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17 2017 Nov

Avid Unveils VR Innovations and Accelerated Music Creation for Pro Tools

Avid empowers Pro Tools | HD users to take command of VR projects with Facebook Spatial Workstation and accelerate immersive workflows with Dolby Atmos® integrations 

Avid® recently announced a new version of Pro Tools® that empowers users to take on virtual reality (VR) projects with Facebook 360 Spatial Workstation. Debuting at AES New York 2017, the new version includes updates to the integrated Dolby Atmos® workflows and is more powerful than ever for users at all levels, giving Pro Tools | First, Pro Tools, and Pro Tools | HD users new features and improvements that accelerate workflows and expand their creative toolsets.

Audio professionals working on virtual reality projects can now produce immersive, full-sphere, surround sound content from start to finish in Pro Tools | HD. Users can easily edit and mix audio in a 3D space with support for first-, second- and third-order Ambisonics formats across Pro Tools | HD tracks and busses, and then output and deliver to the required formats for playback. Pro Tools | HD also includes Facebook 360 Spatial Workstation for enhanced VR functionality. Also included in this version of Pro Tools | HD are enhancements to the Dolby Atmos® workflows enabling users to quickly and easily mix and deliver immersive experiences for theaters and homes.

Musicians and composers using Pro Tools can now create faster with enhanced MIDI functionality, work smarter with MIDI input display, and quickly find tracks with the new Scroll to Track feature. A new batch rename feature enables both post professionals and music creators to quickly rename groups of clips or tracks instantly.

Aspiring musicians and aspiring professionals using Pro Tools | First, the free version of Pro Tools, gain the same MIDI enhancements as Pro Tools users. In addition, they can now turn session documents from earlier Pro Tools versions into Projects that are ready for cloud backup and collaboration.

“As part of our commitment to providing our preeminent client and user community with the most comprehensive tools and workflow solutions, we deliver a continual stream of innovation with every new version of Pro Tools—and this latest release is no exception,” said Rob D’Amico, Director, Pro Audio Market Solutions at Avid. “This latest version of Pro Tools is packed with features and improvements for everyone. From MIDI enhancements that accelerate music workflows, and VR capabilities for post professionals, to new collaborative capabilities for aspiring pros, this latest version delivers tangible value for users of all backgrounds.”


17 2017 Nov

MTI Film Applies Finishing Touch to New Videos from Pussy Riot, Cold War Kids and Watt

Colorist Alex Chernoff teams with director Phillip R. Lopez.

MTI Film colorist Alex Chernoff provided final post services for three new videos directed by Phillip R. Lopez, including a release from Russian punk band Pussy Riot with the provocative title Straight Outta Vagina. In finalizing the look of the videos, Chernoff collaborated directly with Lopez who’s been garnering a lot of attention for his visually stunning short films and music videos.

A hip-hop feminist anthem, Straight Outta Vagina is set in a church and a tiled bathroom (the actual shooting location was the Ace Hotel in Los Angeles) and includes a cast of children, dancers and female body builders. “It’s about the power of female sexuality,” says producer Matthew McCluggage. “It reminds men where they come from.”

Color is used creatively in the video to set the trippy, celebratory mood, establish locations and reinforce the band’s brand. “We drew out the gold in the classical design of the theater to give it the feel of a Russian Orthodox church,” explains McCluggage. “We played against the green in the tiles of the bathroom scenes and went for a warmer look in the mirrored shots. Overall, we emphasized the blues and the yellows, the band’s signature colors.”

“It’s a strong look,” adds Chernoff. “Phillip and I worked hard on the church scenes and are very happy with how well they turned out. We used a grain tool throughout to give it a filmic look—that’s something I often do with Phillip’s work.”

Chernoff also applied the final grades to Love is Mystical from the Cold War Kids and Burning Man from the rapper Watt (featuring Post Malone). In the former, most scenes are presented in reverse motion and colored in soft, dreamlike tones. “The goal was to capture that feeling of a first kiss, or first falling in love,” Lopez explains, “the way time can stop, move backwards and you get totally lost in that mystical moment.”

Burning Man, meanwhile, casts Watt and Post Malone as deliverymen who lace an office water cooler with LSD igniting (literally, as it turns out) a wild party. Chernoff says that he and Lopez had fun adding a psychedelic cast to scenes of office workers dancing in piles of shredded paper and covered in Post-It notes. The video climaxes with a man running down a hall after he has been set on fire. “We made the fire super-hot to make it feel more real,” Chernoff observes.

McCluggage observes that Alex is a valuable creative partner as he understands intuitively the visual aesthetic Lopez is seeking to achieve. “Alex has really refined his craft,” he says. “And, as a young artist, he relates well to the music and contributes great ideas during post.”

See the videos here:

17 2017 Nov

Avid Helps Gareth Owen Bring the Biggest Musical Theater Productions to Broadway and The West End

Award-winning sound designer relies on Avid VENUE | S6L to deliver pristine sound for some of this year’s biggest musical theater productions, including A Bronx Tale, Bat Out of Hell, Wind in the Willows and 42nd Street

Avid® recently announced that award-winning sound designer Gareth Owen relies on Avid’s flagship live sound system to support some of the world’s most popular musical theater productions. Avid VENUE™ | S6Lprovided Owen with the sound quality and versatility to meet the demands of multiple, concurrent stage productions this summer, including Bat Out of Hell, Wind in the Willows and 42nd Street—all running in London’s West End, as well as A Bronx Tale and Come From Away on Broadway.

Working on a diverse range of high-profile productions, Owen needs a live sound system with the power and flexibility to create the perfect sound for each production regardless of the genre. As long-time members of Avid’s distinguished user community, Owen and his team were the first to adopt Avid VENUE | S6L for Broadway and West End productions, using its extensive programming capabilities to craft much of each show during the production phase.

“Every show is different, and some are polar opposites of each other in terms of sonic requirements—for example, Bat Out of Hell is a balls-to-the-wall rock and roll musical, as loud as any concert, while 42nd Street is the traditional book musical, all about subtlety and transparency,” said Owen. “The S6L takes these varying musical styles in its stride, tackling them all as if it was designed specifically for that purpose. The sound quality is far ahead of any other console I’ve used. There’s a clarity and transparency to the sound of the S6L that’s a new experience for me. And it gives me the power to explore my creativity without being hemmed in by the technology.”

Owen and his team are currently using the Avid VENUE | S6L console for several shows, including Come From Away (Broadway), A Bronx Tale (Broadway), ,42nd Street (West End), Young Frankenstein (West End) and Disney’s Hunchback of Notre Dame (Germany). They will also be using the console for a number of upcoming productions, including Donna Summer (Broadway), Come From Away (Toronto), Prince of Egypt (Denmark), Bat Out of Hell (Toronto), Starlight Express (London) and Strictly Ballroom (London).

“We are honored that one of the world’s top sound designers relies on Avid’s comprehensive tools and workflow solutions to mix the biggest musical theater productions,” said Avid President, Jeff Rosica. “As well as giving Gareth and his team the control and creative flexibility to support the most sophisticated productions regardless of genre, the Avid VENUE | S6L console’s sound quality is second to none.”


17 2017 Nov

Motion Picture Sound Editors to Honor Kathryn Bigelow with Filmmaker Award

2018 MPSE Golden Reel Awards Slated for February 18th

The Motion Picture Sound Editors (MPSE) recently announced that it will honor Kathryn Bigelow with its annual Filmmaker Award. The director of such films as DetroitZero Dark Thirty and The Hurt Locker, is being recognized for her outstanding contributions to the art of cinema. She will receive the award at the MPSE Golden Reel Awards ceremony February 18th in Los Angeles.

Kathryn Bigelow Headshot 8[4]A trailblazing filmmaker whose work is noteworthy for its emotional depth, arresting visuals and stunning action, Bigelow is the only woman to win an Academy Award for Best Director (in 2010 for The Hurt Locker). “Kathryn Bigelow’s films have that rare quality of challenging our preconceptions by moving us and creating moments of powerful empathy,” said MPSE President Tom McCarthy. “She is a true artist. We are extremely proud to recognize her tireless contributions to our industry and culture with our Filmmaker Award.”

Past recipients of the MPSE Filmmaker Award include Guillermo del Toro, Sam Raimi, Darren Aronofsky, George Lucas, Ang Lee, Michael Bay, Steven Spielberg, Clint Eastwood, Brian Grazer and Gale Anne Hurd.

“Collaboration with the sound editor is a gratifying and inspiring time in the post process,” said Bigelow. “It is the moment that the film wraps itself around you, revealing its final form. I am honored to receive this award from my colleagues in sound editing.”

Originally intent on a fine arts career, Bigelow studied painting at the San Francisco Art Institute. She later became interested in filmmaking and received a scholarship to Columba University’s graduate film school. Her debut as a feature director came in 1982 with the drama The Loveless (co-written and co-directed by Monty Montgomery). That was followed by the features Near Dark (1987), Blue Steel (1989), Point Break (1991), Strange Days (1995), The Weight of Water (2000) and K-9: The Widowmaker, as well as several television projects.

The Iraq War drama The Hurt Locker (2008) won six Academy Awards, including Best Picture, Best Director, Best Original Screenplay, Best Editing, Best Sound Mixing and Best Sound Editing. Zero Dark Thirty, which followed in 2012, also achieved widespread critical and commercial success, and earned Best Director nominations from the Golden Globes and BAFTA (as well as an Oscar for Best Sound Editing). Her latest project, Detroit, is a deep and unsettling portrait of the race riots that gripped that city in 1967. The Los Angeles Times called it “a picture whose political resonance in the Black Lives Matter era is fierce and unambiguous.”


17 2017 Nov

Dennis Doros Elected President of the Association of Moving Image Archivists

Members Also Vote for Three New Directors of the AMIA Board

LOS ANGELES  – The Association of Moving Image Archivists (AMIA) announces that Dennis Doros, co-owner of Milestone Films, has been elected president of the international association by AMIA members. Doros will be inducted into office at the annual AMIA Conference in New Orleans (Nov. 29 – Dec. 2), when he will begin a two-year term. He succeeds Andrea Kalas, who has led the organization forward for the past two years.

AMIA members have also elected three new directors to the Board of Governors: Casey Davis Kaufman, senior project manager for the WGBH Media Library and Archives and project manager for the American Archive of Public Broadcasting; Andrea Leigh, moving image processing unit head at the Library of Congress National Audio Visual Conservation Center; and Yvonne Ng, s enior archivist at WITNESS, an organization that supports people using video to protect human rights. They join board members Jayson Wall of The Walt Disney Studios, consultant and doctoral student Lauren Sorensen, doctoral student/field scholar Melissa Dollman, John Polito of Audio Mechanics, and Teague Schneiter from the Academy of Motion Picture Arts and Sciences.

AMIA is the world’s largest professional organization dedicated to the acquisition, description, preservation, restoration, exhibition and use of audiovisual media. The association’s programs help members stay abreast of the latest methods and technologies, ensuring that our cultural treasures are accessible for future generations. The AMIA membership includes archivists, educators, librarians, digital asset managers, technologists, collectors, genealogists, filmmakers, historians, consultants, studio executives, environmentalists, distributors, and broadcasters from around the world — all of whom are actively engaged in the art and science of media preservation and presentation.

Doros comments, “I am deeply honored to have the opportunity to serve AMIA, an organization that has meant so much to me both personally and professionally. The friendships, connections, and camaraderie I have found here have helped me discover, research, and preserve some of the most challenging and rewarding projects of my career. I am inspired on a daily basis by this passionate and supportive international community. I know that working together, we can bring greater diversity, fairness, and outreach to our field while saving a lot of great moving images for generations to come.”

Doros began his career at Kino International in 1984, where he was responsible for restoring Erich von Stroheim’s Queen Kelly and Raoul Walsh’s Sadie Thompson, both starring Gloria Swanson. In 1990, he co-founded Milestone Films with his wife, Amy Heller. Working with film archives and labs around the world, they have restored and distributed a wide range of independent films that include works by Shirley Clarke, Charles Burnett, Margot Benacerraf, Billy Woodberry, Kathleen Collins, Marcel Ophuls, and Kent Mackenzie. Filmmakers Martin Scorsese, Barbara Kopple, Steven Soderbergh, Thelma Schoonmaker, and author Sherman Alexie have worked with Milestone to promote special restoration projects. For the past 12 years, Doros has been a consultant to Turner Classic Movies (TCM).

Doros and Heller have been awarded the National Society of Film Critics’ Film Heritage Award five times and first Special Archival Award; the International Film Seminars’ Leo Award; the NY Film Critics Circle’s Special Award twice; the LA Film Critics’ first Legacy of Cinema Award; and a Film Preservation Honors award from Anthology Film Archives. Doros served three terms on the AMIA Board of Directors, and was the 2016 winner of AMIA’s William S. O’Farrell Volunteer Award in recognition of his contributions to the field.

For more information, visit


19 2017 Oct

Madeline Di Nonno, CEO of Geena Davis Institute on Gender in Media, to Speak at SMPTE – HPA Women in Technology Luncheon

Madeline DiNonnoMadeline Di Nonno, CEO of Geena Davis Institute on Gender in Media, will be featured in a keynote conversation at the annual women in technology luncheon, presented by SMPTE and HPA Women in Post on October 23rd.  Kari Grubin, co-chair of HPA Women in Post will lead the conversation.

The research performed by the Geena Davis Institute analyzes and tracks how women and girls are portrayed in media, and how negative gender stereotypes can influence cultural and social behaviors and beliefs. Di Nonno will share the latest findings from the Institute’s new machine learning research tool, GD-IQ, the Geena Davis Inclusion Quotient, with a data driven approach to changing unconscious

“What we see onscreen greatly influences our views on society. The gender disparity in media reinforces unconscious gender bias off screen, behind-the-scenes and in the real world.  According to our research, positive portrayals in media can inspire women and girls to pursue certain careers like STEM as well as furthering their education and leaving abusive relationships,” said Di Nonno. “Our mission is to change the media landscape to reflect our growing intersectionality in society.  Our motto is ‘if you can see it, you can be it.’ Clearly, there is work to do, but I look forward to speaking with a group of women who are doing it.”

Di Nonno brings thirty years of international leadership experience to her responsibilities at the Geena Davis Institute, where she leads strategic direction, research, education, advocacy, and financial and operational activities. Her past roles have included President and CEO of On the Scene Productions; executive positions for Anchor Bay Entertainment/Starz Media and Executive Vice President and GM for Nielsen EDI; Senior Vice President, Marketing Alliances and Digital Media at the Hallmark Channel; and Vice President, Universal Studios Home Video. Di Nonno began her career at ABC Television Network in corporate publicity. In many of the organizations she has been part of, Di Nonno has led groundbreaking global initiatives in digital technology.

Grubin said, “We are honored to have Madeline with us to share insights from her impressive career and the groundbreaking work of the Geena Davis Institute. She is a compelling voice moving our culture and the media forward, and the Geena Davis Institute on Gender in Media helps define solutions for change. I look forward to this conversation, which is sure to advance the role that HPA and Women in Post play in our industry’s evolution and our support of young women.”

Di Nonno is a frequent speaker at global conferences and organizations such as the Cannes Lion, U.S. Department of State, and the United Nations and has been featured in media outlets including The New York Times, Variety, The Hollywood Reporter, Forbes, Huffington Post, Kidscreen, Fast Company, and Wired Magazine. Di Nonno holds a bachelor’s degree from Boston University. She serves as the Chair of the Board of Directors for the Television Academy Foundation and is on the Board of Directors for the Population Media Center and Promundo U.S., and on the Advisory Board for PBS Kid’s Ready Jet Go and GameChanger Films; and is a Strategic Advisor to YouTube Red. Di Nonno previously served as President of the Glass Lions Jury for the Cannes Lions 2016.

The Women in Technology luncheon is an annual event held in conjunction with the SMPTE Annual Technical Conference & Exhibition. Last year, executive vice president of Physical Production for Marvel Studios Victoria Alonso was the featured Women in Technology luncheon speaker. Previous speakers also include Cheryl Boone Isaacs, Michelle Munson, and Wendy Aylsworth. Seating is very limited and the event consistently sells out. Advance registration is required and early registration is encouraged.

Tickets for the Women in Technology luncheon are required and may still be available, visit Those that purchase tickets may use promo code WIT2017 to receive a complimentary exhibits-only pass for SMPTE 2017.

19 2017 Oct

Remembering Paul Rodriguez

Paul Rodriguez

Paul RodriguezMotion picture and television sound executive Paul Rodriguez passed away September 26th in Los Angeles of cardiac arrest after a brief hospitalization. He was 65.

Rodriguez was president of South Lake Audio Services and Vice President of Audio Services and Development at Roundabout Entertainment in Burbank where he oversaw post-production sound for projects including HBO’s Westworld. He was also a long-time board member of the Motion Picture Sound Editors (MPSE) and served as its treasurer for eight years. He produced the organizations’ annual MPSE Golden Reel Awards ceremony.

An active member of the professional sound community for more than 30 years, Rodriguez served in executive, sales and creative capacities at Todd-AO/Soundelux, Wilshire Stages, 4MC and EFX Systems. He was also co-owner of the Eagle Eye Film Company, a supplier of picture editing systems. He joined Roundabout Entertainment in 2015. Known for his infectious humor and gregarious personality, Rodriguez was a tireless ambassador for the art of entertainment sound and enjoyed universal respect and affection among his industry colleagues and friends.

“Paul will be remembered for the energy, wisdom and true dedication he gave to the sound industry,” said MPSE President Tom McCarthy. “His passing leaves a great void on our board and in the hearts of our members.”

Rodriguez is survived by his son Hunter, daughter-in-law Abbie and granddaughter Charlie; daughter Rachael and son-in-law Manny Wong; daughter Alexa and her partner James Gill; his former wife, Catheryn Rodriguez; and several sisters.

A memorial service will was held 11 a.m. on Tuesday, Oct. 3 at Montrose Church, 2409 Florencita Drive in Montrose, Calif. Donations in Rodriguez’s name may be made to Montrose Church, Best Friends Animal Society or Alzheimer’s Association.




MPSE Contact

Anne-Marie Slack

(818) 506-7731


Press contact:

Linda Rosner



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18 2017 Oct

69th Creative Emmys: Editor Bret Granato Talks About “OJ: Made in America”

By Debra Kaufman

At the 69th Creative Emmy awards, editors Bret Granato, Maya Mumma and Ben Sozanski won the award for Outstanding Picture Editing Nonfiction for ESPN Films’ “OJ: Made in America.” HPA Newsline had a chance to speak with Granato about the experience of cutting the seven hour-and-47 minute documentary series, which also won the Oscar for Best Documentary Feature at the 89th Academy Awards.

If you thought that nothing new could be wrung out of the 1994 OJ Simpson saga, the ESPN documentary proved you – and everyone else – wrong. But that was Granato’s mindset when director Ezra Edelman first contacted him. “The topic had been covered so thoroughly,” explains Granato, who had worked with Edelman on an ESPN’s “Requiem for the Big East.” “ I couldn’t imagine what he wanted to do with it.” Edelman then explained his plan: a dual narrative that would follow the history of Los Angeles and the LAPD and the history of the African-American community in Los Angeles and OJ’s own history, two threads that would weave in and out, and crash together after the murders.

From the beginning, says Granato, he knew the challenge would be to keep the audience engaged in this atypical method of storytelling. “We didn’t know if people would see the correlation of feel lost,” he says. “We didn’t know if people would go for the ride. It was a tricky proposition.”

When Granato and Mumma (initially the only two editors on the project) started working, Edelman and his team had already completed 50 to 60 percent of the interviews. Edelman’s process is also to write a lengthy document – up to 60 pages – that tells a conversational, almost novelistic story, populated with quotes and the people he hopes to interview. “It’s an aspirational document,” says Granato, who says the editors use the document as a guide.

The deadline was another challenge. The series, initially slated at six hours, had to meet the deadline for the Sundance Film Festival (where it debuted) in less than a year, a brutal pace for so much material. That’s when Sozanski came aboard, and the episodes were divvied up: Mumma would handle episodes 1 and 2, the so-called “pre-murder” sections, Granato would focus on the trial, in episodes 3 and 4, and Sozanski would edit the post-verdict episode 5. They stayed within those parameters, says Granato, although Sozanski cut the opening of episode 1 and he cut the Buffalo Bill section in the same episode. “We all touched that first episode,” says Granato, who adds the Sozanski also worked on the part of the murders.

Granato was perfectly suited to cut the OJ trial for a rather coincidental reason. He was in college during the original trial and was obsessed with it. “I listened to all of it while I was jogging,” he says. “I was gripped, like the country was, and was fascinated by the twists and turns.” Years later, he wrote off that obsession as a wasted year – which it might have been had he not found himself editing it for an award-winning documentary. “I was very familiar with the trial,” he notes wryly.

While the editors were cutting at the Post Factory in New York (all of them on Avids), producers Caroline Waterlow, Tamara Rosenberg and Nina Krstic worked out of an office in Brooklyn; Krstic handled archival footage, which was so crucial to the series. Associate producer Ryan Dilts and assistant editor John Fisher handled the immense task of inputting and key-wording about 800 hours of footage, including over 70 interviews, so the editors could easily find what they were looking for.

Another major challenge was when Edelman and the three editors got together to see the “big picture” of all the episodes together. “Ezra wanted to see the arc of the whole thing,” says Granato. “So we’d spend ten hours going through the entire film together. It would take an entire day to see what was working and what wasn’t, and it was physically punishing to do that.” Each editor left the beginnings and endings of their episodes loose, to allow more flexibility for connecting with the material on either side. “It never ends up being structured per the original idea,” says Granato. “The dynamic changes depending on the interviews, and you go back and tighten and make it more focused.”

The team did finish the series in time for its Sundance Film Festival debut. Granato looks back and says that none of them knew just how long the series would be – or how big it would hit. “We just started building and kept moving the needle forward,” he says, noting that the ESPN executives were happy with the show at its longer length. “ESPN was so supportive and interested in what we were doing, and they gave us the freedom to tell the story the way we thought it should be told.”

18 2017 Oct

Homespun Yarns Finalists to Leverage Sohonet Filerunner for Reliable Short-Film Transfers

SOH_logo_500Sohonet, the global experts in connectivity, media services and network security for the Media and Entertainment industry, today announced their exciting partnership with Stitch Editing for their talent-nurturing film competition, Homespun Yarns.

Homespun Yarns, which is returning for its fourth successive year, supports up-and-coming filmmakers and editors by providing them with both the funding and platform to work and develop their talent through a unique film competition. This year, Homespun have set the brief to ‘Fragments’. Supported throughout, the the four finalists will need to produce and edit a short-film which will then be judged by a Homespun panel and audience at the awards night this October.

For 2017, the finalists will be utilising Sohonet’s media optimized file-transfer tool, FileRunner to both share and collaborate on content with their post and edit teams. Damien Carroll, COO of Sohonet said, “It has been fantastic to see the Homespun finalists leveraging FileRunner to collaborate securely and effectively with their teams throughout this competition”.

Carroll added “We’re delighted to support such amazing emerging creative talents I hope this experience has shown how the right technologies, when used in an effective manner can enhance the creative process and secure and simplify workflows”.

Alice Clarke, EP of Homespun said ‘”It’s been exciting to partner with Sohonet for Homespun Yarns 2017, and using your FileRunner transfer tool has given our filmmakers the chance to experience a smooth and secure post-production process”

About Stitch Editing (Homespun)

Stitch was founded in 2010 by award winning editors Tim Hardy and Leo King. Housed in a high spec Soho building, Stitch provide a creative and relaxed working environment with a strong emphasis on collaboration.  The quality of their craft is unparalleled and they pride themselves on guiding clients seamlessly through the post production process.

Their five fully HD suites enable them to easily manage the workflow of each project, regardless of format.  With over 35 years experience, they have made tea, collected dry cleaning, loaded rushes and edited high profile ads for many of the industries brightest and best directors and producers.

About Sohonet

Sohonet are the global experts in connectivity, media services and network security for the media and entertainment industry. We allow creatives to work on content wherever they are in the world by providing an extensive range of solutions which enable them to transfer and store valuable and critical content quickly or to collaborate securely in real-time.  And all of this is backed up by our unrivaled 24/7 technical support. The Sohonet Media Network is the largest and most-established private, high-performance network for the media industry and connects over 450 of the leading studios, production and post-production facilities around the world.

Sohonet enjoys strong partnerships within the broadcast and film industry, supporting organizations such as the BFC, SIGGRAPH, HPA, SMPTE, The Digital Production Partnership, AMWA, UK Screen Association, The Production Guild, MESA and MESA Europe, and The Visual Effects Society.

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17 2017 Oct

AMIA and Boston Light & Sound, in Partnership with The Film Foundation, Host 35mm Projection Workshop

Curriculum Focuses on Mechanics and Operation of Film Projection Equipment and Proper Handling and Presentation of 35mm Film Prints

The Association of Moving Image Archivists (AMIA) and Boston Light & Sound, in partnership with Martin Scorsese’s non-profit organization The Film Foundation, will host a three-day, intermediate-level film projection workshop offering expert-led training in the proper handling and presentation of 35mm film in theaters. The hands-on, educational event takes place October 30 – November 1 at Boston Light & Sound in Boston.

Areas of instruction, intended for professional projectionists and other specialists responsible for film prints, include the handling of 35mm reels, working with lending institutions, and the technical skills needed for projection and maintenance. Instructors include experts in archival projection, as well as specialists from Boston Light & Sound and AMIA. Also contributing to the program are WB Distribution, the Coolidge Corner Foundation, and filmmaker Peter Flynn.

Over the past decade more than 90% of cinemas have migrated exhibition to solely digital projection, raising concerns that professional expertise in projecting 35mm is rapidly declining. Prints are difficult to obtain and expensive to replace, and require special knowledge and skills to project. Keeping movie projection at a high level of exhibition is important for preserving both access to, and the physical safety of, archival and rare films, which ultimately benefits audiences. AMIA’s projection workshops are designed to address these challenges, and encourage best practices for film projection through instruction, education, and support, as well as building a collaborative community of film handlers.

“The need for projectionists with the knowledge and experience to appropriately project 35mm prints has only deepened as the commercial market has moved toward digital,” said AMIA President Andrea Kalas. “The education we provide with our outstanding partners will ensure that audiences can continue to enjoy films, whether blockbusters or rarities, in their original format and that film prints will be returned to their archives undamaged.”

Margaret Bodde, executive director of The Film Foundation, added, “There is nothing quite like seeing a film projected on the big screen in its original format. The Film Foundation is committed to ensuring the continued availability of film prints, so it is extremely important that individuals are trained in the proper handling of 35mm archival and restored prints so that film projection does not become a dying art. In the past, projectionists learned from experienced mentors. This workshop provides training and support for this vital community.”

Participants of the Projection Workshop will receive certificates of completion from AMIA. Last year’s event sold out and drew accolades from attendees. In the coming year, AMIA plans to offer additional workshops with related content for both beginner and expert audiences.

“As time goes by, our precious film heritage is becoming more and more fragile, and new prints of older features are becoming more expensive and less available,” said Chapin Cutler, co-founder of Boston Light & Sound. “But archival prints that date back to original release dates continue to be viable and shown to audiences around the world. Proper film projector maintenance, alignment and hygiene is important to protect these precious materials. So, too, is presentation quality. Both go hand in hand. Passing on our understanding of how to maintain the best practices in film projection in is an important mission for Boston Light & Sound. We are proud to support AMIA along with our partners at Alamo Drafthouse by helping to develop and provide these workshops.”

The fee for workshop participants is $350, and attendance is limited to 12 participants. For more information, and to register, visit



The AMIA Projection Workshop program was developed in partnership with the Alamo Drafthouse to provide resources and training to support those involved in the projection of 35mm film. Areas of instruction include: the handling of 35mm prints, working with lending institutions, and the technical skills needed for projection and maintenance. In addition to hands-on workshops, our goals also include the support of the broader community of 35mm exhibition – from encouraging peer-to-peer training to increasing the availability of online resources.



As the world’s largest international association of professional media archivists, the Association of Moving Image Archivists (AMIA) is uniquely poised to bring together a broad range of experts. Members represent film studios, corporate and national archives, historical societies, labs, post production, universities, footage libraries and more. Because of this diverse membership, AMIA provides an opportunity to interact with every facet of the field and a single forum to address the best ways to preserve and provide access to our media heritage in digital and analog formats. For further information, visit and follow AMIA on Facebook, Twitter (@AMIAnet) and Instagram (@AMIArchivists).



Boston Light & Sound are known as the specialty presentation gurus. From early success presenting Napoleon, complete with a live orchestra at the Colosseum in Rome, to engineering and installing digital cinema and film projection systems at the Doha Tribeca Film Festival in Doha, Qatar, BL&S has a reputation for technical expertise and craftsmanship. One of the nation’s leading entertainment technology companies, BL&S maintains the personal touch of a small specialty operation. Services include technical expertise and equipment for the arts and entertainment industry, and world-renown pro-AV. For more information, visit


The Film Foundation is a nonprofit organization established by Martin Scorsese in 1990 to protect and preserve motion picture history. By working in partnership with archives and studios, the foundation has helped to restore over 750 films, which are made accessible to the public through programming at festivals, museums, archives and educational institutions around the world. The Film Foundation’s World Cinema Project has restored over 30 films from 20 different countries. The foundation’s free educational curriculum, The Story of Movies, teaches young people about film language and history. For more information, visit:




Media Contacts:

ignite strategic communications


Chris Purse,

Lisa Muldowney,