المحتوى المقدم من Post New York Alliance. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة Post New York Alliance أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.player.fm/legal.
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Much is made about the creative decisions in ads for the Big Game, but how does all that money, those requisite celebrity cameos, and everything else that goes into these multi-million dollar investments translate into Return on investment? Today we’re going to talk about what the numbers tell us from all those high-profile ads and who the winners and losers of the Advertising Bowl are in 2025. To help me discuss this topic, I’d like to welcome Nataly Kelly, CMO at Zappi, who unveiled their annual Super Bowl Ad Success report on Monday. We’re here to talk about the approach, the results, and what those results mean for brands that invested a lot of money - and time - into their campaigns. About Nataly Kelly I help companies unlock global growth For more than two decades, I have helped scale businesses across borders, as an executive at B2B SaaS and MarTech companies. I’m Chief Marketing Officer at Zappi, a consumer research platform. I spent nearly 8 years as a Vice President at HubSpot, a multi-billion-dollar public tech company, driving growth on the international side of the business. Having served as an executive at various tech companies, I’ve led teams spanning many functions, including Marketing, Sales, Product, and International Ops. I’m an award-winning marketing leader, a former Fulbright scholar, and an ongoing contributor to Harvard Business Review. I love working with interesting people and removing barriers to access. RESOURCES Zappi website: https://www.zappi.io/web/ Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstrom Listen to The Agile Brand without the ads. Learn more here: https://bit.ly/3ymf7hd Don't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.show Check out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand podcast is brought to you by TEKsystems. Learn more here: https://www.teksystems.com/versionnextnow The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company…
المحتوى المقدم من Post New York Alliance. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة Post New York Alliance أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.player.fm/legal.
المحتوى المقدم من Post New York Alliance. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة Post New York Alliance أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.player.fm/legal.
POST BREAK 2: PIVOTING IN POST (audio) The 2nd installment in our PNYA POST BREAK series - this week “Pivoting in Post” – about career moves made sideways, up, down and all around. Why did our panelists decide to change paths and how they did they make the jump from facility to scripted, reality to scripted TV? And how did they make the move from production camera loader to feature AE? How did starting in features, stepping into reality and back to scripted again, make them a better Editor? POST BREAK: Pivoting in Post Thursday, April 30th at 4pm on Zoom PANELISTS: Inga Moren - Assistant Editor: The Photograph, 15: A Quinceañera Story, Sleepless in America Veronica Vozzolo - Assistant Editor: Billions S5, Da 5 Bloods, She's Gotta Have it S2 Christina Delerma - Post Supervisor: various projects Jigsaw Productions, Lenox Hill Docuseries, Mayday (Indie) Jamie Kirkpatrick - Editor: Gravesend, Critical Thinking, We Summon the Darkness Moderator - Kendall McCarthy: Post Producer: Tales of the City, The Americans, The Looming Tower…
The Hackers Agenda: Security Risks In Post Production Listen to the PNYA discussion about the state of our security in the post production industry from the national, facilities and risk management perspectives with our panelists: Tim Lunderman- Principal Consult, Federal Security at World Wide Security Peter Marshall- Managing Director of Dewiit Stern Rob DeMartin- COO/President of Technicolor Postworks, New York. and moderator Larry Scherer - State & Broad. This podcast was recorded thanks to the staff at the Dolby 88 screening room, and was produced by Alchemy Post Sound and the PNYA.…
WHAT SHE SAID: Women Leaders in Post Production and How They Rose Above the Rest In an often male-dominated world of the film and television post production, find out how this post-producer, picture editor, sound editor, music editor and composer made their way to the top. Suzana Peric, Music Editor has been active in post production since 1981 . Growing up in Croatia she attended conservatory and was on track to be a concert pianist — until she suffered a block during a performance, which ended that career. She studied film in Chicago where she gravitated towards picture editing and got a PA job on Arthur Penn’s Four Friends (1981). She then joined the post-production of the film, which brought her to New York. There, she apprenticed in sound and picture until a music editor asked her to be his assistant. Since that discovery, Peric has been music editor for the likes of Mike Nichols, Martin Scorsese, Jonathan Demme, Peter Jackson, Roman Polanski, Robert Benton, Wes Anderson and David Cronenberg, to name but a few, most of these with repeat collaborations. Her most recent work with Demme is Ricki and the Flash . Nancy Allen, Music Editor discovered music editing at NYU, where she attended the graduate program in Music Technology. It was in the Audio for Video class that she met Suzana Peric, the music editor with whom she worked for nearly 10 years, and learned almost everything she knows about the craft. Since then, Nancy has worked on films with Darren Aronofsky ( Black Swan, Noah , the upcoming film MOTHER! ), John Cameron Mitchell ( Short Bus ), Paul Haggis (The Next Three Days), Julie Taymor, Barry Levinson ( Liberty Heights, You Don’t Know Jack ) and David Frankel ( Hope Springs, One Chance, Collateral Beauty ). She has been nominated for 2 Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO’s Bessie . Eliza Paley, Sound Editor has worked in film, production and post for over 30 years. Beginning in location mixing, moving gradually to the editing room and then to sound editing where she has had an established career since 1988. As supervising sound editor, Eliza has worked with numerous talents including Robert Altman ( A Prairie Home Companion, The Company, Tanner On Tanner, Short Cuts ), Cary Fukunaga ( True Detective ), and Hector Bebenco ( Caradiru, Foolish Heart ). Eliza had Co-Supervised or Supervised Dialogue/ADR editing for directors including Todd Haynes ( Wonderstruck, Carol, Mildred Pierce, Velvet Goldmine ), The Coen Brothers ( Hail , Caeser!) and Julie Taymor ( Across the Universe, The Tempest ). Additionally she was a sound editor on numerous well known films including Adventureland, Age of Innocence, Casino, Last Temptation of Christ, Crooklyn, Malcolm X, The Hudsucker Proxy, Pret-A Porter and The Wrestler. Wendy Blackstone, Composer has composed original film scores for over 130 film and TV projects, 9 of which have been nominated for or won Academy Awards. Feature films include: New Jersey Drive directed by Nick Gomez and The Dutch Master directed by Susan Seidelman. Wendy has scored 5 Primetime TV series: For The People (Lifetime, drama), and MasterClass (HBO). Recent documentaries include: The Girl In the River for HBO, I am Not Your Guru: Tony Robbins, Larry Kramer In Love and Anger, which premiered at Sundance 2015, Dangerous Acts Starring the Unstable Elements of Belarus (HBO), Whitey (CNN), Weight of the Nation (HBO), Crude, and Alive Day Memories: Home from Iraq (HBO). Wendy’s work in theater includes Anna Deavere Smith’s Tony-nominated Twilight: Los Angeles , directed by George C. Wolfe for both the Public Theater and Broadway’s Cort Theatre. Susan Lazarus, Producer, Post Producer, Post Production Supervisor , began as an Assistant Editor and Sound Editor on documentaries including the Academy Award-nominated feature, The War At Home, and was a producer on Image Before My Eyes. She then moved into narrative film on Reds (Warren Beatty) and The King of Comedy ( Martin Scorsese). Susan combined producing and editing knowledge to become one of New York’s first Post-Production Supervisors for feature films such as Mississippi Masala (Mira Nair), The Boxer (Jim Sheridan), Inside Man (Spike Lee), Foxcatcher ( Bennett Miller ). Only Lovers Left Alive and Paterson (Jim Jarmusch). Non-Fiction projects include Naqoyqats i (Goddfrey Reggio), Apache 8 ( Sande Zeig) Love, Marilyn (Liz Garbus), and The Jinx: The Life and Deaths of Robert Durst (Andrew Jarecki) . She was Co-Producer of the feature Sophie and the Rising Sun (Maggie Greenwald). Kristina Boden, Picture Editor credits include work with directors such as Brian DePalma ( Carlito’s Way ), Mira Nair ( Kama Sutra, My Own Country, Hysterical Blindness ), Lodge Kerrigan ( Claire Dolan ), Paul Schrader ( Light Sleeper, Auto Focus ) and Lasse Halstrom ( Dear John ). Isabel Sadurni, Moderator, Picture Editor/Producer, To find out more, please visit: www.isabelsadurni.com…
PART 7. THE END/ REBIRTH In 2012, Sound One, possibly the most successful post-production facility in New York City’s history, closed its doors after 44 years of business. What caused the demise of Sound One is a point of contention between the clients, former owners, founders and staff, who hold multiple theories about why it failed financially. Some blame a distant holding company in Denver who some say were out of touch with the needs of the local community in New york and undermined the business practices which required creative and financial flexibility to maintain its base of both established and up and coming filmmakers. Others cite a long process of chipping away at the character of Sound One over a period of time during which the company was bought and sold five times to various entities. Here former staff and clients explain in their words, how the end of Sound one came to be and how in the wake of its undeniable force created new pools of talent and multiple post-production facilities in New York, all of them strengthened by the work ethic and familial bonds of developed at Sound One. The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
PART 6. LEADING THE DIGITAL REVOLUTION The dawn of the digital era marked a major pivot point in post production technology that left some behind in analog while others charged fearlessly into a brave new world. Sound One led the post-production digital revolution, testing software, and equipment for the film industry before Hollywood, to ensure a smooth transition into the Digital Age. In this episode, former Sound One staff and clients discuss navigating the technological changes from analog to digital in the film and television sound editing medium in the late 80’s and 90’s. The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
FxF008: The Sound one era 1968-2012 Part 5: The Foley Artist Elisha Birnbaum, co-founder of Sound One, is considered one of the best NY foley artists of his generation. His stage looked like a suburban garage or basement or attic with various surfaces on the floor and, shelves filled with props used to create sounds. You would often meet Elisha walking around the hallways of Sound One in cut off jean shorts, and womens high heels, which he wore when foleying the sound of womens footsteps. Here, staff and clients retell stories of working with Elisha and others at Sound One in recognizing the creative genius behind Elisha’s work and the role of the foley artist. From 1968 to 2012, Sound One grew from a solo operation to becoming the most successful post-production sound and editing facility on the East Coast. At its apex, Sound One inhabited five floors of the famed Brill Building housed 150 edit suites and over 300 clients and staff at its apex and commanded 85% of post-production business in New York. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore, Ken Burns and countless post-production professionals and helped post-produce some of cinemas most influential works. The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
FXF008: THE SOUND ONE ERA 1968-2012 PART 3: Tribute to Bill Nisselson and Sybil Brown Bill Nisselson was often described as the heart of Sound One. As managing Director from 1979-2001, Bill, alongside co-founder Elisha Birnbaum, set the tone of interaction, organized the deals and orchestrated the cross-traffic of post-production work between staff and clients which at its apex commanded 6 floors in the Brill Building and took in over 85% of the post-production film business in New York. Not far from Bill’s office Sybil Brown, the receptionist from 1985-2005, offered a warm welcome, fresh flowers and the uncanny ability to locate people by phone in crucial moments and also stood as essential to the heartbeat of the Sound One experience. In this episode, staff and clients remember their interactions with Bill Nisselson, and Sybil Brown and share their stories about how both Bill and Sybil played a dominant role not only in shaping the working environment of Sound One, but also in shaping peoples lives. The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
FXF008: The Sound One Era 1968-2012 Part 4. A Day In the Hallways Walking down the hallways and riding the elevators of Sound One’s Brill Building at 1619 Broadway at 49 th St could instantly offer exposure to the major leagues of the New York film industry. At the very best, it could offer an introduction towards working with some of the most important, upcoming and established filmmakers, actors and musicians working in the New York at the time. In this segment, former staff and clients of the Sound One community share stories of walking down the hallways and riding the elevators at Sound One, depicting how and why Sound One came to represent the center of the New York film universe. From 1968 to 2012, Sound One grew from a solo operation to becoming the most successful post-production sound and editing facility on the East Coast. At its apex, Sound One inhabited five floors of the famed Brill Building housed 150 edit suites and over 300 clients and staff at its apex and commanded 85% of post-production business in New York. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore, Ken Burns and countless post-production professionals and helped post-produce some of cinemas most influential works. The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
FXF008.2: The Sound One Era: 1968-2012 Part 2: Family In the late 1960’s and early 70’s, years before Sound One had established itself as one of the most successful and highly respected sound facilities on the East Coast, it was a solo operation. Elisha Birnbaum, a sound editor and foley artist who had recently emigrated from Israel, worked with a small team but quickly developed a reputation for creating a highly productive, family atmosphere filled with astonishing creativity, quality product and quick turnaround time that attracted both the established and uninitiated to work at his studio. At its apex of productivity Sound One would take in 85% of all post-production work in New York City and would help launch the careers of both post production professionals and filmmakers like The Coen Brothers, Spike Lee, Alan Pakula, Michael Moore and Ken Burns among others. Here staff and clients share stories about the personal bonds and animal spirit that helped define the dynamics at work at Sound and how they created what has come to be known as the Sound One Family. From 1968 to 2012, Sound One grew from a solo operation to becoming the most successful post-production sound and editing facility on the East Coast. At its apex, Sound One inhabited five floors of the famed Brill Building housed 150 edit suites and over 300 clients and staff at its apex and commanded 85% of post-production business in New York. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore, Ken Burns and countless post-production professionals and helped post-produce some of cinemas most influential works. The Sound One Era: 1968-2012 is a multi-part series for Frame By Frame a podcast co-presented by Motion Picture Editors Guild and Post New York Alliance. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
FXF008: THE SOUND ONE ERA 1968-2012 PART 1: THE Beginning From 1968 to 2012, Sound One grew from a solo operation run by Elisha Birnbaum a foley artist and sound editor recent emigrated from Israel to becoming the most successful post-production sound and editing facility on the East Coast. Inhabiting seven floors of the famed Brill Building and commanding at least 85% of post-production business in New York, Sound One housed 150 edit suites and over 300 clients and staff at its apex. As its reputation grew, it became the go to post-production home for such filmmakers as Sidney Lumet, Arthur Penn, George Roy Hill, Jonathan Demme, Woody Allen and Martin Scorsese and through its constant support of independents, helped launch the careers of filmmakers like the Alan Pakula, Spike Lee, The Coen Brothers, M. Night Shyamalan, Michael Moore and Ken Burns and countless post-production professionals generating some of cinemas most important films. The Beginning tells the story of how Sound One answered a need for local sound stages in the early 1970's New York film industry and redefined the post-production community in the process. The Sound One Era: 1968-2012 multi-part segment series is a part of the Frame By frame podcast series co-presented by Motion Picture Editors Guild and Post New York Alliance. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
FXF007: Sidney Lumet's NETWORK- Alan Heim, Mark Laub, Michael Jacobi and Jeffrey Wolf. In 1976, an American satirical film written by Paddy Chayefsky and directed by Sidney Lumet , called Network, about a fictional television network , UBS, and its struggle with poor ratings , starring Faye Dunaway , William Holden , Peter Finch , Robert Duvall and Beatrice Straight was nominated for 12 Academy Awards including best film, best director and best editor. Network, won four Academy Awards, including Oscars for Chayefsky’s script, Beatrice Straights’ performance as an outraged wife, Faye Dunaway’s performance as a cynical programming executive and Peter Finch’s frenetic portrayal of Howard Beale, the troubled “mad prophet of the airwaves.” Thirty-five years later, “Network” remains an incendiary if influential film, and its screenplay is still admired as much for its predictive accuracy as for its vehemence and a relentless sense of purpose. Screenwriter Aaron Sorkin, cited Chayefsky when he accepted his Oscar for the screenplay of “The Social Network,” and wrote later that “no predictor of the future — not even Orwell — has ever been as right as Chayefsky was when he wrote ‘Network.’ ” Alan Heim, the picture editor of the film, Mark Laub, one from a team of sound editors, Michael Jacobi and Jeffrey Wolf, the first assistant editor and the apprentice editor on the film at the time, tell their stories of how the film came together and what it was like in various stages working with director Sidney Lumet, writer Paddy Chayefsky and Producer Howard Gottfried.…
FXF006: Films of Jim Jarmusch- Jay Rabinowitz, Chic Ciccolini, Dominick Tavella In the first episode of Frame By Frame Season 2, picture editor, Jay Rabinowitz, sound editor, Chic Ciccolini and re-recording mixer, Dominick Tavella talk about their craft and process in collaborating with filmmaker Jim Jarmusch on his films from the 1980’s and 90’s Coffee and Cigarettes, Night On Earth, and Ghost Dog. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
Frame By Frame, Episode 005: Angelo Corrao and Alex Halpern Post Factory Founder, Alex Halpern and picture editor Angelo Corrao talk about their collaboration on Nine Good Teeth as well as Angelo’s work on Bruce Weber’s Let’s Get Lost and their experiences coming up in the 1980's New York film scene and developing early relationships with filmmakers like The Coen Brothers. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
Frame By Frame, Episode 004: Maurice Schell, Peter Frank, Lee Dichter on Sidney Lumet's The Verdict Sound editor, Maurice Schell ( Gimme Shelter, Serpico, The Missouri Breaks, Apocalypse Now, All That Jazz, Melvin and Howard, Reds, Scarface ) , re-recording mixer, Lee Dichter, ( Grey Gardens, Sophie’s Choice, Hannah and Her Sisters, Miller’s Crossing, The Civil War ) and picture editor Peter Frank, ( The Verdict, Cadillac Records, Dirty Dancing ) share stories about coming up in the 1960's 70's and 80's in the New York film industry and their collaboration on Sidney Lumet’s The Verdict. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
FXF003- The Ice Storm, Life Of PI: Tim Squyres and Phil Stockton In Episode 3, picture editor Tim Squyres and sound editor, Phil Stockton share stories from collaborating together for over 20 years working with film directors such as Martin Scorsese, Ang Lee, Robert Altman, the Coen Brothers, Jonathan Demme and Spike Lee and how advances in technology have encouraged a merging of their roles. Frame By Frame is a podcast series that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we’ll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we’ll share the stories that define New York as an essential ongoing capital of the global film industry.…
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يقوم برنامج مشغل أف أم بمسح الويب للحصول على بودكاست عالية الجودة لتستمتع بها الآن. إنه أفضل تطبيق بودكاست ويعمل على أجهزة اندرويد والأيفون والويب. قم بالتسجيل لمزامنة الاشتراكات عبر الأجهزة.