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20 2018 Apr

MTI Film Launched CORTEX v5 at NAB

Set to screen workflow solution includes new features for IMF and Dolby Vision packaging, QC and more.

MTIAt NAB Show 2018, MTI Film introduced CORTEX v5, the latest version of its set-to-screen family of workflow solutions.  In addition to the powerful Dailies processing tools, the improved software includes significant, new features for IMF, DCP, and Dolby Vision packaging.  The new graphs and metrics reports provide QC tools for Dead Pixel Detection and Correction, MaxCLL/MaxFLL levels, Code values, IRE and NITS values.  CORTEX v5 includes many other new features to manage media throughout the production lifecycle and meet complex delivery requirements.

Offering support for all popular delivery formats, CORTEX has become the first choice for IMF creation, quality control and delivery due to its flexibility, robust features and ease of use. “Facilities have embraced CORTEX as a complete IMF solution,” said MTI Film Director of Product Development Randy Reck. “The new v5 adds more features and is even easier to use. Users can get their projects done faster and with greater confidence.”

Highlights of v5 include new Edit Tool functions to support Dolby Vision. Users can more easily manage complex metadata by overwriting, inserting, deleting or copying and pasting Dolby Vision metadata directly into compositions. Similarly, a new IMF Tree function makes it simpler to organize mastering projects by allowing users to present compositions and supplementals alongside renders. Sub-folders have also been added for improved media management.

To support quality control workflows, CORTEX’s Quality Analysis node now allows for the creation of graphs and reports for analyzing media for a variety of metrics, including color levels, bit rate, MaxCLL/MaxFLL, and dead pixels.

Other new and enhanced features include:

  • Software CMU for Dolby Vision
  • Simultaneous HDR and SDR SDI outputs
  • ProRes IMF packaging
  • ProRes insert editing
  • Improved dead pixel repair
  • Improved MTI-Samsung up-res
  • 24-channel audio
  • DCP packaging
  • Waveform and Vectorscope scaling for HDR and SDR
  • Streamlined edit functions

CORTEX is available in DIT, DIT+, Dailies and Enterprise editions tailored to differing users and applications. MTI Film is an ACES Product Partner.

20 2018 Apr

MTI Film Introduced DRS™NOVA v4 at NAB

Latest version of digital restoration software includes tools for frame replacement, stabilization, paint and more.

MTIMTI Film introduced the latest version of its industry-standard digital restoration software DRS™NOVA at NAB 2018. Employed by restoration specialists and post-production facilities worldwide, DRS™NOVA includes a suite of automated and manual tools for addressing problems common to new and archival film content, ranging from dust and dirt to catastrophic tears and warps.

DRS™NOVA v4 offers many new features including Auto Stabilization, Zonal Deflicker, Paint Restore, Split Screen and Side by Side viewing, improved Mask functionality, version export, and more.

New tools include:

  • DRS™ Replace: Create up to three frames from adjoining frames.
  • DRS™ Color: Change the color of fixes created in DRS™ Tool.
  • Auto Stabilization: Stabilize a range of images with a single click.
  • Improved Performance: Faster playback of DPX, TIFF and EXR files.
  • Paint Restore: Paint from one clip to another to restore original values.
  • Zonal De-flicker: Eliminate zonal flicker via a simple interface.
  • Split Screen/Side by Side View: Compare clips in split screen or side by side view.
  • Version Export: Export modified files with original frames to preserve source material.
  • Improved Mask: New visual feedback for border width.

Standard features of DRS™NOVA include MTI Film’s proprietary digital film restoration algorithm, powerful project management and tools for automatically fixing printer mis-lights, dust and debris, stabilization problems, grain and noise, blurring, and color mis-registration.

“MTI Film has been the leader is restoration software for 20 years,” said MTI Film Senior Vice President/Business Development Jim Hannafin. “Our engineering team is continually working to improve DRS™NOVA based on the experiences and suggestions of users in the field. Version 4 represents another step forward in terms of ease of use, utility and excellence. We look forward to sharing it with new and returning customers are NAB.”

20 2018 Apr

Quincy Media Deploys Avid’s Story-centric TV News Workflow Across 14 U.S. Markets

Broadcaster accelerates news production with remote collaboration based on Avid MediaCentral

Avid, a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals, today announced that Quincy Media has adopted Avid’s end-to-end story-centric workflow. Powered by MediaCentral®, the new workflow facilitates remote collaboration for journalists and news teams across multiple Quincy television stations, enabling them creating content in the field, share material and break stories faster in broadcast and across digital platforms.

Family-owned Quincy Media, headquartered in Quincy, Illinois, operates television stations and digital platforms in 14 U.S. markets. To accelerate content collaboration among its properties, Quincy Media upgraded its news production infrastructure, turning to Avid to optimize news workflow for enterprise-wide collaboration, choosing tools and workflow solutions to create, distribute and optimize news content.

“With our Avid story-centric workflow, our journalists are more productive by contributing finished assets and stories while they’re out in the field,” said Brady Dreasler, Corporate Director of Engineering, Quincy Media. “Our MediaCentral implementation makes Quincy as functional in the field as we are in the newsroom, having liberated our teams and amplified their collaboration so that we’re delivering more powerful stories in less time.”

Quincy is unlocking new levels of real-time collaboration with MediaCentral-based story-centric workflows incorporating newsroom management, production, and multiplatform content creation available to all team members from an easy to use web-based experience. All Quincy stations are connected via a centralized server giving journalists, editors and producers universal access to all available content on a single newsroom management system to build their stories.

Six of Quincy’s stations also pool content on an on-going basis to produce a shared weekly newscast called Wake up Wisconsin. One station produces the newscast and redistributes the content to the other six stations located across Wisconsin. “If it wasn’t for the connectivity and common standardized workflows we get with MediaCentral it would be close to impossible to produce this show,” says Dreasler.

Quincy Media equipped each of its journalists with a laptop, camera, and access to MediaCentral—which provides a common user interface and gives everyone across the station group access to the same creation and management tools. Each laptop includes Avid Media Composer® | Cloud Remote, to enable remote video production. With the openness of MediaCentral, the field teams quickly upload their videos back to their station with the integrated IBM Aspera FASP high-speed file transfer software.

Quincy Media’s workflow also comprises Avid NEXIS®, MediaCentral | Panel for Adobe Premiere Pro CC, Avid AirSpeed®, and MediaCentral | Command.  With Avid NEXIS, the media industry’s first software-defined storage platform, Quincy Media expanded its storage capacity for HD files and enabled multiple stations to easily access content stored on the system, quickly transfer media, and broadcast programs from multiple control rooms using Avid AirSpeed servers for playout.

“With the power of its platform-based approach, Quincy Media has sharpened its competitive edge across its markets by dramatically accelerating its ability to gather content and produce stories with an optimally collaborative news organization,” said Tom Cordiner, Senior Vice President of Worldwide Sales at Avid. “Avid’s platform has helped unify Quincy’s multiple news operations to deliver stronger stories faster while establishing a new means to control operating costs.”

20 2018 Apr

Award-Winning Visual Effects Studios Milk VFX and Electric Theatre Collective Join Sohonet’s Virtual Workstation Panel at FMX Conference 2018

sohonetSohonet, the global experts in connected cloud services for the media and entertainment industry, announced that leading industry figures from Electric Theatre Collective (ETC), Milk Visual Effects, Amazon Web Services, Pixit Media and Teradici will be joining Sohonet’s Virtual Workstations panel during FMX, Europe’s premier conference for the digital visual arts.

The panel, which will be held April 25 from 16:00–17:00 CEST, will focus on how and why VFX companies such as Milk and ETC are looking to host their workstations in the cloud, with a focus on block and file-based storage they require. Details will be shared on how it can be achieved securely and cost effectively, whilst providing a seamless and enhanced experience for the visual effects artist.

Both Milk and ETC were quick to identify how access to “unlimited compute power” could drive the creative process to reach new heights, and both companies utilize Sohonet FastLane to securely leverage public cloud platforms, enabling them to deliver award-winning work, on schedule and in budget.

Ben Roder, CTO of Sohonet said, “We’re extremely excited to welcome both ETC and Milk to our panel at FMX. We see that the industry is now truly embracing the power of cloud computing with speed and enthusiasm, considering how radical it seemed not so long ago. At FMX 2016 and 2017 our focus was largely on rendering in the cloud. Hosted VFX workstations in the cloud is a logical next step.”

Sohonet will also be joined by leading storage-solutions provider Pixit Media, who will offer invaluable insight into how VFX companies can scale operations, multiply workloads, reduce latency in cloud use cases, and improve performance issues. Teradici will also be on hand to explain how their end-to-end cloud-ready solution is enabling companies to access a high-powered VFX workstation from anywhere and what this means for their businesses.

Head of Systems at Milk Visual Effects Dave Goodbourn said, “Having the ability to expand our resources at the drop of a hat is essential. Working with Sohonet and Pixit to build a pipeline not just for our render needs but workstations too has helped us in working on projects that would previously have been beyond the scope of a facility of our size.”

Chris Bond, founder of Thinkbox, an Amazon Company, agrees, “The Sohonet Media Network and their FastLane service, paired with Amazon EC2 Spot Instances, helps deliver more value for our customers. We want to help creative teams around the world create compelling content by providing them with the power of Amazon Web Services and Thinkbox Deadline. The addition of technology from Pixit and Teradici creates a compelling combination of performance and value.”

ETC’s Head of Engineering Samuel Reid said, “We’re delighted to be joining Sohonet at FMX this year. Our joint work with them, AWS, Pixit and Teradici have allowed us to utilize the cloud and cloud-based tools to meet tight deadlines, access global talent and match our OPEX with our clients’ proposals. We are looking forward to sharing the results with the FMX audience in Stuttgart.”

For more details on the panel and FMX 2018, click here.

20 2018 Apr

Chris Lebenzon, ACE to Participate in One on One Conversation at EditFest London Popular Editing Event Returns to BFI Southbank on 30 June 2018

EFL Logo 300pxChris Lebenzon, ACE, will be participating in a one-on-one conversation at American Cinema Editors’ EditFest London on 30 June.  The conversation, moderated by journalist Carolyn Giardina, will focus on his work over the course of a celebrated, nearly 40-year career.  EditFest London is set for BFI Southbank, returning to the UK for its 6th year in London and 5th at BFI. Lebenzon is a revered editor whose work over the course of more than 30 films has garnered Academy Award nominations and key industry honours from American Cinema Editors, Camerimage, Gold Derby, and Satellite Awards.

Chris Lebenzon, ACE

Chris Lebenzon, ACE

Lebenzon has worked with a wide variety of filmmakers and is known for his long-lasting collaborations with leading directors including Tim Burton, for whom he edited Sweeney Todd: The Demon Barber of Fleet Street, Miss Peregrine’s Home for Peculiar Children, Frankenweenie, Alice in Wonderland, Charlie & The Chocolate Factory, Ed Wood, Corpse Bride and Planet of the Apes, among others. Lebenzon also worked closely with the late Tony Scott, editing Top Gun (Oscar nominated), Beverly Hills Cop II, Crimson Tide (Oscar nominated), Enemy of the State, and others. He has a long association with Jerry Bruckheimer which led to his collaboration with Michael Bay, for whom he edited Armageddon and Pearl Harbor. Lebenzon has guided a number of other films including Maleficent, Weird Science and Con Air. He is currently working in London, with Tim Burton once again, on Dumbo.

“Part of the joy of editing is the deeply engaging, and in my case long-lasting, collaborations with talented directors. I have been able to share the creative experience with people I consider incredibly gifted. Working with creative geniuses as diverse as Tony, Tim and Michael has kept me on my game and kept the fire under me to be working with this calibre of people. I look forward to spending time with you at EditFest. It’s a great way to meet aspiring and working editors and share time with them.”

As always, EditFest will feature panels comprised of the industry’s top editors, who generously share experiences and insights from their work on a variety of feature films, documentaries, and broadcast and streaming content. Presented by American Cinema Editors (ACE), EditFest offers a unique opportunity for attendees to engage with panelists and colleagues throughout the day, over lunch, and then during a lively post-event reception. EditFest was launched in Los Angeles in 2006.

EditFest takes place during one day at BFI Southbank. A complete schedule and panelists will be announced shortly. Tickets are on sale now with an early bird discount for those who sign up before 1 June. Early registration is encouraged as the event perennially sells out. Panels, box lunch, and a cocktail reception at the end of the day are included as well as the uncommon experience of mingling with the world’s top editors. EditFest LA will take place in Los Angeles on 25 August at the Walt Disney Studios.

ACE EditFest is presented with the generous support of sponsors, including Platinum Sponsor Blackmagic Design and Gold Sponsors Avid and Adobe. The Motion Picture Editors Guild is a supporter of EditFest. Proceeds go to the ACE Educational Center and are tax deductible.

For further information visit American Cinema Editors.

20 2018 Apr

Cine Gear Time!

The 23nd Annual Cine Gear Expo returns to the revered Paramount Studios on May 31-June 3, 2018. Free registration to attend this essential Hollywood event is now open. Cine Gear Expo 2018 offers over 300 exhibits (June 1-2) and dozens of complimentary seminars and panels covering filmmaking insights, techniques, and technology from top makers and content creators. Attendees can also enjoy the Cine Gear Film Series competitions and film screenings in Paramount’s state of the art theatres.

The festivities will launch with the engaging Student Film Series Competition on May 31st from 12:00pm to 6:00pm, featuring screenings from finalists in the Student Short, Indy Short, Commercial and Music Video categories. The final deadline to submit films is April 6, 2018. Submit online.

Visitors can get caught up on the latest trade secrets and tools when the exhibits open on Friday, June 1 from 12:00pm to 8:00pm and Saturday, June 2 from 10:00am to 5:00pm. An industry favorite, this event offers a casual Hollywood atmosphere where artists and makers can mingle with, folks from rental houses, guilds, associations, trade journals and more. The atmosphere is chill but the technology is the hottest in the world. It’s the perfect place to see tomorrow’s technology first hand, and share opinions and techniques.

For more about Cine Gear Expo and to see the full lineup of exhibitors, screenings, and seminars, visit

20 2018 Apr

2018 ASC Student Heritage Awards Open for Entry

Educators are encouraged to nominate exceptional work by their eligible cinematography students. This year’s two narrative awards are named in honor of ASC greats Gerald Hirschfeld and Sol Negrin. The documentary award honors Haskell Wexler, ASC.

The deadline for entry is noon on May 11.

The American Society of Cinematographers is pleased to invite educators to recommend eligible students for consideration in the 2018 ASC Student Heritage Awards competition. These awards are designed to inspire the next generation of cinematographers and to help them pursue their dreams. They also celebrate the memory of the Society’s most extraordinary members. Each year, the ASC Student Heritage Awards are re-named in honor of esteemed ASC members. (Details on the 2017 awards and winners here.)

Eligible students must be in undergraduate or graduate school or have graduated within the past year (please see Rules of Entry within each entry form linked below). A jury of ASC members will choose the winners. Nominations will be announced on September 3, 2018 and the winners will be revealed at the ASC Student Heritage Award celebration on Saturday, October 13, 2018 at the ASC Clubhouse in Hollywood.

The Student Awards committee chair is Isidore Mankofsky, ASC. The co-chair is David Darby, ASC.

Gerald Hirschfeld, ASC (Portrait by Owen Roizman, ASC)

Gerald Hirschfeld, ASC (Portrait by Owen Roizman, ASC)

This year’s ASC Student Undergraduate Award is named in honor of Gerald Hirschfeld, ASC. In the 1950s, Hirschfeld was one of the busiest cameraman in New York City. Among his crew were future ASC greats Owen Roizman and Gordon Willis. Hirschfeld’s reputation for being a precise, exacting perfectionist led to his first major feature assignment, shooting the Cold War drama Fail-Safe for director Sidney Lumet. He would go on to shoot some 40 feature films, including The IncidentGoodbye ColumbusCotton Comes to HarlemDiary of a Mad HousewifeYoung FrankensteinTwo Minute WarningThe World’s Greatest LoverThe Bell JarNeighborsMy Favorite Year and To Be or Not to Be. A natural educator, Hirschfeld penned numerous stories for American Cinematographer magazine, and later wrote the in-depth instructionals Image Control: Motion Picture and Video Camera Filters and Lab Techniques and The Hand Exposure Meter Book (with co-author Bob Shell). In 2007, Hirschfeld was honored with the ASC Presidents Award. (Entry form here.)

Sol Negrin, ASC (Portrait by Owen Roizman, ASC)

Sol Negrin, ASC (Portrait by Owen Roizman, ASC)

The ASC Student Graduate Award honors Sol Negrin, ASC. He was nominated for five Emmy Awards — three for his work on the detective drama Kojak, one for the telefilm The Last Tenant, and one for an episode of the series Baker’s Dozen. His cinematography in television commercials earned four Clio Awards. Negrin often shared his wealth of experience and expertise with students and aspiring filmmakers through mentorships, seminars, demonstrations and speaking engagements. In 2010, he was honored by the ASC with the Presidents Award, in recognition of not only his expertise behind the camera, but for being an ambassador of the art and craft of cinematography. (Entry form here.)

Haskell Wexler, ASC (Portrait by Douglas Kirkland)

Haskell Wexler, ASC (Portrait by Douglas Kirkland)

The ASC’s Student Documentary Award is named for Haskell Wexler, ASC. He won Academy Awards in 1966 for Who’s Afraid of Virginia Woolf? And in 1976 for Bound for Glory. He received additional nominations for One Flew Over the Cuckoo’s Nest (shared with Bill Butler, ASC), Matewan and Blaze. In 1969, Wexler wrote, directed and shot Medium Cool, which is studied by film students worldwide for its breakthrough cinéma vérité style. He began his career shooting documentaries and was a passionate non-fiction filmmaker throughout his life. He was also an active member of the ASC Board of Governors for many years. In 1992, Wexler was honored with the ASC Lifetime Achievement Award. (Entry form here.)

The deadline for entries is noon on May 11, 2018.

If you have any questions, please contact Delphine Figueras at 323-969-4333 or email

20 2018 Apr

Blue Collar Post Collective Expands to London

In its first international expansion, BCPC will hold regular monthly meet-ups and on-the-ground activities in the U.K.


London committee member Peter Amies, board member Janis Vogel, Pena, and Fever in London in AugustThe Blue Collar Post Collective (BCPC) today announced the expansion of its on-the-ground activities to London, U.K., taking its signature accessible events and meet-ups to the Soho post production scene. The British edition of BCPC will be helmed by London-based editor Siân Fever.

Fever noted, “There are a number of post-related events and meet-ups here to choose from, but London has never seen anything like the BCPC. By keeping our events free and community-driven, we’re providing the access that underrepresented and underprivileged individuals need to thrive in post production. We listen to what our community wants, and we do that — no membership fees required.”

BCPC London will hold its first official meet-up on 18th April at The Coach and Horses in Soho. The launch of London follows an exploratory event in September 2017 hosted by Fever along with board member Janis Vogel and president Kylee Peña. The event was such a hit that Peña and Fever went to work researching how to continue the success BCPC has seen in the US.

Peña added, “Blue Collar Post Collective is a non-profit with very little overhead run entirely by volunteers. As such, we’re only choosing to expand to places with the demand and leadership to sustain our core values of accessibility and support of emerging talent. Siân and I talked a lot about how to make BCPC work for London — while we wanted to maintain the core, every city’s post scene is different and the organization needs to adapt for cultural differences. I’m thrilled to see her make this a reality in Soho.”

Blue Collar Post Collective is free to join and there is no cost to attend any meet-ups or events. The organization is supported entirely by community and business driven donations, and nearly all revenue goes toward the Professional Development Accessibility Program which sends low-income post production professionals to important educational events to provide equal access to career-changing opportunities. BCPC also holds events such as Post Talks with high level industry VFX editors, colourists, sound designers, picture editors, and producers, special events like Life Skills Field Day, resume and cover letter workshops, and other unique opportunities.

The BCPC London kick-off meet-up will be held 18th April at 6PM at The Coach and Horses (1 Great Marlborough Street). People from all areas of the post production industry, at all levels of experience, are welcome to attend this casual social meet-up.


For more information, contact the Blue Collar Post Collective

20 2018 Apr

Hollywood Professional Association Tech Retreat III

With this post, I’ll wrap up my notes on the last day and a half of the Hollywood Professional Association Tech Retreat – a meeting in the desert of some of the top technical and creative talent in the media and entertainment industry.

Thursday morning began with discussions on HDR (High Dynamic Range) and its many implementations. The panel consisted of representatives from consumer electronics manufacturers, studios, broadcasters and technology developers.

Read more at HDVideo Pro

27 2018 Mar

Technicolor PostWorks Helps Send 10 Films to SXSW

NEW YORK — Continuing its support for innovative and emerging filmmakers, Technicolor PostWorks New York provided post-production services for 10 films screening at this month’s SXSW Film Festival in Austin, Texas. The films span narrative, documentary and animation categories and include five world premieres.

Technicolor PostWorks projects include:

First Match
(Narrative Feature Competition/World Premiere). Director/Screenwriter Olivia Newman’s story of a teenage girl from Brooklyn’s Brownsville neighborhood who wrestles boys as her only way back to her estranged father.

PostWorks provided sound editorial, sound mixing and ADR services; Marlena Grzaslewicz, Supervising Sound Editor; Ruy Garcia, Re-recording Mixer; Chris White, ADR Recordist; Christine Andrews, Sound Project Manager.

A Quiet Place (Headliners/World Premiere). Director John Krasinski’s supernatural horror film about a family that lives in utter silence for fear of an unknown threat that follows and attacks at any sound.

Technicolor PostWorks provided dailies services; John Vladic, Dailies Colorist; Michelle Morris, Dailies Project Manager.


The Legacy of a Whitetail Deer Hunter (Narrative Spotlight/World Premiere). Director Jody Hill’s tale of hunter Buck Ferguson and his trusted cameraman who set out for an epic weekend adventure to reconnect with Buck’s young son.

Technicolor PostWorks provided dailies, facility rental, editorial conforming, color grading and deliverables services; Jack Lewars, Colorist; Josh Olive, Dailies Colorist; Jeff Cornell, Online Editor; Peter Boychuk, Digital Intermediate Producer.

The Dawn Wall (Documentary Spotlight/North American Premiere). Directors Josh Lowell and Peter Mortimer follow legendary free climber Tommy Caldwell as he tries to get over heartbreak by scaling the impossible rock face, the Dawn Wall of El Capitan.

Technicolor PostWorks provided editorial conforming, color grading and deliverables services; Keith Jenson, Colorist and Finishing Editor; Brian Woos, Assistant Editor; Dylan Puchala, Digital Intermediate Producer. PostWorks provided sound mixing services; Eliott Taylor, Re-recording Mixer; Christine Andrews, Sound Project Manager.


Elvis Presley: The Searcher (Films 1 and 2) (24 Beats Per Second/World Premiere). Director Thom Zimny’s two-part documentary focuses on Elvis Presley as a musical artist.

Technicolor PostWorks provided editorial conforming, color grading and deliverables services; Jack Lewars, Colorist; Jeff Cornell, Online Editor; Joey Handy, Digital Intermediate Producer.

Rapture (24 Beats Per Second/World Premiere). Directors Sacha Jenkins, Ben Selkow, Geeta Gandbhir, Steven Caple Jr., Marcus A. Clarke and Gabriel Noble showcase the definitive impact of hip hop on global culture.

Technicolor PostWorks provided editorial conforming, color grading and deliverables services; Anthony Raffaele, Colorist; George Bunce, Online Editor; Michelle Morris, Digital Intermediate Producer. PostWorks provided sound editorial and sound mixing services; Christopher Koch, CAS, Supervising Sound Editor/Re-recording Mixer; Kahlin Whatley, Sound Design; Bryn Neuenschwander Sound Project Manager.


Eighth Grade (Festival Favorites). Director/Screenwriter Bo Burnham tells the story of 13-year-old Kayla who endures the tidal wave of contemporary suburban adolescence as she makes her way through the last week of middle school.

Technicolor PostWorks provided dailies, editorial conforming, color grading and deliverables services; Jack Lewars, Colorist; Josh Olive, Dailies Colorist; Jeff Cornell and Ryan McMahon, Online Editors; Andrew McKay, Digital Intermediate Producer. 

First Reformed (Festival Favorites). Director/Screenwriter Paul Schrader’s film centers on the pastor of a small New England church, who spirals out of control after a soul-shaking encounter with an unstable environmental activist and his pregnant wife.

PostWorks provided sound editorial, sound mixing and ADR services; Michael McMenomy, Supervising Sound Editor; Ruy Garcia, Sound Designer/Re-recording Mixer; Martin Czembor, Re-recording Mixer; Allen Lau, Assistant Sound Editor; Chris White, ADR Recordist; Christine Andrews, Sound Project Manager.


Sorry to Bother You (Festival Favorites). Director/Screenwriter Boots Riley presents an alternate present-day version of Oakland, where telemarketer Cassius Green discovers a magical key to professional success that propels him into a macabre universe.

PostWorks provided sound editorial services; Ruy Garcia and Michael McMenomy, Supervising Sound Editors; Angela Organ, ADR Editor; Lidia Tamplenizza, Dialogue Editor; Allen Lau, Assistant Sound Editor; Christine Andrews, Sound Project Manager.

The Shivering Truth (Animated Shorts). Directors Vernon Chatman and Cat Solen explore an omnibus of painfully riotous day-mares dripping with dream logic, lovingly animated in stop-motion.

PostWorks provided sound editorial and sound mixing services; Paul Furedi, Dialogue Editor/Re-recording Mixer; Kahlin Whatley, SFX Editor; Chris White, Additional Voice Recordist; Christine Andrews, Sound Project Manager.


About Technicolor PostWorks New York

Technicolor PostWorks New York is the East Coast’s most comprehensive digital motion picture and post-production facility, employing an exceptional team of creative artists, engineers and project managers to serve our clients through the film and TV finishing process.

Technicolor PostWorks New York offers one complete source for every post requirement, including in-context digital dailies, film imaging and restoration, collaborative non-linear editorial and HD/UHD broadcast finishing, 4K digital cinema, global content lifecycle support, and comprehensive film and TV sound services on nine mix stages.

For more information, visit