Yoomin Lee is a colorist at Company 3 London, a global company providing post services across feature films, episodic television, commercials, gaming and more. “The freedom to work on all sorts of projects, big or small, is a major thing that attracts talent to work for them,” Lee says.
We reached out to Lee to find out more about how she works and what inspires her.
Luis Caraza Peimbert is an editor at London Alley, a creative production studio with music and entrepreneurial creativity at its core. Based in Los Angeles, the studio helps brands engage with consumers and make content that resonates, often enlisting the help of the world’s most well-known celebrities and brands. Some of London Alley’s notable artist collaborations include Ariana Grande,
Writer/director Chris Nash’s horror film In a Violent Nature, which screened at the 2024 Sundance Film Festival, tracks a ravenous zombie creature as it moves through a secluded forest. Produced by Shudder Films, it’s a twist on typical slasher movies in that the audience walks with the killer, not the victims, and therefore gets an unexpected perspective.
Brandon Kraemer is a technical director at Treatment, which is a creative content design studio that specializes in live music and large scale multi-media experiences.
While his primary role is technical director on larger projects like U2:UV at MSG Sphere, he is also part of the creative team and works in the disciplines of animation,
David Scott is a visual effects supervisor at London-based BlueBolt, an independent studio that provides VFX for television and film.
“It’s run by a great bunch of industry pros, a lot of whom I’d worked with before in previous companies, like MPC,” explains Scott. “What is nice about being in a smaller company is the scope of work you get to do and the types of films and projects you work on.
By Randi Altman
Jason Oldak is a cinematographer with almost two decades of experience across large- and small-scale feature films, episodic television, documentaries and numerous commercial projects. He recently shot episodes of Apple TV+’s Lessons in Chemistry, starring Brie Larson and Lewis Pullman.
Oldak was nominated for the ASC award for Limited or Anthology Series or Motion Picture Made for TV for his work on Episode 7,
The Sundance documentary film Skywalkers: A Love Story focuses on a Russian daredevil couple — Ivan Beerkus and Angela Nikolau — who, in an effort to save their career and relationship, takes a journey across the globe to Malaysia to climb the world’s tallest skyscraper at the time, called Merdeka, and perform a dangerous stunt on the spire.
Maggie Norsworthy is an audio post producer at New York City’s Mr. Bronx, an artist-owned and operated audio post studio that creates soundscapes for ad campaigns, feature films, TV series, experiential installations and theme park rides. Mr. Bronx offers an array of services, including mix, sound design, Foley, ADR, VO record and VO casting.
Georgia Dodson is an editor at PS260, a boutique editorial house in New York, Los Angeles and Boston that specializes in commercials, music videos and feature films. PS260 also has a motion graphics and visual effects department as well as a sound studio.
Born and raised in Appalachia, the now-LA-based Dodson has always been a storyteller.
By Alyssa Heater
Unscripted reality series and the sheer amount of footage captured for each episode poses unique challenges, especially when it comes to storage.
To find out more about how these shows manage all that data, we first spoke with BBC Worldwide post producer Chris Gats, who works on the unscripted series Life Below Zero and its multitude of spinoffs.
Robin Lamontagne is a VFX supervisor at Outpost VFX, which has four studios spread across the UK, Montreal and Mumbai. They work on film and episodics, including Napoleon, Silo, The Wheel of Time and The Hunger Games: The Ballad of Songbirds and Snakes.
Based in Montreal,
Tarjas White is an EP at HiFi Project, where they partner with agencies and brands “to create music that inspires viewers to want to hear more,” he says. “To do so, we infuse a nimble team of in-house composers and producers with a deep network of established and emerging talent from the global music scene.” HiFi has studios in Boston,
Edgar Reyna is a colorist at India’s After Studios, a company that offers post services, including digital intermediates, visual effects and online editorial. A 10-year industry veteran, Reyna, who is Mexican-born, has been enjoying his time in Mumbai.
Let’s find out more…
As a colorist, what would surprise people the most about what falls under that title?
Company 3 senior colorist Yvan Lucas began working with DP Rodrigo Prieto, ASC, AMC, on the look of Martin Scorsese’s Killers of the Flower Moon long before the film was in production. Lucas, who has collaborated with Prieto on most of the cinematographer’s work for nearly two decades, shares Prieto’s fondness of a film-style workflow in which filmmakers do as much as possible upfront to set appropriate looks,
Clark Griffiths is a colorist at St. Louis-based Bruton Stroube, a 40-year-old live-action production studio whose post division is called Outpost.
After stints at Framestore and Company 3 in Chicago, Griffiths moved to Missouri in 2022 to work at Outpost. Over his career, he has graded spots for Allstate, Cadillac,
Rasha Clark is head of production at Ataboy, a New York City-based studio that provides design and animation. Her responsibility is to make sure “my team is able to do their best work and have what they need when they need it and that our clients feel heard, supported and are happy.”
Let’s find out more from Clark…
What is your typical day filled with?