for the international DJ Kygo and Sony Music that’s set to break soon. I foresee VR and AR as being an ongoing format for us, and with new technologies arriving every day, it’s going to be a commonplace part of campaigns for brands.


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Dallas-based Post Asylum adds editor Bradley Thurman

Dallas-based Post Asylum has added editor Bradley Thurman to its roster. With more than 10 years of industry experience, Thurman spent two years as an editor at Reel FX and had a nine-year run with Fast Cuts. His body of work includes national spots for Salvation Army, American Home Shield, Chuck E. Cheese and the Texas Lottery.

albertsonsThurman — who edits on Avid Media Composer and Adobe Premiere — hit the ground running with Post Asylum, cutting a 12-spot campaign for Dallas County Colleges, plus a couple of spots for Albertsons grocery store (pictured).

“Bradley’s already written and successfully pitched a comedy script for one of our consumer electronics brand clients,” notes Post Asylum EP Graham Hagood. “This addition further solidifies Post Asylum as a concept-through-completion, one-stop-shop for motion content across all media.”

Post Asylum offers concept development, creative direction, design, production, editorial, animation, visual effects, VR/experiential, original music and color/finish. And they recently combined forces with animation studio Element X. The two fully integrated shops are aligned with Pure Evil Music.

Cut+Run NY promotes Adam Bazadona and Ellese Jobin

At New York’s Cut+Run, Ellese Jobin has been promoted to head of production and Adam Bazadona to editor.

Bazadona started as an assistant at Cut+Run in 2009. Moving from assisting to editing has been a fluid transition for him, with credits that include co-editor on Green Day’s Oh Love (directed by Sam Bayer) and the CFDA Fashion Fund films (directed by Jun Diaz), a collaboration with Andrés Cortés on Rehearsal Space (featuring Sonic Youth’s Lee Renaldo) and the recent Panda Desiigner video.

In 2015, Bazadona cut Scott McFarnon’s Crazy Heart directed by Floyd Russ. In the world of spots, he has worked on projects for Mercedes, Kobe Bryant, Verizon Wireless and Blue Apron.

Jobin joined Cut+Run shortly after Bazadona, working in client service and reception. She quickly became involved in projects, assuming the role of producer and eventually senior producer. As head of production, Ellese will oversee Cut+Run’s NY producer team and all facets of the post process in a management capacity.