BroadcastBuyer.tv, Jan. 16, 2009
2009 Sundance Film Festival Selections Include 14 PostWorks And Orbit Digital Client Productions
..."Over the past five years we have been privileged to contribute to more than 70 Sundance selections, an honor that feels all the greater when you reflect on the influence and stature that Sundance has consistently enjoyed among the world's film festivals," said Joe Beirne, EVP Technology for PostWorks.  "Regardless of the particular tone of the industry buzz around the festival each year, when looking back over the roster of films that have been launched at Park City, it is remarkable how well they represent the best independent filmmaking being done, and everyone at PostWorks and Orbit has been thrilled to support this work."...

Digital Content Producer Briefing Room, Jan. 16, 2009
PostWorks and Orbit Digital Celebrate 14 2009 Sundance Film Festival Client Selections
...Staff members from PostWorks and Orbit Digital have made lab, picture and/or sound post-production contributions to the narrative feature films “Adventureland” from director Greg Mottola, “Against the Current” from director Peter Callahan, “Dare” from director Adam Salky, “The Greatest” from director Shana Feste, “Motherhood” from director Katherine Dieckmann, “Peter and Vandy” from director Jay DiPietro, “Taking Chance” from director Ross Katz, and director Lee Toland Krieger’s “The Vicious Kind,” the feature documentaries “El General” from director Natalia Almada, “Kimjongilia” from director N.C. Heikin, “Quest for Honor” from director Mary Ann Smothers Bruni, and “The Reckoning” from director Pamela Yates, as well as short films “Copper on the Chopping Block” from director Kai Orion and “Protect You + Me” from director Brady Corbet....

PostProductionBuyersGuide.com, Jan. 16, 2009
PostWorks and Orbit Digital Celebrate Fourteen 2009 Sundance Film Festival Client Selections
Digital motion picture and post-production companies PostWorks and Orbit Digital have detailed their support of numerous feature films and shorts selected for the annual Sundance Film Festival, which kicked-off yesterday in Park City, Utah....

dBusinessNews.com, Jan. 15, 2009
2009 SUNDANCE FILM FESTIVAL SELECTIONS INCLUDE 14 POSTWORKS AND ORBIT DIGITAL CLIENT PRODUCTIONS
Company Executives to Co-Host Park City's New York Lounge and Co-Sponsor Alumni Event for NYU's Tisch School of the Arts...

POST Magazine, December 2008
SWOT: DIGITAL INTERMEDIATE
...PostWorks New York (there's a PostWorks LA, too) serves the makers of network television (including Emmy-winner 30 Rock), feature films, commercials, cinema spots, corporate industrials and more....

TheReachFilmFellowship.com, Dec. 19, 2008
Visit to Dena’s transfer session at Postworks
Last Friday I dropped in on the supervised transfer of all the 16mm dailies from Dena Greenbaum’s Blues, taking place in Studio 5 at Postworks in Soho.  Postworks has just signed on as a sponsor of our four Reach fellows, providing them with a wealth of in-kind services and access to top notch finishing for their projects....

SHOOT, Nov. 18, 2008
PostWorks Appoints Domenic Rom to SVP/General Manager for New York Post-Production Services
Digital motion picture and post-production company PostWorks (www.postworks.com) today announced that Domenic Rom, who has served as Chief Operating Officer (COO) of PostWorks' lab since its acquisition by PostWorks three years ago, has been appointed to the newly created position of SVP/General Manager of Post-Production Services for PostWorks' main New York facility in Soho. The announcement was made by PostWorks' President and COO Rob DeMartin, and is effective immediately.....

The Hollywood Reporter, Nov. 16, 2008
Rom adds duties at PostWorks
Domenic Rom -- COO of PostWorks' film lab -- has been given the additional role of senior vp/general manager of postproduction services for the company's main post facility in Manhattan.  Bicoastal PostWorks' lab is also in New York....

The Hollywood Reporter, Nov. 6, 2008
Film post facilities
Orbit Digital, a satellite company of New York post facility PostWorks, offers a range of "mobile lab" solutions (including mobile Avid edit systems, mobile dailies, color correction, previews and projection screening rooms) that all aid in the DI finishing process. Orbit Digital recently opened a customizable new editorial space located in West Los Angeles, next to PostWorks Los Angeles. Orbit Digital also has an office in Hollywood, as well as New York locations in Midtown and SoHo.

The Hollywood Reporter, Nov. 6, 2008
Financial woes test post house mettle
When the Robert De Niro feature "Everybody's Fine" shipped out to shoot in Connecticut earlier this year, it did so to take advantage of the state's tax incentives. Long before Wall Street melted down, the Miramax production was looking to save money wherever possible. That's where New York-based post house Orbit Digital came in.  "We set up a complete dailies operation on location and other on-location services to support their post," says Orbit Digital senior vp sales Pete Conlin. The production shot with the Panavision Genesis, so Orbit (which is affiliated with PostWorks) created a mobile lab that enabled a colorist to color dailies and then screen them with a digital cinema projector.  "We're definitely saving them money," Conlin says. "We could create a dailies package price that was more effective -- 15% lower than in a facility -- on top of the 30% tax rebate savings they were getting (from the state). It's almost a half-priced dailies process, plus the DP could watch every day after shooting and talk to the colorist."...

POST Magazine, Sep. 26, 2008
POSTWORKS SPONSORS SHORT FILM FESTIVAL
PostWorks is sponsoring the 2008 Tropfest NY event, set for Friday, September 26th, at World Financial Center Plaza in Battery Park City. Tropfest is a free, public event that kicks-off in Australia each February via simultaneous satellite broadcast in Sydney, Melbourne, Adelaide, Hobart, Canberra, Brisbane, Perth and a host of regional Australian locations - collectively attracting an audience of more than 150,000 people on a single night. This year's third annual Tropfest NY event will also be presented live via satellite at Toronto's First Canadian Place. The event will feature free music and entertainment, as well as film screenings later in the evening....

StudioDaily.com, Sep. 25, 2008
PostWorks Sponsors Tropfest NY Short Film Festival
...John Polson is the founder and creative director of Tropfest, as well as being an established filmmaker, actor and writer. "I have turned to the professionals at PostWorks many times over the years, and I've always received excellent care and support," he said. "Their expertise is truly world-class, and having them onboard for Tropfest NY has proven to be extremely valuable in countless ways."...

HD/Studio, Sep. 23, 2008
60-Second Q&A: Ben Murray, DS Nitris Artist
On doing DS Nitris work for legendary filmmakers...

BroadcastBuyer.tv, Sep. 2, 2008
Digital Vision To Celebrate 20 Years Of Picture Quality Excellence At IBC 2008
Digital Vision, the premier supplier of picture enhancement systems for film and tele vision post-production, will celebrate its 20 year history of award-winning picture and technical excellence at IBC 2008 on stand 7.C29.  The Emmy winning PHAMETM algorithms, which form the basis of the entire Digital Vision product range, will be on show in the latest version of the Film Master grading system at IBC, as well as in various new products that will be announced at the show....

HollywoodIndustry.com, Sep. 2, 2008
Digital Vision To Celebrate 20 Years Of Picture Quality Excellence At IBC 2008
...Phoenix is the perfect solution for restoration, re-mastering and repurposing and at IBC 2008 Digital Vision will be showing its latest version which includes DVO Flicker and DVO Inverse TC, a 10 times speed enhancement to its DVO Fix tool and an improved DVO Deinterlace. Phoenix is the world’s premier re-mastering application with installations in Ascent Media, Technicolor, Postworks and Deluxe and provides many automated and semi automated tools for translating film and tape archives into pristine digital masters for DCI, Bluray Disc, HD TV and VOD....

POST Magazine, August 2008
ORBIT WEST OFFERS CONFIGURABLE EDITORIAL SPACE
Orbit Digital, a provider of mobile post equipment and services to the film and television industries, has opened a new, customizable editorial space that is located on LA's west side next to sibling company Postworks Los Angeles.... 

Computer Graphics World, July, 2008
Job Skills 101; Internships provide an ideal learning environment
...“If our intern survives three months of scrutiny and he or she displays plenty of potential, we do our best to find an entry-level position somewhere in the company,” says Ivie. “We advise them to put aside preferences and accept whatever opening becomes available, because once they’re in, they will gravitate towards the right specialty or even discover an area they hadn’t even known about that might be more appealing.”....

Kodak's In Camera, July, 2008
The Wrestler - A journey behind the scenes of The Ram’s world
...Alberti observes that while the budget was modest, Aronofsky and the producers never tried to save money by trimming the schedule or compromising production values. They trimmed costs by only using the tools needed to get the story on film and working as efficiently as possible. She primarily had the new 7219 film on her palette, and chose to record daylight scenes on VISION2 200T 7217 film. Alberti rated the 7219 negative at E.I. 400, except for night scenes where she opted to underexpose the negative by as much as three stops. Front-end lab work was done at PostWorks in New York....

POST Magazine, July, 2008
HIGHER LEARNING: INTERNSHIPS
...PostWorks' Midtown Manhattan location (www.postworks.com) prefers candidates who are ready to embrace post production as their career, rather than those on college break. According to Bill Ivie, VP of PostWorks' Sound Group, the studio often receives resumes from graduates of The School of Audio Engineering (SAE), the Institute of Audio Research, (IAR) and Full Sail University. Clients and friends also make recommendations. The studio interviews a half-dozen candidates every three months or so, and has two or three interns on hand at any time....

Post Production Buyers Guide, July 28, 2008
PostWorks colorists collaborate with Outstanding Cinematography Emmy nominees in four categories
...Orbit Digital provides offline editorial systems and support to the producers of both "30 Rock" and HBO's "John Adams," and joins PostWorks in congratulating the editorial teams from both shows for their respective Outstanding Picture Editing nominations. Notably, "John Adams" is nominated for Outstanding Miniseries, and another Orbit client production, "A Raisin in the Sun," is nominated for Outstanding Made For Television Movie.... 

Digital Content Producer Briefing Room, July 25, 2008
PostWorks Colorists Collaborate with Primetime Emmy Outstanding Cinematography Nominees
...Earning the most nominations of any comedy program, NBC’s “30 Rock” is one of four PostWorks client productions nominated in the Outstanding Cinematography category. PostWorks provides full-service picture post on “30 Rock” – which is also nominated for Outstanding Comedy Series and in many other categories – and staff colorist Bobbie Thomas works under the guidance of series director of photography Vanja Cernjul in mastering the visual aesthetic for each episode. Other Outstanding Cinematography nominees from PostWorks clients include Fred Murphy, A.S.C., director of photography for HBO’s “In Treatment” (colorist: Pankaj Bajpai, PostWorks Los Angeles), Adam Beckman, director of photography for Showtime’s “This American Life” (colorist: Ira Schweitzer, PostWorks New York), and cinematographers Axel Baumann, Robert Hanna, Ulli Bonnekamp, Mark Brice and Wolfgang Held for PBS’s “Carrier” (colorist: Mike Nuget, PostWorks New York)....

HollywoodIndustry.com, July 25, 2008
PostWorks Colorists Collaborate with Primetime Emmy Outstanding Cinematography Nominees in Four Categories
Joins Orbit Digital in Congratulating Clients on Dozens of 2008 Primetime Emmy Award Nominations...

shots, July 16, 2008
NEWS IN BRIEF: Orbit Digital head west
Orbital Digital, the mobile post-production equipment and services provider, has opened up a new unit in Los Angeles. Based right next door to sibling company Postworks, the new space will allow clients to build editorial operations to match their needs. 

Boards Magazine, July 15, 2008
Industry news and people moves
Orbit Digital has opened a customizable editorial office in Los Angeles, next door to sister company, Postworks LA. 

BroadcastBuyer.tv, July 15, 2008
Orbit Digital Debuts Customizable Editorial Facilities In West LA
...Orbit Digital has a long history of servicing high profile feature film and television projects, including "The Chronicles of Narnia: Prince Caspian," "Wanted" and "Journey to the Center of the Earth."... 

Digital Content Producer Briefing Room, July 14, 2008
Orbit West Debuts Customizable New Editorial Facilities Located at Tribeca West with PostWorks Los Angeles
...“Everything about our operation is geared toward allowing our clients to create their own unique editing environment,” said Pete Conlin, Orbit Digital’s Senior VP Sales. “We are very proud to unveil this new facility, which is already home to the post-production team behind the Weinstein Company feature film ‘Hurricane Season,’ and we expect that it will be a perfect fit for many high-level productions – especially considering our co-location with PostWorks LA and their expanding DI color correction and broadcast finishing services.”....

HollywoodIndustry.com, July 14, 2008
Orbit West Debuts Customizable New Editorial Facilities
...18 sound-insulated, fully furnished, individually climate-controlled editorial rooms in total, each with the latest Avid or Final Cut Pro systems; private suites with their own reception areas and internally connected editorial rooms; 24/7 technical support; complete turnkey setup, including telephones, faxes, and copiers; 
fully stocked kitchen and conference room; on-site parking...

Post Production Buyers Guide, July 14, 2008
Orbit West Debuts Customizable New Editorial Facilities Located at Tribeca West with PostWorks Los Angeles
The boutique outfit is near the corner of Olympic and Bundy at Tribeca West, a complex popular with filmmakers, television producers and production companies. The new Orbit West editorial facility is physically and digitally interconnected with PostWorks LA's new DI facilities in the same location. The new space offers Orbit West's clients the ability to customize and configure their own editorial operations to match their needs... 

StudioDaily.com, July 14, 2008
Orbit West Debuts New Editorial Facilities at Tribeca West with PostWorks Los Angeles
Boutique at the Corner of Olympic and Bundy on the West Side....

The Hollywood Reporter, July 13, 2008
Orbit opens new L.A. space
Bicoastal post equipment and services provider Orbit Digital opened its new editorial space on Los Angeles' west side, next to sibling company Postworks Los Angeles. Orbit's space includes 18 sound-insulated and furnished editorial rooms, each equipped with Avid or Final Cut Pro editing ystems. New York-headquartered Postworks began operating the Postworks post house in Los Angeles in 2007.

POST Magazine, July 11, 2008
ORBIT WEST OFFERS CONFIGURABLE EDITORIAL SPACE
Orbit Digital, a provider of mobile post equipment and services to the film and television industries, has opened a new, customizable editorial space that is located on LA's west side next to sibling company Postworks Los Angeles.... 

StamfordPlus.com, July 12, 2008
Miramax edits “Everybody’s Fine” at Televersemedia’s edit facility
When Miramax needed a place to edit their new feature, “Everybody’s Fine,” they wanted a facility that was flexible enough to meet their needs. Televersemedia’s subsidiary post facility, Elements, fit the bill.... 

Autodesk.com, June 20, 2008
PostWorks Los Angeles
Already well-known in New York, PostWorks has done more than just expand into the Los Angeles market. In addition to currently completing construction of two facilities in Southern California, the new company has already implemented a unique workflow which prominently features Autodesk® Smoke® and Autodesk® Lustre® software. PostWorks hopes to bring this highly specialized digital intermediate (DI) workflow process to a much broader spectrum of clientele. In what amounts to a post company actively leveraging data-centric and future-looking technologies, PostWorks Los Angeles is also bringing tomorrow’s techniques to film and television clients....

StudioDaily.com, June 18, 2008
Senior Hollywood Colorist Scott Gregory Joins PostWorks Los Angeles; New Venture's West Los Angeles and Santa Clarita Locations Open For Business
Digital motion picture and post-production company PostWorks Los Angeles (www.postworksla.com) today announced the hiring of senior Hollywood colorist Scott Gregory. The announcement was made by PostWorks LA President Mike Doggett....

The Hollywood Reporter, June 17, 2008
PostWorks adds colorist, theater; Completes construction of West Los Angeles facility
PostWorks LA has hired feature colorist Scott Gregory. Additionally, the company has completed construction of its West Los Angeles facility with the opening of a digital intermediate theater....

DigitalIntermediates.com, June 9, 2008
Blazingly Fast; Postworks LA Brings Digital Intermediate Tools&Workflow to Broadcast&Studio Mastering with Help from Autodesk Smoke&Lustre
Already well-known in New York, PostWorks has done more than just expand into the Los Angeles market. In addition to currently completing construction of two facilities in Southern California, the new company has already implemented a unique workflow which prominently features Autodesk® Smoke® and Autodesk® Lustre® software. PostWorks hopes to bring this highly specialized digital intermediate (DI) workflow process to a much broader spectrum of clientele. In what amounts to a post company actively leveraging data-centric and future-looking technologies, PostWorks Los Angeles is also bringing tomorrow s techniques to film and television clients....

Briefing Room on MixOnline, May 20, 2008
Digidesign ICON D-Control ES Makes a Fast Impression
...PostWorks/Orbit Digital recently installed an ICON D-Control ES console into its New York facility. As the company behind the post-production work on such notable films as The Bourne Ultimatum and Michael Moore’s Sicko, as well as the audio finishing on the indie hit The Waitress and PBS Television’s premiere tentpole documentary series Carrier, PostWorks is one of the industry’s busiest post-production houses for film and TV. “The ICON’s tight integration with Pro Tools has significantly streamlined the mixing process,” explains Bill Ivie, vice president of PostWorks Sound Group, “and the updated aesthetics on the new D-Control ES have made it even easier to navigate the work surface. In the world of post production, time is money. The ICON D-Control ES is allowing us to deliver finished sessions to our clients faster than ever before.”...

TMCnet, May 7, 2008
New York City's SoHo to See Greater Internet Connectivity
...An information technology leader from a neighborhood post-production company said it’s difficult to operate when his technical needs clash with the types of Internet service that individual clients can offer.  “Rainbow Broadband allows us to find office space, regardless of the infrastructure, enabling us to send and receive the heavy media files that are crucial to our business,” said Pat Gombos, director of IT at Postworks....

The Earth Times, May 7, 2008
Rainbow Broadband Breathes New Life into Soho-Area Businesses by Offering Essential Communication Infrastructure
...“Because we work in digital post-production, we are limited to specific locations that meet our technical and Internet needs for our clients in the entertainment and advertising industries,” said Pat Gombos, director of IT at Postworks. “Rainbow Broadband allows us to find office space, regardless of the infrastructure, enabling us to send and receive the heavy media files that are crucial to our business.”...

CoStar Group, May 1, 2008
DST Systems Renews in Hudson Square
DST Systems, an information and software services firm based in Kansas City, MO, has renewed 14,650 square feet of office space at 100 Avenue of the Americas in Manhattan's Hudson Square/Tribeca neighborhood, where it's been located since 1999.  The 333,994-square-foot office building was constructed in the 1930s and stands 17 stories. It underwent renovations in 1991. Other tenants include Ogilvy and PostWorks LLC, according to CoStar information....

ICG Magazine, April, 2008
Birds of America: Yaron Orbach
...The film was posted at PostWorks, New York, which is a full service postproduction facility with the ability to handle every aspect of postproduction. “It’s great to be in a place where everything is done under one roof,” says Orbach. “This was my second collaboration with colorist John Crowley. John has a great eye and he really elevated the material. We did very subtle color shifts and fixed little things that one might not notice. Birds of America was my fourth DI and I have a very specific attitude about them. A DI cannot cover bad cinematography or composition. However, if there’s good composition and good lighting, a DI can elevate the film one step further. I really count on it more as a polishing and finessing tool than trying to fix things.”...

Videography, April, 2008
PostWorks Takes On Terabytes for "In Treatment"
PostWorks Los Angeles played a key supporting role in providing postproduction finishing services to the HBO original series In Treatment....

The Hollywood Reporter, Apr. 11, 2008
After WGA strike, postproduction faces brave new world
...But everyone concurs that pilot season will likely never be the same. "The networks have been saying that, so it's no secret," says PostWorks COO and owner Rob DeMartin. "There was an opportunity to change some of the ways they did business, and they took it."...

The Hollywood Reporter, Apr. 11, 2008
Going tapeless -- postproduction's latest evolution
When "In Treatment" co-producer Jim Hilton was looking for a place to post the new HBO series, going tapeless was not a consideration. But then PostWorks Los Angeles executives described a post workflow that would eliminate multiple videotape masters for each episode. Hilton, a self-described "old-school film guy," says the idea took a moment to sink in. Then he jumped at the opportunity. "The huge number of episodes on this series and the ever-changing and evolving nature of a first-season show made the choice of working at a facility committed to a pure data workflow easy," Hilton says. "Forty-three episodes are a lot of juggle, and it started to make a lot of sense not to have 43 tape masters, 43 submasters and so on. I realized data was our friend."...

The Hollywood Reporter, Apr. 11, 2008
Is there enough work for a new post house in New York?
...PostWorks currently gets the lion's share of episodic TV work, and exec vp sales Joe Caterini is sanguine about sharing the local work pool. "It could have the potential to bring more work to New York," he allows, noting that when things are really ramped up, he hears complaints that New York doesn't have enough capacity.  "We feel the entrance into New York of a world-class brand and film lab is only a good thing for New York," Caterini says. "It'll help New York become more of a destination."...

Digital Content Producer Briefing Room, Apr. 8, 2008
PostWorks LA’s Digital Workflow on HBO’s “In Treatment” Delivers Multiple Versions of 43 Episodes, Introducing New Efficiencies into Post Workflows
Digital motion picture and post-production company PostWorks Los Angeles today detailed its key supporting role in providing post-production finishing services to the new HBO original series “In Treatment,” which premiered on HBO at the end of January....

HollywoodIndustry.com, Apr. 8, 2008
PostWorks LA's Digital Workflow on HBO's "In Treatment" Delivers Multiple Versions of 43 Episodes
...“This was an exciting concept and for our show, an easy decision,” said the series’ Co-Producer Jim Hilton. “The huge number of episodes on this series and the ever changing and evolving nature of a first season show made the choice of working at a facility committed to a pure data workflow easy. Our series had 43 shows, formatted in several different ways, in various states of completion, and yet our tape shelf in the vault was bare!...

Film & Video Magazine, Mar. 27, 2008
Speeding Digital Workflow for HBO's In Treatment; PostWorks Kept All the Footage on the SAN, all the time
Building out storage and rendering power for Hollywood projects at a new facility in Santa Monica, PostWorks executives think they see the future of the high-end television pipeline — and it looks a lot like a feature-film DI workflow. The proof of concept is its recent implementation of a datacentric, largely tapeless workflow for the five-nights-a-week HBO series, In Treatment....

Broadcast Engineering, Mar. 3, 2008
Oscar’s winning documentary shot with Panasonic Varicam
“Taxi to the Dark Side,” an account of U.S. interrogation policies in Afghanistan and beyond, won the 2008 Academy Award for the best documentary. The documentary was shot with Panasonic’s AJ-HDC27 VariCam HD Cinema camera. The film was made by director/writer Alex Gibney. Cinematographer Gregory Andracke, who shares the director of photography credit with Maryse Alberti, is a veteran documentary cameraman.... The online edit of “Taxi to the Dark Side” was done at FRAME: RUNNER in New York. The color correction (Pandora Pogol workstation controlled by a Pandora Evolution control panel, all run on the Pandora Pixie color corrector) was done at PostWorks in New York....

American Cinematographer, Feb., 2008
PostWorks Comes to LA
At the beginning of 2007, the New York facility PostWorks was in the early stages of planning an expansion into Los Angeles, and the discussions were taking a decidedly traditionalist turn.  But then, Mike Doggett, who has been tapped to head the Los Angeles operation, brainstormed another idea with his team of developers.  As PostWorks Los Angeles Senior Vice-President Marco Bario recalls, "They started asking themselves, 'Why are we going to build something that already exists? Why don't we build something that looks toward the future?'"  Doggett's colleagues at PostWorks New York agreed, and today, the construction of PostWorks Los Angeles/Orbit West is nearly complete....

Videography, Feb. 27, 2008
Where in the World Is Osama bin Laden?--Morgan Spurlock Looks Around
...Postproduction for Where in the World is Osama bin Laden? was handled at PostWorks and its sister company, Orbit Digital, in New York City. Orbit's Brian Boyd, the conforming editor and colorist, used an Avid DS Nitris. HD material was projected at Orbit through an NEC iS8-2K DLP projector for color grading....

Videography, Feb. 26, 2008
Taxi to the Dark Side Wins Documentary Feature Oscar
...The online edit of Taxi to the Dark Side was done at New York's FRAME: RUNNER. Color correction, which took place at PostWorks New York, entailed the use of a Pandora Pogle workstation controlled by a Pandora Evolution control surface, all run on the Pandora PiXi color corrector. The film-out took place at Alpha Cine Labs in Seattle....

POST Magazine, Jan. 25, 2008
SUNDANCE: POSTWORKS & ORBIT TOUCH NUMEROUS DOCS, NARRATIVES
PostWorks and Orbit Digital together supported more than a dozen feature films selected for screening at the annual Sundance Film Festival....

Digital Content Producer Briefing Room, Jan. 16, 2008
PostWorks and Orbit Digital Ready Narrative and Documentary Feature Selections for 2008 Sundance Film Festival; Company Executives Also Hosting Two Fireside Chats at Park City’s New York Lounge, on Controlling Post-Production Costs
Digital motion picture and post-production companies PostWorks and Orbit Digital today announced their support of numerous feature films selected for the annual Sundance Film Festival, which kicks-off tomorrow in Park City, Utah....

HollywoodIndustry.com, Jan. 16, 2008
PostWorks and Orbit Digital Ready Narrative and Documentary Feature Selections for 2008 Sundance Film Festival
...Staff members from PostWorks and Orbit have made significant lab, picture and/or sound post-production contributions to the narrative feature films "Adventures of Power" from director Ari Gold, "Assassination of a High School President" from director Brett Simon, "August" from director Austin Chick, "Birds of America" from director Craig Lucas, "Blind Date" from director Stanley Tucci, "Choke" from director Clark Gregg, "Diminished Capacity" from director Terry Kinney, "Funny Games" from director Michael Haneke, "The Guitar" from director Amy Redford, "Henry Poole is Here" from director Mark Pellington, and director Udayan Prasad's "The Yellow Handkerchief," as well as feature documentaries "Gonzo: The Life and Work of Dr. Hunter S. Thompson" from director Alex Gibney, "Slingshot Hip Hop" from director Jackie Salloum, and "Where in the World is Osama bin Laden?" from director Morgan Spurlock....

shots, Jan. 16, 2008
ON THE MOVE
PostWorks Los Angeles has taken on two digital technology specialists. Jim Houston joins as senior vice president for imaging, while Jeff Quinn joins as vice president for engineering.

Film&Video, Jan. 11, 2008
Industry Veterans Jim Houston and Jeff Quinn Join PostWorks LA
Digital motion picture and post-production company PostWorks Los Angeles today announced the hiring of two veteran pioneers of digital technologies for key PostWorks LA staff positions. Effective immediately, PostWorks LA's President Mike Doggett has named Jim Houston as Senior Vice President, Imaging, and Jeff Quinn as Vice President, Engineering.  "Jim is a well known leader in the field of digital imaging technology, and Jeff has been an integral player in helping leading filmmakers and major studios leverage the world's most advanced technologies," Doggett said. "Jim and Jeff will play key roles as we continue to develop future looking digital solutions on behalf of our customers. We are very proud to welcome each of them aboard."...

The Hollywood Reporter, Jan. 10, 2008
Pair joins PostWorks
Veteran innovator Jim Houston has been named senior vp imaging at PostWorks Los Angeles. Completing the company's new technological leadership team is former Ascent Media Group executive Jeff Quinn, who was named vp engineering. PostWorks Los Angeles, a postproduction company with the same independent ownership as PostWorks in New York, launched in the fall with a base in Santa Monica. It is constructing a larger base in Santa Clarita, Calif....

POST Magazine, Jan. 10, 2008
POSTWORKS ADDS TO WEST COAST TEAM
PostWorks Los Angeles has grown its West Coast staff with the recent addition of Jim Houston as senior VP/imaging and Jeff Quinn as VP/engineering....

Computerlove, Dec. 4, 2007
PostWorks Congratulates Clients on 2007 IFP Gotham Award Wins
...Established in 1991 by IFP, the nation's largest membership organization of independent filmmakers, the Gotham Awards are among the leading awards for independent films, and the first major honors of the film awards season....

Digital Content Producer Briefing Room, Dec. 4, 2007
PostWorks Congratulates Clients on 2007 IFP Gotham Award Wins; Coverage of 17th Annual Awards Ceremony Debuts Tonight on NYC TV
PostWorks (www.postworks.com) today proudly congratulated several of its clients for their wins at the 17th Annual Gotham Awards Ceremony, held last week in New York at Brooklyn’s Steiner Studios and set to appear tonight on NYC TV at 9pm EST....

HollywoodIndustry.com, Dec. 4, 2007
PostWorks Congratulates Clients on 2007 IFP Gotham Award Wins
...The honorees included Michael Moore’s “SiCKO,” which was named Best Documentary, as well as Craig Zobel, who brought home the Breakthrough Director Award for his work on the comedic feature “Great World of Sound.” PostWorks’ support for these two films included producing the Digital Intermediate (DI) for each of them. Another honoree, “Before The Devil Knows You’re Dead,” which shared the Best Ensemble Cast Award, was edited at Orbit Digital, PostWorks’ mobile editorial service and support company. Last year’s Breakthrough Director and Best Feature Gotham Awards went to Ryan Fleck and his film “Half Nelson,” a 2006 festival favorite and a current Academy Award nominee, for which PostWorks also produced the 2K DI....

Cinematographer.com, Nov. 18, 2007
The Coens on the Trail of a New Post Pipeline
...When it came time for audience preview screenings, DVCPRO HD QuickTime files were exported from the Final Cut Pro systems (complete with the temp mix of the film) and sent to Postworks New York, who in turn output these files to HDCAM masters for projection. Once the cut was locked, first assistant editor Katie McQuerrey generated edit decision lists (EDLs) and QuickTime picture-reference files that were sent to EFILM. There the original negative was scanned, conformed to the cut, digitally color-corrected and recorded out to film....

The Hollywood Reporter, Nov. 8, 2008
New York's tax rebates a boom for post
...to seriously consider New York as a viable posting home has not always been easy. Of course, there are the long-established facilities like PostWorks and Post Logic, but creating the velcro to convince productions to not just film in Gotham, but to stay in the city once the...

The Hollywood Reporter, Nov. 8, 2008
Post innovations increase efficiency, output
...PostWorks' company Orbit Digital provided a DNx36 workflow for Fox Searchlight's "The Darjeeling Limited," and executive vp technology Joe Beirne notes the advantages are... 

Crain's New York Business, Nov. 4, 2007
Hudson Sq. success hinges on new hotel
...Postworks, a film and TV postproduction company, fled midtown's rising rents in 2003. It recently signed a lease for 50,000 additional square feet, bringing its total at 100 Sixth Ave. to about 140,000 square feet. The company's chief executive, David Rosen, says he is satisfied with the area the way it is. Most of his employees live in Brooklyn, so they have an easy commute, and whatever services they can't find in Hudson Square are readily available in nearby neighborhoods.  "We love it," he says.

Below the Line, Oct., 2007
PostWorks Launches New L.A. Facility
PostWorks is opening a new Los Angeles-based postproduction operation designed from the ground up for a data-centric workflow.  The new venture, PostWorks Los Angeles, will provide high-end digital imaging services to theatrical, broadcast, and studio library mastering customers....

Boards Magazine, Oct., 2007
Inventory & hookups:  Post/Audio/Animation
Postworks, New York hired sound designer and mixer Paul Furedi and Rocky Tortorella as director of sound services for the company's Soho location.

Videography, Oct., 2007
Planes, Trains and Editing on the Go: The Darjeeling Limited on Location
...Weisblum brought two editing systems with him to India. The main Mac G5 tower was running Avid's Media Composer 2.67 software. In a road case ordered and organized through Orbit Digital, the system could be set up on a table within an hour or two. The G5 featured FireWire storage (LaCie and G-Tech G-RAID drives), mixer and speakers, and Avid Mojo....

Broadcasting & Cable, Oct. 10, 2007
Fates & Fortunes: Technology
Christopher Koch, re-recording mixer and sound editor, Sony, has joined PostWorks as sound designer/mixer.

Avid InFocus, Oct. 9, 2007
Orbit Digital and PostWorks Provide “The Darjeeling Limited” with Portable DNxHD 36 Editing
Premiering at the Venice Film Festival and scheduled for broader distribution by Fox Searchlight later in the year, director Wes Anderson’s “The Darjeeling Limited” stars Jason Schwartzman, Owen Wilson, and Adrien Brody as estranged American brothers who join up for a train journey across India to renew their bonds. The film was shot on remote locations in India and required a customized post workflow for editor Andrew Weisblum and his team.  For mobile editing solutions and the latest technology, Weisblum turned to Orbit Digital and PostWorks, where a team of Jonathan Hoffman, SVP Feature Film and Creative Services, producer Brian Reali, Matthew Schneider, director of technology, and account manager Neil Girardi developed an Avid editorial workflow that included DNxHD 36....

The Reel Newsletter, Oct. 8, 2007
NewsReel 08/10/07
Christopher Koch has left Sony Music Studios after nine years and has joined PostWorks as a sound designer and mixer.

POST Magazine, Oct. 3, 2007
POSTWORKS LA TAKES DATA-CENTRIC APPROACH
Manhattan's PostWorks (www.pwny.com) has launched a Los Angeles-based post operation designed from the ground up to leverage data-centric and future-looking technology. PostWorks Los Angeles will provide high-end digital imaging services to theatrical, broadcast and studio library mastering customers....

POST Magazine, Oct. 2, 2007
ORBIT DIGITAL SUPPORTS 'THE DARJEELING LIMITED'
NEW YORK - Orbit Digital (www.orbitdigital.com), a provider of mobile post production equipment and services, recently supported director Wes Anderson's new feature The Darjeeling Limited, starring Jason Schwartzman, Owen Wilson and Adrien Brody. The film will play at festivals before Fox Searchlight distributes it more widely later this year....

The Hollywood Reporter, Sep. 28, 2007
PostWorks heads to L.A.
A group of former Technicolor execs is launching PostWorks Los Angeles, a postproduction company with the same independent ownership as PostWorks in New York.  The West Coast operation is being planned to offer high-end digital-imaging services for features films and television and will be managed by a group of post executives who had parted ways with Technicolor at various points during the past 18 months.  These include PostWorks L.A. president Mike Doggett, former president of postproduction at Technicolor Content Services, who is now a partner in the PostWorks businesses; senior vp and GM Al Cleland, former senior vp and GM at Technicolor Digital Intermediates, TCS Hollywood and TCS New York; senior vp Marco Bario, former vp theatrical postproduction at TCS; vp technical operations Greg Ciaccio, former vp operations for post at TCS; and vp broadcast services Jennifer Tellefsen, former vp broadcast sales at TCS.  As for creative talent, Pankaj Bajpai joins the company from TCS Hollywood as senior colorist. Engineering talent has not yet been hired....

Weekly News from shots, Sep. 26, 2007
Moves this week at HKM, Social Club, PostWorks, Prodigy Films, Passion Pictures, Feel Films, Clemenger BBDO, Moneyshots, Rushes
Christopher Koch has left Sony Music Studios after nine years and has joined PostWorks as a sound designer and mixer.

HDStudio.com, Sep. 25, 2007
60-Second Q&A: Paul Furedi, Mixer/Sound Designer, PostWorks, NY
With more than 15 years of experience, Paul Furedi is a veteran sound designer/mixer who joined PostWorks in August, after many years working for Sony Music Studios, where he mixed commercials and high-definition TV specials and series, as well as dozens of DVDs for Sony Music artists and promotional projects. He’s also edited and mixed high-profile programming — including reality TV shows, documentaries, musicals, sports and dramatic programming — for virtually every major network.  At PostWorks, Furedi recently completed audio work on the 2007 theatrical release of The Gates, Antonio Ferrera and Albert Maysles’ documentary, for which PostWorks created the digital intermediate. The Gates world premiered at the 2007 Tribeca Film Festival.  PostWorks’ midtown New York facility houses five sound-mixing studios, each featuring Digidesign ProTools workstations and a large assortment of other audio-for-video tools....

StudioDaily.com, Sep. 20, 2007
PostWorks Adds Re-Recording Mixer/Sound Editor Christopher Koch
"PostWorks is a leader in HD and in all of the new formats for HD and 5.1 delivery," Koch said. "They are on the cutting edge of technology, and right now they're stepping up to make a huge impact in New York's post audio world. I'm excited to see more and more film work being done in New York, and I'm thrilled to be a part of that here at PostWorks."  PostWorks' Sound Group also offers the talents of award-winning staff audio engineers Pat Donahue, Matt Foglia CAS, Paul Furedi, Billy Gardner, Andrew Kay, Benny Mouthon, Jared Seidman and Lou Teti....

HollywoodIndustry.com, Sep. 19, 2007
PostWorks' Sound Group Continues Staff Expansion
...A 1995 graduate from Duquesne University School of Music, Koch began his career at CD mastering house Digital Dynamics Audio, while also completing two European tours as part of the award-winning chamber choir, the Duquesne Chamber Singers.  Since joining Sony Music Studios in 1998, he has contributed his talents to major television, theatrical and album projects for Sony, MTV, VH1, CBS, NBC, HBO, Columbia Records, J Records, and many others.  With his past assignments spanning the realms of reality, game show, documentary, live concert and musical programming, his major projects include serving as Sound Editor for the 2003 Oscar-nominated documentary feature "Tupac: Resurrection," as Sound Mixer for the "Made in Heaven - The Making of Kind of Blue" featurette appearing on the Miles Davis "Kind of Blue" DVD release, as Sound Mixer for the MTV2 $2 Bill Concert Series featuring Kanye West, DMX, Method Man, Ludacris, System of a Down, Daddy Yankee and My Chemical Romance, and as Contributing Audio Post Mixer for "Tony Bennett: An American Classic," which aired on NBC last year and was just awarded the 2007 Emmy Award for Outstanding Sound Mixing for a Music or Variety Show....

The Briefing Room, Digital Content Producer, Sep. 19, 2007
PostWorks’ Sound Group Adds Former Sony Staffer Christopher Koch as Sound Designer/Mixer
PostWorks (www.pwny.com) is proud to announce the addition of Re-Recording Mixer and Supervising Sound Editor Christopher Koch to its staff as Sound Designer/Mixer. Koch, who joins his fellow former Sony Music Studios staff member Paul Furedi in migrating to PostWorks, will make his home in one of the two new mix rooms just coming online at PostWorks’ Soho location. The latest expansions bring the total number of PostWorks’ Sound Group mixing rooms to nine, with five in Midtown and four in Soho....

Boards Online, Aug. 18, 2007
Industry news and people moves
Postworks New York has hired Christopher Koch as sound designer/mixer.

GlobeST.com, Sep. 13, 2007
Flagship Tenant Expands to 112,355 SF
NEW YORK CITY-PostWorks, New York, Trinity Real Estate's flagship tenant at 100 Avenue of the Americas, expanded to 112,355 sf on floors six, 10, 11, 12 and 14. The company presently occupies the entire 10th and 11th floors, as well as parts of the 12th and 14th....

Crain's New York Business, Sep. 2, 2007
Executive Moves: Media & Entertainment
PostWorks New York: Rocky Tortorella, 50, joined as director of sound services. He had been operations manager at Sound One....

Pro Sound News, Aug. 24, 2007
Postworks, New York Hires Tortorella
..."PostWorks' Sound Group continues to focus on providing audio services that are unmatched," said PostWorks' sound group's general manager Bill Ivie. "The two new mix rooms in Soho will add even more depth to our capabilities, and Rocky's involvement will ensure that every project we handle will get world-class technical support, while also maximizing all the resources PostWorks has to offer."...

POST Magazine, Aug. 23, 2007
AUDIO VETERAN ROCKY TORTORELLA JOINS POSTWORKS
Rocky Tortorella has joined PostWorks, New York (www.pwny.com) as its director of sound services in Soho. Tortorella spent the past 30 years at Sound One, having most recently held the position of operations manager....

Pro Sound News, Aug. 23, 2007
PostWorks Pro-Bel To Handle Increased Throughput
...Corey Stewart, director of systems engineering, highlights two key factors that have driven this expansion. "Over the last three or four years our business has really grown. Alongside this is the demand for greater system capacity due to new technology that we are experiencing. New HDCAM SR VTRs have more I/O, 12 channels of audio, 4:4:4 RGB dual link I/O as well as format conversion outputs. Our episodic TV clients are using SR for the audio channels and our feature film clients are utilizing SR's 4:4:4 RGB interface for digital intermediate work. This all adds up to the need for greater routing capacity."...

The Briefing Room, Digital Content Producer, Aug. 23, 2007
PostWorks, New York Expands Sound Group, Adds Tortorella as Director of Sound Services
PostWorks, New York (www.pwny.com) is proud to announce the addition of Rocky Tortorella as Director of Sound Services for PostWorks’ Soho location. For the past 30 years, Rocky has been an integral part of Sound One, one of New York’s leading feature film audio post-production facilities, having most recently held the position of Operations Manager. At Sound One, he contributed to hundreds of films, including many directed by some of the world’s most accomplished filmmakers, including Martin Scorsese, Robert De Niro, Milos Forman and Jonathan Demme, to name but a few. During his Sound One tenure, Rocky expanded the company’s reputations for quality and customer service, while also integrating the new technologies which impacted the feature film industry – and implementing new procedures to leverage those innovations for filmmakers. He has also participated in numerous industry panels for Dolby Labs....

TV Technology, Aug. 23, 2007
PostWorks, New York Picks Pro-Bel For Increased Throughput
PostWorks, New York has enlisted Pro-Bel to help it cope with its expanding business requirements. The post house, which also owns technology and services rental business Orbit Digital, is a long-term Pro-Bel customer and is upgrading the heart of its N.Y. facility. PostWorks recently completed work on projects including Michael Moore’s “Sicko,” Jon Sayles’ “Honeydripper” and Jonathan Demme’s “Man from Plains”....

Film&Video Magazine, Aug. 22, 2007
PostWorks, New York Hires Rocky Tortorella as Director of Sound Services
...Rocky joins PostWorks at an exciting time. The company's Sound group - which shares resources between its midtown and Soho locations - is currently expanding to meet the demands of established and emerging filmmakers, as well as virtually every major film studio and broadcaster. Between these locations, seven mix rooms are currently in operation (two of which are Dolby Printmaster approved), and two more will come online over the weeks ahead....

Boards Online, Aug. 21, 2007
Industry news and people moves
Postworks, New York has hired sound designer and mixer Paul Furedi.

HollywoodIndustry.com, Aug. 20, 2007
PostWorks, New York Extends Collaboration with Michael Moore Through "SiCKO" Digital Intermediate
PostWorks, New York’s EVP of Technology Joe Beirne’s long history of collaborating with Academy Award winning filmmaker Michael Moore recently added a new chapter, when Beirne and his PostWorks’ colleagues completed the Digital Intermediate (DI) for Moore’s latest feature documentary, “SiCKO.” First released in the U.S. on June 22, “SiCKO” is already the fourth highest grossing documentary in history, as well as being one of the most talked about films of the year. “SiCKO” was produced by Dog Eat Dog Films and The Weinstein Company, and is being distributed by Lionsgate....

The Briefing Room, Digital Content Producer, Aug. 20, 2007
“SiCKO” D.I. Extends PostWorks, New York’s Collaborations with Michael Moore
..."As a Michael Moore film veteran, I regard ‘Fahrenheit 9/11' as a true singularity in both the political and documentary universes, but ‘SiCKO' in some ways surpasses ‘Fahrenheit 9/11' in its ambitions," Beirne explained. "Michael holds himself to a very high standard, and this film challenged us on almost every level; technically, logistically and creatively. We at Postworks are proud to have been part of ‘SiCKO' and are thrilled for Michael and The Weinstein Company on its broad success."...

Music Video Wire, Aug. 20, 2007
Veteran Sony Sound Designer/Mixer Paul Furedi Joins Postworks, New York
PostWorks, New York's renowned post-production boutique in midtown Manhattan is very happy to welcome veteran sound designer and mixer Paul Furedi to its full-time staff....

Film&Video Magazine, Aug. 16, 2007
Sound Designer/Mixer Paul Furedi Joins PostWorks
...A 1991 graduate of SUNY Binghamton, where he earned B.A. degrees in Mathematics and Music, Furedi began his career at Pittsburgh Digital creating two-track recordings of small- group classical and jazz artists. He landed at Sony Music Studios in 1993, and has spent the past fourteen years there, mixing hundreds of spots, countless high-profile TV specials and series, dozens of DVDs for Sony artists, and scores of promotional projects. He also contributed to every Sony NARM Convention presentation from 1994 to 2006. In the field of television, he has sound edited and mixed programming for virtually every major network, including A&E, the BBC, Bravo, CBS, CNN, Comedy Central, Court TV, Discovery, E!, ESPN, Fox, GSN, HBO, MTV, NBC, The Disney Channel, The Hallmark Channel, The History Channel, The Sundance Channel and The Travel Channel, among many others. Projects featuring his mixes span reality, documentary, musical, sports and dramatic programming, with highlights which include numerous documentary features....

POST Magazine, Aug. 16, 2007
POSTWORKS ADDS VETERAN SOUND DESIGNER/MIXER
NEW YORK - PostWorks, New York (www.pwny.com) recently welcomed veteran sound designer and mixer Paul Furedi to its full-time staff. He spent the past 14 years at Sony Music Studios where he worked on spots, TV specials, series, DVDs and promos....

DigitalPostProduction.com, Aug. 2, 2007
FlickerLab Animates The Pink Panther™ For the Virginia Lottery and +SmithGifford
...PostWorks (New York, NY) and Digital Media Coordinator Robert Judge completed the HD D5 tape transfer for the film version.

POST Magazine, July, 2007
PEOPLE
PostWorks, New York and Orbit Digital continue to expand their theatrical services group, which represents the combined resources of both companies.  Sandie Cam has joined the organization as managing director, coming from Hollywood's Efilm and Deluxe Laboratories, where she held positions as producer, business development, and marketing for Efilm, and interim assistant counsel for Deluxe.  Matthew Reedy was also promoted, and will now serve as senior digital intermediate producer....

Crain's New York Business, Jun. 17, 2007
Executive moves:  Media & Entertainment
PostWorks: Sandie Cam, 37, joined as managing director, theatrical services, a newly created position. She had been producer, business development and marketing, at EFilm.

Television Week, Jun. 17, 2007
Newsmakers
Sandie Cam to managing director, theatrical services, PostWorks, from producer, business development and marketing, EFILM, and interim assistant council, Deluxe Laboratories.

POST Magazine, Jun. 6, 2007
POSTWORKS, ORBIT DIGITAL EXPAND THEATRICAL SERVICES GROUP
NEW YORK - PostWorks, New York (www.pwny.com) and Orbit Digital continue to expand their theatrical services group, which represents the combined resources of both companies. Sandie Cam has joined the organization as managing director.   She comes to PostWorks from Hollywood-based Efilm and Deluxe Laboratories, where she held positions as producer, business development and marketing for Efilm, and interim assistant counsel for Deluxe.  Matthew Reedy was also promoted, and will now serve as senior digital intermediate producer. He joined the PostWorks team through the 2003 acquisition of SMA Realtime and has produced a broad array of DI projects, including Jonathan Demme's Neil Young: Heart of Gold and Christopher Zalla's Padre Nuestro....

Cinematographer.com, Jun. 5, 2007
Love and Low-Budget Filmmaking: The Digital Pieces of Broken English
...Editing for Broken English took place on Avid systems at PostWorks in New York. Pirozzi was involved in the color-correction process. "We went to an SR master, from which we did the film-out," he explains. "I was really happy with the film-out. It gives a whole other luminance level and texture to the film."  Pirozzi didn't stop using Viper after Broken English. "I just shot a music video using Viper for the band Dinosaur Jr., which Matt Dillon directed," he says. "We used it because it also shoots in widescreen, 2.35:1 aspect ratio. Just hitting a button reconfigures the pixels."...

MediaPost.com, Jun. 5, 2007
People on the Move
SANDIE CAM joined PostWorks as managing director, theatrical services. 

PostIndustry.com, Jun. 5, 2007
PWNY & Orbit Digital Expand Theatrical Services Group
PostWorks, New York and Orbit Digital announced the continued expansion of their Theatrical Services group while also providing details on the group's executive staff, which will include newly hired Managing Director Sandie Cam. PostWorks' EVP of Technology Joe Beirne will continue to head the group....

The Hollywood Reporter, Jun. 5, 2007
PostWorks taps Cam as new director
Sandie Cam has been named managing director of the theatrical services group at PostWorks, New York. Cam joins PostWorks from EFilm and its parent, Deluxe Laboratories, where she was producer of business development and marketing at EFilm and interim assistant counsel at Deluxe.  "Sandie brings invaluable experience from working with EFilm and Deluxe," PostWorks executive vp technology Joe Beirne said. "With our theatrical services group, she will be involved with every aspect of our contributions to feature films, from preproduction planning through DI and digital-cinema mastering."  PostWorks also announced the promotion of Matthew Reedy to senior digital intermediate producer. He has produced DI projects for films like Christopher Zalla's "Padre Nuestro."  PostWorks recently completed the DI for Michael Moore's "Sicko."

HDStudio.com, May 23, 2007
HD Production Thrives in NYC; Thanks to New Tax Incentives, NY HD is Alive and Well
...Implemented two years ago, the Empire State Film Production Credit program has saved productions thousands of dollars and resulted in a record 10 network television pilots being shot in New York this year. Of those, eight worked with PostWorks, New York for some part of their post-production workflow. Of those, two—Gossip Girl, for the CW network, and Damages, for cable’s FX Networks—were shot and posted in HD. All the others used 35mm film.  Gossip Girl was shot with the Panavision Genesis camera and recorded to HDCam SR VTRs. PostWorks adapted the production's LUT to PostWorks' color system, taking Gossip Girl's 1D LUT and creating a 3D LUT that was applied to their HD dailies.  Through its main facility and film lab, PostWorks also provided custom finishing services for the 1080i-acquired drama pilot Damages....

Crain's New York Business, May 17, 2007
Major networks tap five NYC pilots
...These incentives have helped generate revenue and new jobs for several local companies, including Manhattan-based PostWorks New York, which handled film processing and other duties for four local pilots, including Canterbury's Law and Lipstick Jungle -- both of which were picked up.  Since the incentives began in 2005, the company has doubled the number of employees to 230.  "The norm would be for a Los Angeles based television or film studio to do the work in their own back yard," said Joe Caterini, executive vice president of sales at PostWorks. "There’s also a long standing impression that it’s more expensive to do business in New York."....

POST Magazine, May 15, 2007
POSTWORKS SUPPORTS EIGHT NETWORK PILOTS
...Through its main facility and film lab, PostWorks handled film processing and dailies for Babylon Fields, Canterbury's Law, Lipstick Jungle, and M.O.N.Y.  The company also provided custom finishing services for all of these shows except Lipstick Jungle, which finished in LA, and for FX's HD-acquired drama pilot Damages, while also supplying Avids to the productions for M.O.N.Y. and Canterbury's Law.  On other pilots, PostWorks provided select HD dailies transfers (Gossip Girl) and digital dailies transmission for Cashmere Mafia and Ft. Pit....

Film&Video Magazine, May 10, 2007
Next's DNxHD Workflow; A Whole New Way to Look at Your Edit
...With Apple set to offer its own codec (ProRes 422) for sparkling HD imagery in the editing room, are we on the verge of a sea change in the editorial process? Film & Video quizzed Bruce Markoe, Revolution Studios' head of post-production, and Chad Andrews, director of sales at Orbit Digital's Orbit West facility, about their workflow....

HDStudio.com, May 8, 2007
Next Feature Streamlines Workflow With Avid DNxHD
...Working in the lightly compressed domain of DNxHD, editor Christian Wagner and his team were able to preview frames during the offline process with a level of detail they don’t usually have, he said. Orbit Digital provided the post-production team with three Avid Media Composer Adrenaline HD systems and an Avid LP Unity with over 11 TB of storage. Orbit also supplied technical support to the production....

Videography.com, Apr. 28, 2007
Next Edited on Avid Adrenaline HD Systems with Support from Orbit Digital
Orbit provided Next with three Avid Media Composer Adrenaline HD systems and a LP Unity with over 11 terabytes of storage. Orbit also provided technical support to the production.  Working closely with Markoe and editor Christian Wagner (whose recent credits include Tony Scott's Domino and Michael Bay's The Island), Orbit's managing technician Seth McCook streamlined the integration and support process....

Videography.com, Apr. 28, 2007
PWNY Supports Several Films in Sixth Annual Tribeca Film Festival
PostWorks, New York announced its sponsorship of the 2007 Tribeca Film Festival as an official Film Technology Sponsor, while also detailing its support of a record number of films selected for the sixth annual event. The festival kicked off on April 25 and is set to run through May 5.  This year, the range of services provided to official festival selections spanned from Avid rentals for director Edward Burns' "Purple Violets" through full-service lab, picture and/or sound post-production contributions to 13 other films, most of which will have their U.S. or world premieres at the festival....

The Briefing Room, Digital Content Producer, Apr. 27, 2007
Orbit Digital Provides Avid Systems, Editorial Support to Feature Film “Next”
Orbit Digital, an international provider of mobile post production equipment and services to the feature film and television industries, proudly detailed its role in supporting post-production on Revolution Studios’ sci-fi thriller “Next,” which opens wide in U.S. theaters today...

DigitalPostProduction.com, Apr. 27, 2007
Orbit Digital Provides Avid Systems, Editorial Support to Feature Film "Next"
Christian Wagner Edits Sci-Fi Thriller in HD via Avid Adrenaline HD Systems, Tech Support from Orbit Digital...

Pluginz.com, Apr. 27, 2007
'Next' Edited in HD with Tech Support from Orbit Digital
Naming "Next" as the first studio feature film to be cut entirely in Avid’s compressed (DNxHD) resolutions, Orbit West’s director of sales Chad Andrews also said he believes that "Next" marks a milestone in the company’s long-standing relationship with Revolution Studios. Working under the direction of Bruce Markoe, Revolution’s head of post, Orbit collaborated closely with Avid to design, test and perform valuable R&D which has paved the way for a myriad of films which have since employed Avid’s DNx resolutions....

The Briefing Room, Digital Content Producer, Apr. 27, 2007
Film Technology Sponsor PostWorks, New York Supports Fourteen Tribeca Films for 2007
...This year, the broad range of services provided to official festival selections spanned from Avid rentals for director Edward Burns’ “Purple Violets” through full-service lab, picture and/or sound post-production contributions to 13 other films, most of which will have their U.S. or world premieres at the festival. Other selections from PostWorks’ clients include the feature documentaries “The Gates” (directed by Antonio Ferrera and Albert Maysles), “Doubletime” (directed by Stephanie Jones) “Sons of Sakhnin United” (directed by Christopher Browne), “Taxi to the Dark Side” (directed by Alex Gibney), “A Walk Into the Sea” (directed by Esther Robinson) and “Will Eisner: Portrait of a Sequential Artist” (directed by Andrew D. Cooke), the narrative feature films “Gardener of Eden” (directed by Directed by Kevin Connolly), “The Cake Eaters” (directed by Mary Stuart Masterson), “Day Zero” (directed by Bryan Gunnar Cole), “Descent” (directed by Talia Lugacy), and “Where God Left His Shoes” (directed by Salvatore Stabile), and two shorts – “A Moment to Breathe” (directed by Sara Colangelo) and “A Son’s Sacrifice” (directed by Yoni Brook)....

HollywoodIndustry.com, Apr. 27, 2007
Film Technology Sponsor PostWorks, New York Supports Fourteen Tribeca Films for 2007
Fourteen client projects in sixth annual festival include major documentaries, narrative features and more...

SourceEcreative.com Newsletter, Apr. 26, 2007
Member News from Around the World
New York agency Nitro turned to the directing talents of Paul Vos of Saville for their latest sensuous Dove Chocolate campaign. Shot in Buenos Aires, the spot Train focuses on a girl escaping the hustle and bustle of the city where she takes a moment to enjoy Dove chocolate. As the girl savors the chocolate, she and the train are momentarily swathed in luxurious silky fabric. Others lending their skills were EP Rupert Maconick/Saville, DP Stefan Czapsky/Dattner Dispoto, mixer Carl Mandelbaum/audioEngine, editor Chad Simkin/Consulate, colorist Tim Masick/Company 3, and VFXer Johnnie Semerad/Quiet Man.  Also in - director Alex Gibney took his recent film Taxi to the Dark Side to the Tribeca Film Festival. The film, which examines the death of an Afghan taxi driver at Bagram Air Base and delves into the entire U.S. interrogation policies in the “war on terror,” was shot in HD with much of the footage archival. Other talented folk contributing to Taxi were Version2 editor Sloane Klevin, creative director Kieran Walsh, animator Federico Saenz-Recio, After Effects artists Craig Davis & Michael McKenna, and Smoke artist Tim Farrell.  Also weighing in were Postworks colorist Scot Olive, Sound Lounge mixer Tony Volante as well as additional music from Siblings' Mario Grigorov. 

The Hollywood Reporter, Apr. 20, 2007
NY post houses on upswing
The tax incentive that's setting TV production on fire in the city doesn't extend to postproduction, but New York's post houses are rising to the challenge, drawing in TV post from lab and dailies to finished product with a combination of state-of-the-art gear, editors and colorists, as well as competitive prices. PostWorks New York (100 Avenue of the Americas, 10th floor, 212-894-4000) is a red-hot destination for TV post. Current-running hits and the lion's share of pilots shot in New York also are posting at the company, including NBC/Universal's "M.O.N.Y." and two from Sony Pictures Television, "Canterbury's Law" (for Fox) and a second untitled pilot.  PostWorks debuted in 1995 as an Avid rental facility known for its tech support, then bought the Tape House and some of its star talent in 2003 -- and the TV business arrived in earnest.  "It was a huge leap of faith going after longform projects," company senior vp sales Carol Jazwinski says. "It ended up being the right thing in the right place at the right time." Luck met preparation, since PostWorks set up soup-to-nuts services, from the film lab to six telecine suites and a lot of space for productions to create Avid offline suites. About 100 people work for the privately held company in Soho.

The Hollywood Reporter, Apr. 20, 2007
New work city
Thanks to its rebates, the city of New York has been experiencing an upsurge in production that breaks all records -- from the number of shooting days to the number of pilots shot. But when it comes to posting in New York, that's a different story.  According to a recent New York Production Alliance study, California still holds more than half of all of the country's post jobs, while New York has about 15%. Television productions love shooting in the Big Apple, but they don't always like biting into the posting scene, which is primarily shared by Technicolor Content Services, which offers a lab and post facility, and PostWorks New York, which also offers lab services via its Lab at PostWorks....

The Hollywood Reporter, Apr. 20, 2007
The interpreters
The road to high-definition broadcast is rarely smooth, and one of the biggest potholes post experts encounter is what to do about international masters. "You've got different frame rates, raster size, uncompressed and compressed digital workflows, many more audio formats and channels," says Joe Beirne, executive vp technology at PostWorks, New York. "It does make it extremely challenging."...

Broadcastbuyer.tv, Apr. 11, 2007
Maximum Throughput Introduces MAXcluster
...Corey Stewart, the Director of Systems Engineering at Postworks, New York added the following, “We’ve had MAXcluster installed since January of this year, and as we ramp up its integration into the facility, we’re more amazed every day at what it can do. We access the system concurrently for real-time film scanning and color grading, even while multiple artists use the same material. We can also make real-time HD masters of stored 2K material on the fly. We see this as the future of our film-based Digital Intermediate and digital dailies work.”...

411 Update, Mar. 2007
Cinema Audio Society 2007 Awards Recipients
Matt Foglia, CAS, of PostWorks earned the Outstanding Achievement in Sound Mixing Award for his contributions to "Paul McCartney: The Space Within Us."...

The Hollywood Reporter, Mar. 27, 2007
Deluxe expands in N.Y., aided by tax credits
...Key labs now operating in the New York market include Du Art, Technicolor and the Lab at PostWorks.....

The Briefing Room, Digital Content Producer, Mar. 2, 2007
PostWorks’ Matt Foglia Repeats Cinema Audio Society Award Win
...Foglia’s win in the “Outstanding Achievement in Sound Mixing for Television for Non-Fiction, Variety or Music Series or Specials” category is his second straight. Last year’s honor came for his work on the PBS special, “Bruce Springsteen & the E Street Band: Hammersmith Odeon, London 1975.”....

POST Magazine, Mar. 2, 2007
POSTWORKS MIXER RECOGNIZED FOR 'MCCARTNEY' PROJECT
NEW YORK - PostWorks, New York re-recording mixer and supervising sound editor Matt Foglia, CAS, received this year's Cinema Audio Society Outstanding Achievement in Sound Mixing Award for his contribution to Paul McCartney: The Space Within Us, a concert production that aired on A&E last October and was later released on DVD in an expanded version....

MovieMaker, Winter 2007
Tom DiCillo, DI Guy
I never planned to do a digital intermediate (a digitization of a project in order to manipulate color and other image characteristics) on Delirious. It came about by accident. I shot the film thinking that what we shot was what the film would look like. After spending seven days with John Crowley, colorist at PostWorks, New York, I came away with a keen respect for the DI process. It has a power as exciting and creative as every other part of the filmmaking process. I think its greatest benefit may not be for the cinematographer, but for the director—especially the writer-director—as it enables you to refine and sharpen the visual information in the film. In some cases, the DI actually allows you to rewrite the script....

POST Magazine, Feb., 2007
Q&A: 'DELIRIOUS' EDITOR PAUL ZUCKER
...The 2K DI finish was done by PostWorks NY."....

PRWeb, Feb. 27, 2007
FootageBank HD Expands with Office in New York
HOLLYWOOD - FootageBank HD, the only footage company specializing in High Definition (HD) content, today announced the expansion of the company with the opening of its office in New York. The Soho office will help the company better serve its large number of New York and European clients and is located at PostWorks, New York, the most comprehensive, full service post production facility on the east coast with the ability to handle every aspect of post production - digital or film - for both short-form and long-form television, film and multimedia projects...

DigitalPostProduction.com, Feb. 23, 2007
Thom Zimny Wins 2007 Grammy Award
..Zimny worked with the staff at PostWorks, New York ...

Music Video Wire, Feb. 23, 2007
Thom Zimny Wins 2007 Grammy Award As Producer/Director Of Best Long Form Music Video
...It was during the editing of the Hammersmith project that Zimny, Springsteen and executive producers Jon Landau and Barbara Carr ignited the idea for "Wings for Wheels." As a first step, Zimny worked with the staff at PostWorks, New York to re-master more than 50 hours of black-and-white and color archival footage. He then enlisted acclaimed director of photography William Rexer – who also shot the Springsteen's "Pay Me My Money Down" music video under Zimny's direction last year – to capture original footage of Springsteen, Landau and numerous past and present members of the E Street Band at New York's Asbury Park Convention Hall and Paramount Theatre. "I used 16mm, I used Super 8, and I shot the interviews in hi-def," Zimny said. "I actually shot some of the images with a video projector and then filmed those images again to evoke the feeling of memory. At times I would play with the footage in slow motion to create a sense of memory and a dream-like pacing."...

Broadcastbuyer.tv, Feb. 21, 2007
Award-Winning Films & TV Shows Rely On da Vinci's Resolve & 2K Plus
...Additional post facilities that used da Vinci technology include Level 3 Post for “24” and “Scrubs,” Westwind Media for “Grey’s Anatomy,” Modern VideoFilm for “Desperate Housewives,” PostWorks NY for “30 Rock,” and Encore Hollywood for “House” and “The Sopranos.”...

HollywoodIndustry.com, Feb. 20, 2007
Award-Winning Films and TV Shows Rely on da Vinci’s Resolve® and 2K Plus™ in Post-Production
...Additional post facilities that used da Vinci technology include Level 3 Post for “24” and “Scrubs,” Westwind Media for “Grey’s Anatomy,” Modern VideoFilm for “Desperate Housewives,” PostWorks NY for “30 Rock,” and Encore Hollywood for “House” and “The Sopranos.”...

SHOOT, Feb. 9, 2007
Shops Are Becoming Creative Partners Thanks To New Media
Paula Lumbard, president of FootageBank, HD, is also creating price ranges to accommodate alternative media. "When it's in the broadband world as opposed to broadcast, that deserves its own pricing structure reflecting that it has a vast availability, but potentially has limited access. You just don't know. We are creating pricing structures to accommodate that—which are less money to be more user-friendly and to acknowledge that there are all these new forms of using media that require looking at how you charge for it."  ... Indicative of the uptrend in HD is Lumbard's opening of an office in New York to better serve the advertising industry. She is renting office space at PostWorks, New York, which is a full-service postproduction facility....

Millimeter, Jan/Feb, 2007
The Sundance Beat
If you know Joe Beirne, you've heard him worry out loud. Not in a panicky way — he just waits to be sure everything has worked before he starts taking compliments. As we huddled into a corner by the door of the NY Lounge on Main Street with Padre Nuestro DP Igor Martinovic, the last thing he was thinking about was the Grand Jury Prize (Padre Nuestro won six days later). He was, as a matter of fact, thinking about projector calibration....

411 Update, Jan. 2007
Around Town:  Postworks Provides Post Work for First HD Broadcast of Ironman Competition
New York post facility Postworks recently provided the high def and finishing services for the Ford Ironman World Championship. The NBC broadcast, which aired Dec. 9, was the first Ironman that was done in HD...

HD for Indies, Jan. 25, 2007
Sundance Final Live Update: The New York Party
...I ran into folks from earlier in the week, too - the Four Eyed Monsters crew, IndieFilm.com, David Leitner I'd only known from CML, the crew from PostWorks in NYC....

Sundance Film Festival Blog, Digital Content Producer, Jan. 23, 2007
Joe Beirne 2: DNX and DI
“We knew we would have to do a DI from the get go,” says Padre Nuestro DP Igor Martinovic, “Time and finances were not on our side and we were using a lot of available light.” Joe Beirne describes how in addition to doing a DI process to a 4:4:4 scan of Martinovic’s film footage (see previous post), Postworks also developed an end to end dailies to offiline Avid DNX post process at 10 bit 115mbps (which Beirne says he will try at the more efficient DNX 36mbps that Avid is soon to release)....

Sundance Film Festival Blog, Digital Content Producer, Jan. 23, 2007
Joe Beirne talks workflow
NY post facility Postworks touched a lot films at Sundance—in some cases in an instrumental way. Just ask Alex Vlack and Andrew Zuckerman who appear in the NY Lounge as if on cue to rave about their screening and how pristine their short High Falls looked. “We wouldn’t be here without Joe,” they say, and it’s not a plug. They talk about the other films and how soft their prints looked, how people were complaining about 3:2 pulldown (”which we didn’t have to worry about) and how if the other filmmakers had been fortunate enough to have a professional finish and filmout their films would have looked just as good. They’re trying to be generous but you can tell they’re so pleased to be rising above the competition with their Varicam-shot film....

DCD's HD Focus Newsletter, Jan. 23, 2007
PostWorks, New York Readies Record Number of Films for the Sundance Film Festival
PostWorks, New York, the East Coast’s most comprehensive digital motion picture and HD post-production facility, today detailed its work on a record number of films selected for the annual Sundance Film Festival which begins today in Park City, Utah. Members of PostWorks’ staff made significant lab, picture and/or sound post-production contributions to the narrative feature films “Broken English,” “Bugmaster,” “Dedication,” “Delirious,” “Great World of Sound,” “Never Forever,” “On the Road with Judas,” “Padre Nuestro,” “Snow Angels,” “The Ten,” and “Waitress.”...

POST Magazine, Jan. 22, 2007
SUNDANCE ENTRIES KEEP POSTWORKS BUSY
...The company's support varied from project to project. Padre Nuestro, from writer/director Christopher Zalla, was edited with Avid's DNxHD codec and finished using a 4:4:4 HDCAM SR workflow. Writer/director Tom DiCillo's Delirious and writer/director David Gordon Green's Snow Angels were both given 2K DI finishes. For writer/director Gina Kim's Never Forever - which was finished photochemically - the company provided lab services and editorial support. On the sound side, supervising sound editor and re-recording mixer Patrick Donahue worked on Delirious and Waitress....

Avid.com, Jan. 19, 2007
Avid Customers Embark on Journey to Park City for Sundance Film Festival
...Avid is also collaborating with ARRI and post production facility PostWorks, New York at Sundance to demonstrate and discuss the latest advances in film, camera, and editing technology at the NY Film Lounge at 545 Main Street. Join industry experts from January 19 – 26, 9:00 AM – 5:00 PM daily. Topics to be covered will include: Tape-based RGB DI workflows and Solid State and Disk-based HD formats....

The Reeler, Jan. 19, 2007
Screening Park City: Sundance Channel Goes Flying
The NYC post-production house PostWorks, which worked on 11 of this year's Sundance feature selections from New York, has a thoroughgoing tech-wonk interview with Delirious filmmaker Tom DiCillo. Sample chatter: “We colored six reels in seven days, so we didn't have a lot of time,” DiCillo explained. “JC was able to push the contrast, but, through windows, was able to still keep light in the actors’ eyes." That's entertainment....

The Briefing Room, Digital Content Producer, Jan. 18, 2007
PostWorks, New York Readies Record Number of Films for the Sundance Film Festival
PostWorks, New York (www.pwny.com), the East Coast’s most comprehensive digital motion picture and HD post-production facility, today detailed its work on a record number of films selected for the annual Sundance Film Festival which begins today in Park City, Utah. Members of PostWorks’ staff made significant lab, picture and/or sound post-production contributions to the narrative feature films “Broken English,” “Bugmaster,” “Dedication,” “Delirious,” “Great World of Sound,” “Never Forever,” “On the Road with Judas,” “Padre Nuestro,” “Snow Angels,” “The Ten,” and “Waitress.”...

HollywoodIndustry.com, Jan. 18, 2007
PostWorks Readies Record Number of Films for 2007 Sundance Film Festival; Building on considerable track record, company supports 11 narrative features this year
...In discussing PostWorks' contributions to these projects, the company's COO Rob DeMartin expressed his appreciation for post-production's ongoing evolution.  "The fluid nature of independent post is fascinating," he said.  "Over the last few years, our Sundance slate has leaned toward documentary – including Eugene Jarecki's 2005 Grand Jury Prize winner "Why We Fight" and Jonathan Demme's 2006 "Heart of Gold," among many others.   In contrast, 2007 finds us supporting a record number of narrative features."...

Videography.com, Jan. 18, 2007
PostWorks, New York Readies Record Number of Films for Sundance 2007
PostWorks, New York detailed its work on a record number of films selected for the annual Sundance Film Festival....

The Briefing Room, Digital Content Producer, Jan. 17, 2007
PostWorks Completes Filmmaker Tom DiCillo’s First Digital Intermediate, for “Delirious”
PostWorks, New York (www.pwny.com), the East Coast’s most comprehensive digital motion picture and HD post-production facility, today detailed its supporting role in providing Digital Intermediate (DI) finishing services to filmmaker Tom DiCillo for his sixth feature film, “Delirious.”...

Videography.com, Jan. 16, 2007
PostWorks New York Completes DI on Tom DiCillo's "Delirious"
PostWorks, New York detailed its supporting role in providing Digital Intermediate (DI) finishing services to filmmaker Tom DiCillo for his sixth feature film, "Delirious."...

HollywoodIndustry.com, Jan. 15, 2007
ASSIMILATE Congratulates Encore Hollywood, Filmworksfx-DFL, and PostWorks New York for Sundance Entries; SCRATCH used in post production of three films featured at Sundance
Sundance 2007 will include three projects submitted by filmmakers whose post houses used the SCRATCH Data-Centric Workflow Solution™ for post production. ASSIMILATE congratulates Encore Hollywood, Filmworksfx-DFL, and PostWorks New York on the post production of their film projects accepted by the Sundance Film Festival, the premier showcase for independent American filmmakers....

HD Studio, Jan. 9, 2007
60-Second Q&A: Billy Gardner, mixer/sound designer
Billy Gardner has 14 years experience as a premier audio mixer and sound designer. His work ranges from promo campaigns and commercials to series, specials and features for prominent network and cable stations including ABC, CBS, NBC, PBS, ESPN...

Studio Daily, Jan. 8, 2007
Benefits and Pitfalls of The Multitrack Era (Part 3)
...Recent educational seminars by the Cinema Audio Society in Los Angeles and Gotham Sound and Postworks in New York are a definite step in the right direction, but the onus falls on both technicians and producers on specific productions to ensure that said communication takes place and room is made for tests and troubleshooting. This will ensure a smooth ride that also utilizes the material to its best advantage and acheives the goal of production sound as it has always existed — to preserve actors' performances and to sound great while doing so. The revolution is in our hands and has been in our hands for some time. Now we must act....

POST Magazine, Dec. 2006
High Def Outlook:  HD Gets Traction
PostWorks New York is a full-service post facility with an expertise in HD issues and technology, which benefits its diverse clientele, including dramatic television, independent film and longform docs...

POST Magazine, Dec. 2006
LOOKING BACK, AND AHEAD
NYC’s PostWorks acquired Orbit Digital in ‘06....  The deal follows ‘05’s acquisition of The Lab, which considerably expanded its telecine business. Senior tech advisor Joe Beirne says 2007 will probably not see further acquisitions by the company.

The Briefing Room, Digital Content Producer, Dec. 8, 2006
NBC’s Annual Broadcast of the Ford Ironman World Championship Debuts in HD on Dec. 9
PostWorks, New York, the east coast's most comprehensive full-service film and High Definition post facility, today detailed its supporting role in providing HD editorial and finishing services – as well as location audio recording – to NBC and the producers of the Ford Ironman World Championship.  Shot each October on location in Kailua-Kona, Hawaii, NBC's past broadcasts of the Ford Ironman World Championship have garnered 13 Emmy Awards and 38 Emmy nominations, as well as five International Monitor Awards for Global Excellence and the CINE Golden Eagle Award.  As confirmed by World Triathlon Corporation's Peter Henning, Ironman's Executive Producer, this year's broadcast will occur on NBC tomorrow, Sat., Dec. 9, and will be available for the very first time in HD.... 

DigitalPostProduction.com, Dec. 8, 2006
Annual NBC Broadcast of Ford Ironman World Championship Debuts in HD on Dec. 9; PostWorks, Midtown Provides HD Post Support for Historic Broadcast
...“It’s very exciting for us to be presenting the Ironman World Championship on television for the very first time in High-Definition,” Henning explained. “To support this year’s production, our crew shot with Panasonic Varicam Cameras, and we worked with PostWorks, Midtown to edit and master the show in a way that will bring viewers into the heart-pounding action like never before.”...

POST Magazine, Dec. 8, 2006
'IRONMAN' COMPETITION SEES HD BROADCAST DEBUT
NEW YORK - PostWorks, Midtown recently provided high definition editorial and finishing services - along with location audio recording - to NBC and the producers of the Ford Ironman World Championship. The program airs on Saturday, December 9th and marks the first time the event is being presented in high definition....

Film&Video Magazine, Dec. 6, 2006
Putting DNxHD Through Its Post Paces; How Avid's High-End Post Codec Helps Indie Editors Get Closer to Their Work
Working in conjunction with Avid, PostWorks, New York, the downtown-Manhattan Nirvana for indie-film DIs and other demanding post projects, last month hosted a split-screen demonstration of imaging technology that it says is starting to change the way filmmakers think about post in general — and DIs in particular....

Boards, Nov, 2006
HOOKUPS> MERGERS, PARTNERSHIPS AND WHAT'S HAPPENING IN THE INDUSTRY
New York post house Postworks merged with mobile post-production equipment provider Orbit Digital. Orbit's employees will continue to work out of the company's Los Angeles, New York and London offices and the firm's key partners will join Postworks' management team.

Entertainment Engineering, Nov., 2006
PostWorks Helps Ready "Facing the Giants" for Theatrical Release
With a controversial PG rating, this Christian faith-based film was made almost completely by volunteers...

POST Magazine, Nov. 2006
PostWorks merges with Orbit Digital
NEW YORK - High definition and film service facility PostWorks, New York has merged with Orbit Digital, an international provider of mobile post production equipment and services to the feature film and television industries.... 

Studio Monthly, Nov., 2006
Longtime Avid-only Post House Adds FCP Workflows
For many years we were basically an Avid-only facility. We had certainly done plenty of work with people who had offlined on their own Final Cut. When they showed up here to do a final online, however, we would take an industry standard EDL out of their final FCP project and convert it into an Avid workflow for finishing. In the past year we decided it would be wise to invest in some Final Cut systems that would give us alternate ways of working with those kinds of projects.  We decided to do it now because we thought Final Cut had improved finally to a level that we trusted it to handle an online-type environment and high-resolution video (SD and HD). A few years ago the system itself wasn’t as stable— the CPUs that were handling it weren’t where they needed to be and the third-party video cards you need in order to get video in and out were not up to the level we wanted them to be. But Final Cut, with a top-of-the-line Apple CPU and a KONA 3 card, provides a pretty powerful editing solution and a high-quality I/O....

Videography, Nov., 2006
POSTWORKS Adds Color to Comedy
PostWorks New York is using da Vinci's 2K Plus color enhancement system for post work on the NBC series 30 Rock....

DIStudio.com, Nov. 29, 2006
Who's Timing What At... PostWorks - New York
30 Rock | Colorist: Bobbie Thomas | Release Date: Ongoing NBC sitcom

HDStudio Newsletter, Nov. 21, 2006
:60 Q&A: Joe Beirne, senior technical adviser, PostWorks, NY 
Joe Beirne is a producer and technology advisor for film and television post-production at PostWorks, New York, a full-service  post facility.  With 20 years of working experience in HD going back to the 1125 analog HiVision era, Beirne has charted virtually every permutation of advanced post-production while working with a wide variety of award-winning filmmakers, such as Eugene Jarecki, Michael Moore, Errol Morris, Godfrey Reggio and Zbigniew Rybczynski. A native of New York City, Beirne is an active member of the Society of Motion Picture and Television Engineers (SMPTE) the Association for Computing Machinery (ACM/SIGGRAPH) and the Association of Moving Image Archivists (AMIA)....

Adweek, Nov. 10, 2006
Best Spots of October:  National Hockey League "Bed with Peter Forsberg" - Mother/New York
...Music/Sound Design: Jared Seidman/Postworks, New York...

The Hollywood Reporter, Nov. 10, 2006
Film postproduction:  Digital postproduction for the feature film is taking a step up -- to data
...But HD dailies are not yet standard. At PostWorks, New York, senior technical adviser Joe Beirne says, "We find that the screening of HD during production and editorial is considered an expendable luxury by many features.  "Too often, we see a filmmaker first encounter their feature at the scale and quality they shot it in at the first preview, or even in the DI," he adds.  PostWorks' solution is to adapt the Avid DNxHD codec for compressed HD to create a "digital work print" approach to the screening of HD. "DNxHD preserves the raster size, color-space and high resolution of the original film scan, while allowing for a more flexible workflow in projecting calibrated server-based and tape HD rushes as well as the conforming of full-res HD assemblies as the edit process progresses," says Beirne, who reports that this digital work print workflow is being built into PostWorks' data-based and 4:4:4 RGB tape-based feature editorial and DI projects....

The Briefing Room, Digital Content Producer, Nov. 10, 2006
PostWorks, New York Merges with Mobile Post Production Services Leader Orbit Digital
...Alastair Binks expressed these thoughts on PostWorks: “Orbit has had the opportunity to partner with a number of companies in the past to help provide a comprehensive package of services for our clients. More than any other company, Postworks has impressed us with the speed and flexibility they’ve shown in embracing and investing in new technology, workflow ideas and the services required to help clients benefit from technology. As an independent company, it was refreshing to find a company that embraces the same entrepreneurial spirit and culture that Orbit was founded on.”  Binks also commented on specific trends that make the union of Orbit with PostWorks especially practical. ”We continue to see new opportunities for mobile services in both production and editorial locations that will enable a seamless transition back to the facility environment. The ability to manage data from capture to final delivery in a series of locations is an exciting opportunity that our clients have already identified as a critical path for the future of filmmaking.”...

BroadcastNewsroom.com, Nov. 6, 2006
PostWorks, New York Taps da Vinci 2K Plus™ for New NBC Comedy “30 Rock”
da Vinci Systems today announced that PostWorks, New York, a full-service post facility on the East Coast, is using da Vinci’s 2K Plus™ color enhancement system for post work on the new NBC comedy series “30 Rock.”  The producers of “30 Rock” chose the da Vinci 2K Plus at PostWorks for its ability to perform superior color grading on scenes shot in varying environments. This includes outdoor settings at Rockefeller Center and indoor scenes shot on stage. The 2K Plus is especially useful when outdoor shots are needed, as it allows users to change a variety of elements to suit the look of the new show.  “Unlike traditional half-hour comedies, ‘30 Rock’ is a single-camera show, shot partly on stages and partly on location,” said Irene Burns, co-producer for the series. “We want Rockefeller Center and other Manhattan locations to look like another character, and the da Vinci 2K helps us achieve this by changing the look of these places, such as the time of day and the weather. We also like the filmic look it provides.”...

Gotham PostWorks Telecine Seminar, Nov. 3, 2006
Seminar Video Posted:  Puzzled by the post-production process? Talk about it here.
On a cold and blustery October 28th in New York City, Gotham Sound and Communications and PostWorks, New York held a seminar to bring together location sound mixers, telecine technicians, sound editors and producers and help clarify the myriad issues which plague the post-production process....

POST Magazine, Oct. 2006
Facing the Giants
PotWorks, New York provided DI finishing for the indie feature Facing The Giants.  Produced by Sherwood Pictures in association with Carmel Entertainment....

POST Magazine, Oct. 2006
POSTWORKS NOW OFFERING FINAL CUT PRO
NEW YORK - Full service film and HD facility PostWorks, New York, which also offers space and systems for rent, has announced several new initiatives, including support for Apple's Final Cut Pro nonlinear editing system....

Videography.com, Oct. 27, 2006
Gotham Sound & PWNY to Hold Seminar on Teleciné & Non-Linear Recording
Gotham Sound and Communications and PostWorks New York, will be holding a seminar to demonstrate and address some of the issues that can complicate the post-production process of a film or video....

DIStudio.com, Oct. 25, 2006
Who's Timing What At... PostWorks, NYC
Facing the Giants | Colorist: Scot Olive | Release Date: Sept. 29, 2006 (limited)
Delirious | Colorist: John Crowley | Release Date: TBD
The Ten | Colorist: John Crowley | Release Date: TBD 2007
Great World of Sound | Colorist: Scot Olive | Release Date: TBD
Where God Left His Shoes | Colorist: Scot Olive | Release Date: TBD
Broken English | Colorist: John Crowley | Release Date: TBD

Boards, Oct. 24, 2006
BUSINESS AND PEOPLE MOVES:  Postworks Merges with Orbit Digital
New York post house Postworks has merged with mobile post production equipment provider Orbit Digital. Orbit's employees will continue to work out of the company's Los Angeles, New York and London offices and the firm's key partners will join Postworks' management team....

Shots, Oct. 25, 2006
NEWS IN BRIEF:  PostWorks in Orbit
PostWorks New York has announced it is to merge with Orbit Digital, which specialises in the provision of location-based post services and equipment. Although Orbit will become a wholly owned subsidiary of PostWorks, staff and principals will continue to operate out of their existing locations. The merger sees Alastair Binks, Orbit's managing partner, appointed to the position of president for PostWorks, while Orbit's key staff will join PostWork's management team. PostWorks has provided services for shows including The Sopranos, while Orbit's recent film credentials include The Da Vinci Code and The Devil Wears Prada....

Broadcast Engineering, Oct. 23, 2006
PostWorks joins forces with mobile post services company
...Orbit’s clients will now have access to the full range of PostWorks’ film processing, telecine and 2K DI finishing facilities, while PostWorks’ clients will have the opportunity to work with Orbit for a complete range of location-based post solutions. Rob DeMartin, co-owner of PostWorks with David Rosen, said with the company’s acquisition of The Lab last year and significant investments in DI technologies, it could now offer turnkey post-production solutions for the world's top filmmakers, from production to delivery....

POST Magazine, Oct. 23, 2006
POSTWORKS MERGES WITH ORBIT DIGITAL
NEW YORK - High definition and film service facility PostWorks, New York has merged with Orbit Digital (www.orbitdigital.com), an international provider of mobile post production equipment and services to the feature film and television industries. 

DVguru.com, Oct. 21, 2006
PostWorks, New York announces merger with Orbit Digital
PostWorks, New York has announced its merger with Orbit Digital, an international provider of mobile post production equipment and services to the feature film and television industries. PostWorks, New York is a comprehensive full-service film and High Definition post facility. Both companies have provided services for some pretty big name projects, and they will continue to focus on developing their existing businesses while benefiting from the mergers combined resources.

Videography.com, Oct. 19, 2006
PostWorks, New York Merges with Orbit Digital
...Alastair Binks commented on specific trends that make the union of Orbit with PostWorks especially practical. "We continue to see new opportunities for mobile services in both production and editorial locations that will enable a seamless transition back to the facility environment. The ability to manage data from capture to final delivery in a series of locations is an exciting opportunity that our clients have already identified as a critical path for the future of filmmaking."...

Yahoo! Finance, Oct. 19, 2006
PostWorks, New York Merges with Mobile Post Production Services Leader Orbit Digital
...For Orbit Digital, which becomes a wholly-owned subsidiary of PostWorks, New York, the company's principals and staff members will continue to operate Orbit's existing facilities in Los Angeles, London and New York, while all existing PostWorks facilities will also remain in their present locations. Along with Alastair Binks, all of Orbit's key partners including Pete Conlin, Jonathan Hoffman, Eric Zeller, Chad Andrews and David Felts, will join the management team of PostWorks. Each company will continue to focus on developing their existing businesses while benefiting from the merger's combined resources....

StudioDaily, Oct. 18, 2006
PostWorks, New York Merges with Mobile Post Production Services Leader Orbit Digital
PostWorks, New York, the east coast's most comprehensive full- service film and High Definition post facility, has announced its merger with Orbit Digital , an international provider of mobile post production equipment and services to the feature film and television industries. The announcement was made by PostWorks' CEO David Rosen and PostWorks' COO Rob DeMartin, and by Orbit Digital's Managing Partner Alastair Binks, who has been appointed to the role of President for PostWorks, effective immediately....

Variety, Oct. 18, 2006
Orbit, PostWorks pairing up; Co. to offer location-based post services, lab services
PostWorks, New York, one of Gotham's top film and high-definition post-production facilities, is merging with Orbit Digital, a provider of mobile post-production equipment and services.  Combined company will be able to provide both location-based post services, such as on-location color grading, and lab services such as digital intermediate....

HollywoodIndustry.com, Sep. 27, 2006
PostWorks Readies "Facing the Giants" for 441-Screen Theatrical Release; Services provided include Digital Intermediate finishing and 5.1 surround and Dolby printmaster mixing
PostWorks, New York is very proud to announce its supporting role in providing post-production services to the filmmakers behind "Facing the Giants," which has made international headlines after receiving a controversial PG rating by the MPAA film ratings board. The film opens across the U.S. on Sept. 29....

dBusinessNews, New York Metro Edition, Sep. 19, 2006
PostWorks, New York Announces New Final Cut Pro Post-Production Workflows, Support and System Rentals
New York — PostWorks, New York, the east coast's most comprehensive full-service film and High Definition post facility, today announced  several initiatives representing its official support for Apple's increasingly popular Final Cut Pro (FCP) digital nonlinear editing system.  First, the company has recently purchased numerous FCP systems for its rental inventory, each of which is currently in-use on a major project.  Also, the company has integrated several more FCP workstations, each equipped with an AJA KONA 3 HD/SD video capture card, into its workflow for quick access to FCP-based HD projects, and to create FCP media in response to growing client requests....

DVguru.com, Sep. 19, 2006
PostWorks adds Final Cut Pro to its inventory
PostWorks, New York is a full service post production facility located in New York, NY (you saw that coming, didn't you). They have primarily provided Avid systems for rental, but they have recently purchased several Final Cut Pro systems to meet the growing demand. I think it's an interesting tidbit that shows how the tide is definitely turning in the professional post production world. And, if you've been following our show us your setup post, check out the PostWorks facilities and weep.

DigitalPostProduction.com, Sep. 18, 2006
PostWorks Announces Final Cut Pro Support and Rental Availability; New FCP Systems Support Internal Workflows and Editorial Clientele
PostWorks, New York, the east coast's most comprehensive full-service film and High Definition post facility, today announced several initiatives representing its official support for Apple's increasingly popular Final Cut Pro (FCP) digital nonlinear editing system....

New York City Final Cut Users Group, Sep. 18, 2006
Postworks, NY Announces FCP Workflow, Support & Rentals
“These new Final Cut systems have quickly grown to become indispensable additions to our facility, and are not only used in-house for format conversion and mastering, but also for complete offline system rentals for our clients’ long-term editorial needs,” said Rob DeMartin, COO and co-owner of PostWorks, New York. 

POST Magazine, Sep. 18, 2006
POSTWORKS NOW OFFERING FINAL CUT PRO
NEW YORK - Full service film and HD facility PostWorks, New York, which also offers space and systems for rent, has announced several new initiatives, including support for Apple's Final Cut Pro nonlinear editing system....

Millimeter, Aug., 2006
SR Tape DI Alternative; Integrating SR’s linear tape with nonlinear post workflow
With the introduction of Sony's 4:4:4 RGB HDCAM SR recorder in 2003, the take on tape changed — it was no longer yesterday's format. The post industry became intrigued, since this HD format offered a full Common Image Format 1920×1080 sampling structure on 1/2in. cassettes. Until then, pre-filtering and compression had nixed high def as too limited in color depth and detail for high-end projects, let alone fitting into the ongoing move toward digital intermediate workflows. With SR's debut, however, a more cost-effective route than 2K looked ready to deliver the benefits of digital intermediate post to a wider audience.  Still, integrating SR's linear tape into today's nonlinear post workflow requires careful consideration, explains writer/director Christopher Zalla. He decided to try out PostWorks' HDCAM SR approach to DI on Padre Nuestro, an indie film he was shooting on Super 35mm about stolen identity among undocumented Mexican immigrants.... 

Videography, Aug., 2006
Filmmakers Document A Broad Way with VariCam
Veteran sports producer Rob Liano enlisted professional and amateur cinematographers alike to join him for 12 hours in June to shoot a video expose about Boadway Avenue in New York.  More than 220 amateur camerammen brought their own handheld cameras and were each assigned to document one Manhattan Broadway block for one hour only.  Liano recruited six professional shooters to record the event with Panasonic AJ-HDC27 VariCam HD Cinema cameras....  Liano says he intends to have a first cut of the documentary completed by the end of October.  "This is a gargantuan post challenge.  At this point, we're downconverting all 300 hours of foorage for nonlinear offline.  For the theatrical release, we'll upconvert the material back to HD."  The edit is being done at New York's PostWorks....

DigitalContentProducer.com, Aug. 21, 2006
The Rise of HD Stock Footage
...But native HD acquisition of stock footage is only part of the story. When it comes to transferring film negatives to HD, stock houses routinely look to facilities such as PostWorks, New York, for assistance. PostWorks, whose clients include FootageBank HD, among others, transfers images shot on film using a Thomson Grass Valley Spirit 2K DataCine system with da Vinci 2K color corrector, and outputs to HD D5 tape at 24p. The Spirit 2K uses an advanced Kodak film imaging head and is outfitted with Kodak’s proprietary line array CCD technology, allowing it to transfer material at several different HD resolutions, including native 2K realtime scanning functionality with a scan resolution of 2,048 pixels per line.  PostWorks not only transfers the film negative for stock footage clients, but also performs an initial, basic color correction pass on the imagery, though taking care not to alter the original image too much since end users will have their own plans for the clips, depending on what material they are cutting it into.  “If we get footage of a sunset, we color correct to the level where, if the producer wants it to be vibrant orange, they can do that, or if they want to change the sunset into a sunrise, the small amount of color correction gives them that ability, as well,” explains Domenic Rom, COO of PostWorks Labs....

Jake Davis Blog, Aug. 14, 2006
Music Choice TV Campaign
Check out the new Music Choice campaign directed and edited by Jake Davis. The three tv spots are part of the "It's Me." campaign. Director of photography Jim Larer shot in HD with the Sony Cinealta F900 with incredible results. The spots were colored at Postworks in NYC. Click Here to check them out. 

DigitalContentProducer.com, Aug. 7, 2006
HD Workflow Sensibilities
Even as a seemingly endless slew of alternatives and options are entering into digital workflow discussions, the rise of Sony’s HDCAM SR tape as a favored acquisition and mastering format continues unabated.  As reported in the upcoming issue of Millimeter, for instance, companies like PostWorks are incorporating SR tape into digital intermediate pipelines as an affordable, scanning format alternative to working in 2K color space. The notion there is to transfer movies to HDCAM-SR’s 4:4:4, log-based color space for the DI, while simultaneously converting imagery to standard 4:2:2 HDCAM tape and using special LUTs to enable 24p offline editing. PostWorks’ officials suggest this alternative, sitting between previous options of working either in 4:2:2 color space on D5 tape or having to move up to 2K, has garnered great interest from filmmakers on tight budgets...

Filmmaker, Summer, 2006
Check Your Head; Two years after his short film about a drug-addicted inner-city teacher won Sundance, Ryan Fleck returned with his feature-length adaptation of that story, Half Nelson.
HOW THEY DID IT
PRODUCTION FORMAT: Super 16mm. 
CAMERA: Arriflex SR3. 
FILM STOCK: Kodak Vision2 Expression 500T 7229. 
EDITING SYSTEM: Final Cut Pro HD. 
COLOR CORRECTION: Performed at PostWorks in New York. Selects were scanned in 2K on a Spirit and conformed in the Quantel iQ; final color grading was done by Scot Olive on the Pandora Pogle color corrector with Freeflow while applying FilmLight’s Truelight look-up tables; all color grading was done to a 16-ft.-by 9-ft. screen in the DI Theater using the NEC iS8 DLP projector. 

Kodak's In Camera, July, 2006
Neil Young: Heart of Gold; How Ellen Kuras translated Neil Young's music to film
What do you get when you mix the director of The Silence of the Lambs with the cinematographer who shot Eternal Sunshine of the Spotless Mind, and they share a passion for Neil Young's music? The answer is Neil Young: Heart of Gold. The 106-minute film features Neil Young and his band performing songs from his "Prairie Wind" album, as well as some old favorites. Jonathan Demme was the director, and Ellen Kuras, ASC, lyrically rendered the images onto film....  The conformed negative was scanned at 2K resolution at PostWorks in New York, where Kuras timed the film for continuity in an interactive environment. "We made some adjustments in black tones and highlights, but I knew we were going to get close to what we wanted on the negative," she concludes. "I mainly wanted a DI to get the best possible resolution when we recorded out to 35mm film because I knew that a film like this would be widely released. Fortunately, there are Neil Young fans like me all over the world."

Kodak's In Camera, July, 2006
Psychological drama Half Nelson from cinematographer Andrij Parekh
...He also took a field trip with Fleck and co-writer Anna Bowden. "My favorite pre-production tool is to walk through the Metropolitan Museum of Art and look at 17th and 18th century paintings with the director," Parekh explains. "It's a very concise way of determining what a director likes and doesn't like. I can translate that palette or texture or feeling through the choice of film stock, processing and lighting."  That trip led to the very naturalistic look that pervades Half Nelson. Parekh further desaturated and added contrast to the film during a 2K transfer that was done at PostWorks in New York....

POST Magazine, July, 2006
DI Colorists:  Color grading for digital intermediates requires a sharp eye
When the new DI Theater at PostWorks, New York (www.pwny.com) came online two years ago, colorist John Crowley expanded his work on spots, promos, music videos and feature films to HD and 2K.  While not all of the company's clients use the DI process yet, Crowley reports taht many are switching over to take advantage of all the latest innovations in color correction...

DIStudio.com, Jul. 26, 2006
Who's Timing What At... PostWorks, NYC
Descent – Colorist: Scot Olive | Release Date: August 4
Delirious – Colorist: John Crowley | Release Date: October 2006
Henry May Long – Colorist: Scot Olive | Release Date: TBD

DIStudio.com, Jul. 25, 2006
DI News Around Town
...PostWorks NY announced that it plans to add additional DI pipelines built around the Avid DS Nitris v.8.0. The facility’s 4:4:4 log work is currently being done through its Quantel iQ system, and the new DS Nitris release will quadruple its capabilities in this realm of post....

HollywoodIndustry.com, July 11, 2006
Filmmakers Rob Liano, Tom Coppola Document “A Broad Way”; Over 220 Amateur Shooters Also Contribute to Massive Collaborative Filmmaking Venture
New York City’s Broadway is by any definition one of the world’s greatest avenues. Extending from Bowling Green near the foot of Manhattan north to 262nd St. in the Bronx, Broadway is home to the fabulously wealthy and the indigent alike. It is mecca to the theatrical elite, and also teems with incredible street life. And it was Broadway’s street theater that appealed to veteran sports producer Rob Liano, who enlisted cinematographer colleagues to show up with their AJ-HDC27 VariCam® HD Cinema cameras earlier this month to shoot--over the course of only 12 hours--a documentary about the avenue.  In a rare example of democratic filmmaking, the participating cameramen on the documentary (called A Broad Way) comprised more than 220 amateur shooters, who brought their own handheld cameras and were assigned to document one Manhattan Broadway block—for one hour only. The ultimate goal was to capture the sights and sounds of Broadway from Battery Park to upper Manhattan. While A Broad Way is slated for theatrical release, more than 300 hours of footage will ultimately be posted online for access by participants and the public, with the intention that a countless number of interpretations of the documentary will be created and will compete in an ongoing web-based film festival...  Liano said he intends to have a first cut of the documentary completed by the end of October. “This is a gargantuan post challenge,” he said. “At this point, we’re downconverting all 300 hours of footage for nonlinear offline. For the theatrical release, we’ll upconvert the material back to HD.” The edit is being done at Postworks (New York, NY)...

DigitalContentProducer.com, July 11, 2006
Avid Ships Avid DS Nitris 8.0
Avid Technology announced the worldwide availability of the Avid DS Nitris 8.0 system, which offers a native 64-bit software architecture and dual-link I/O hardware to support high-resolution and digital intermediate (DI) workflows. The new version also ships with dual-boot capability, allowing editors to use either the DS or Symphony toolset with the Avid Nitris hardware. Avid also announced the availability of the Avid DS Assist Station, a software-only version of the Avid DS 8.0 toolset that customers can deploy on lower-cost workstations to tackle specialized tasks such as rotoscoping, compositing, and conform checks.  "The 4:4:4 HD-RGB log format is valuable for our work because it provides better color accuracy than 4:2:2 HD linear when moving from film negative to digital post production and back," says Matt Schneider, director of technology at PostWorks New York. "We do a significant amount of 2K digital intermediates, but with 4:4:4 HD-RGB support and expanded memory in version 8.0 of Avid DS Nitris, we have an attractive alternative to 2K that is a good fit for many projects. We can now input HD-RGB directly to Avid DS Nitris from our film scanner. PostWorks has always been a big fan of Avid DS Nitris and this release takes the system to the next level. By the end of the year, we plan to add three additional DI pipelines built around the expanded capabilities of Avid DS Nitris."

POST Magazine, June, 2006
BIG BUCK BUYS
For a number of years now, Post has been covering democratization, a trend where post tools have become more affordable and therefore available to more creative professionals. Low-cost HDV cameras allow users to shoot nice looking HD footage, and there are a number of software bundles that can solve editing, graphics, sound mixing and DVD authoring needs right on the desktop.  But there are areas that aren’t seeing such dramatic decreases in pricing. Telecine, film scanning and film recording are processes that require major capital investments, but those who do take the financial plunge, and pair these capabilities with additional creative services, are among the few that can offer true end-to-end post services.  Digital intermediate/mastering facility IVC Digital Film Center in LA is providing 2K and 4K film scanning via its Imagica Imager XE Advanced Plus 35mm film scanner ($375K), which was recently updated with the Wetgate option ($40K). The Wetgate helps to produce clean files upfront by eliminating scratches and other imperfections in the film at scan time. Less digital clean-up can save clients time and money.  In NYC, PostWorks opened its fifth telecine suite. The studio acquired The Lab last year and now offers end-to-end post services. The new suite is built around Grass Valley’s Shadow telecine, which is designed for HD and SD TV work. “It definitely can be scary,” says PostWorks' COO/co-owner Rob DeMartin of the investment in telecines and film scanners. “2K/4K is over a million dollars.”  DeMartin says the Shadow purchase is a response to an increase in the film business. “New York has more film running through it today than in the past five years,” he notes. “We have quality conscious clients that are still acquiring on 35mm, and 16mm is seeing a huge resurgence for indies and doing HD DI.”  PostWorks will use for the room initially for pilot pick-ups, and more high-end gear could be on the way as the studio researches scanners and ways to improve workflow.

PostIndustry.com, June 29, 2006
PostWorks, New York Expands HD Capabilities with Multiple Avid Systems
PostWorks, New York, the east coast's most comprehensive full-service film and High Definition post facility, announced the expansion of its HD capabilities and client offerings with the addition of 10 Media Composer Adrenaline HD systems and four Symphony Nitris systems....

BusinessWire, June 28, 2006
Avid Ships Avid DS Nitris 8.0; New version offers 4:4:4 HD-RGB format support for high-resolution workflows
Avid Technology, Inc. (NASDAQ: AVID) today announced the worldwide availability of the Avid(R) DS Nitris(TM) 8.0 system, which offers a native 64-bit software architecture and dual-link I/O hardware to support high-resolution and digital intermediate (DI) workflows. The new version also ships with dual-boot capability, allowing editors to use either the DS or Symphony(TM) toolset with the Avid Nitris hardware. Avid also announced the availability of the Avid DS Assist Station(TM), a software-only version of the Avid DS 8.0 toolset that customers can deploy on lower-cost workstations to tackle specialized tasks such as rotoscoping, compositing, and conform checks.  "The 4:4:4 HD-RGB log format is valuable for our work because it provides better color accuracy than 4:2:2 HD linear when moving from film negative to digital post production and back," said Matt Schneider, director of technology at PostWorks New York. "We do a significant amount of 2K digital intermediates, but with 4:4:4 HD-RGB support and expanded memory in version 8.0 of Avid DS Nitris, we have an attractive alternative to 2K that is a good fit for many projects. We can now input HD-RGB directly to Avid DS Nitris from our film scanner. PostWorks has always been a big fan of Avid DS Nitris and this release takes the system to the next level. By the end of the year, we plan to add three additional DI pipelines built around the expanded capabilities of Avid DS Nitris."...

DigitalIntermediates.com, June 28, 2006
PostWorks, New York Expands HD Capabilities via Avid Purchases, Upgrades
PostWorks, New York's newest expansion of its HD capabilities and client offerings comes via the purchase of 10 new Media Composer Adrenaline HD systems and four new Symphony Nitris systems, bringing the total number of Avid editing, finishing, and shared storage systems in the company's facilities and rental departments above 100. As also reported, the company is eagerly anticipating the forthcoming release of Avid DS Nitris Version 8.0, which will quadruple its 4:4:4 log Digital Intermediate pipeline...

HDforIndies.com, June 28, 2006
Avid releases Xpress Pro 5.5, Mojo SDI, & DS Nitris 8.0
...Said Matt Schneider, director of technology at PostWorks New York, "We do a significant amount of 2K digital intermediates, but with 4:4:4 HD-RGB support and expanded memory in version 8.0 of Avid DS Nitris, we have an attractive alternative to 2K that is a good fit for many projects.  We can now input HD-RGB directly to Avid DS Nitris from our film scanner. PostWorks has always been a big fan of Avid DS Nitris and this release takes the system to the next level. By the end of the year, we plan to add three additional DI pipelines built around the expanded capabilities of Avid DS Nitris..."

HollywoodIndustry.com, June 28, 2006
PostWorks, New York Expands HD Capabilities via Avid Purchases, Upgrades
...“Avid systems are a major part of our operations because they provide our editors with the best creative and finishing tools for HD and SD projects – and with the industry’s best and most reliable workflows,” said Rob DeMartin, PostWorks’ chief operating officer and company co-owner.  “We are also preparing now to further expand our HDCam SR 4:4:4 log Digital Intermediate workflows based on the forthcoming release of DS Nitris 8.0.  Our 4:4:4 log work is currently being done through our Quantel iQ system, but the new DS Nitris release will quadruple our capabilities in this realm of post.”...

POST Magazine, June 28, 2006
POSTWORKS MAKES MAJOR AVID PURCHASE
PostWorks, New York (www.pwny.com) has expanded its HD capabilities with the addition of 10 Avid Media Composer Adrenaline HD systems and four Avid Symphony Nitris systems. The facility and rental house is a longtime Avid customer, already boasting more than 100 Avid editing, finishing, and shared storage systems....

StudioDaily.com, June 28, 2006
Avid Ships New Unity, DS Nitris, Xpress Pro and Mojo SDI
Avid Technology today announced the availability of its new Avid Unity shared-storage solutions, the Avid Unity LANshare 4.2, Unity MediaNetwork 4.2, and Avid Unity ISIS 1.1 systems; DS Nitris 8.0 system, which offers a native 64-bit software architecture and dual-link I/O hardware to support high-resolution and digital intermediate (DI) workflows; and version 5.5 of its Avid Xpress Pro software as well as the newest member in Avid's line of Digital Nonlinear Accelerator products, Avid Mojo SDI.  Avid DS Nitris 8.0 system, which offers a native 64-bit software architecture and dual-link I/O hardware to support high-resolution and digital intermediate (DI) workflows, also ships with dual-boot capability, allowing editors to use either the DS or Symphony toolset with the Avid Nitris hardware. Avid also announced the availability of the Avid DS Assist Station, a software-only version of the Avid DS 8.0 toolset that customers can deploy on lower-cost workstations to tackle specialized tasks such as rotoscoping, compositing, and conform checks. "The 4:4:4 HD-RGB log format is valuable for our work because it provides better color accuracy than 4:2:2 HD linear when moving from film negative to digital post production and back," said Matt Schneider, director of technology at PostWorks New York....

PostIndustry.com, May 24, 2006
PostWorks, New York Opens Fifth Telecine Suite
PostWorks, New York announced the opening of its fifth telecine suite in its SoHo facility, placing it among the region's largest telecine/datacine service providers. In making the announcement, The Lab's chief operating officer Domenic Rom provided in-depth information on how this latest expansion fits into PostWorks' developments, following its acquisition of TheLab from Moving Images last year.  As indicated by Rom, PostWorks' fifth telecine suite is built around the Grass Valley Shadow Telecine system, which leverages key technologies and features from the Grass Valley Spirit 2K DataCine system, including advanced CCD scanning technology and an all-digital design....

StudioDaily.com, May 24, 2006
PostWorks Opens Fifth Telecine Suite
"While our film processing remains in Midtown, we have relocated The Lab's scheduling and support staff - namely, Mona Jackson and Vanessa Gonzales - into PostWorks' main facility in Soho," began Domenic Rom, PostWorks The Lab's chief operating officer.  "The well-known colorists Jake Caffera and Fred Jackson are also now part of PostWorks' staff, handling dailies assignments for movie, television and music video projects - and for Hungry Man, Picture Park and other leading companies from the commercial production market. With the addition of this new Shadow suite, we are fully prepared to meet the dailies demands for the feature film, television and commercial production industries. In fact, we are already handling the majority of the dailies for commercials shot in New York."...

HollywoodIndustry.com, May 23, 2006
PostWorks, New York Opens Fifth Telecine Suite to Fulfill Dailies Demands Driven By Its Film Lab; Integration of new suite and top dailies colorists earns increasing marketshare of commercial, feature and TV dailies
PostWorks, New York (www.pwny.com), the east coast’s most comprehensive full-service film and High Definition post facility, today announced the opening of its fifth telecine suite in its SoHo facility, placing it among the region’s largest telecine/datacine service providers. In making the announcement, The Lab’s chief operating officer Domenic Rom provided in-depth information on how this latest expansion fits into PostWorks’ developments, following its acquisition of The Lab from Moving Images last year....

POST Magazine, May 23, 2006
POSTWORKS OPENS FIFTH TELECINE SUITE
NEW YORK - PostWorks, New York (www.pwny.com) has opened its fifth telecine suite in its SoHo facility. The studio acquired The Lab from Moving Images last year and has since relocated The Lab's colorists, support and scheduling staff members into PostWorks' main facility in Soho.

Broadcast Engineering's HD Technology Update, May 16, 2006
HD Update:  PostWorks expands DI business, adds Spirit 2K DataCine
As part of its data-centric workflow, New York City-based post-production and digital intermediate (DI) company PostWorks has brought online its newly acquired Grass Valley Spirit 2K DataCine system from Thomson.  The telecine is the third Spirit at PostWorks. The post house also has purchased Grass Valley Bones Linux-based software tools.  The new Grass Valley Spirit 2K system is being used for transferring 35mm film images to HD and SD video for the NBC Universal production of “The Black Donnellys” and for converting Super 16mm film-based footage to 2K data for “Prairie Wind” a new feature directed by Jonathan Demme for Paramount Classics.  PostWorks, New York completed nine DI feature films on the Grass Valley Spirit DataCine in 2005 and expects to produce more than twice that number in 2006. The Grass Valley Spirit 2K DataCine allows PostWorks to scan 2K resolution images at greater speeds, while creating digital dailies for the variety of film projects.  The Spirit 2K DataCine produces both SD and HD transfer from film, as well as a pure data output, which helps film-imaging companies serve a wide variety of clients. 

DigitalContentProducer.com, May 15, 2006
Record Number of Network TV Pilots Tap Postworks, New York, for Dailies Support
Dailies for the 2006 season include four dramas and two scripted comedy series. The dramas include Warner Bros. TV's Traveler for ABC, Touchstone Television's Ugly Betty for ABC, Touchstone TV's Drift for ABC, and Warner Bros. TV's Waterfront for CBS. The two comedic series are Touchstone TV's Untitled Beckerman & Burnett Pilot for ABC, and Untitled Tina Fey Project for NBC....

HollywoodIndustry.com, May 12, 2006
Record Number of Network TV Pilots Tap Postworks, New York For Dailies Support
PostWorks details its work in handling dailies for four dramatic and two scripted comedy network pilots, as well as the processing work handled by PostWorks, The Lab on "Six Degrees." These assignments represent the SoHo-based company’s highest level of involvement in network television pilots since it was founded, and also represent the largest number of pilots in New York in the last decade....

Mix Magazine, May 1, 2006
Studio Survival
...Post facilities, which often interface daily with the ever-growing web of media production, are poised to broaden their services. “I would say I have evidence that entertainment producers are not necessarily spending less in total, but they are spending it for a wider range of distribution media,” points out Joe Caterini, executive VP, sales, of PostWorks (www.pwny.com), which provides comprehensive audio and video services, including surround and HD, from two large New York City-based facilities. “That makes it necessary for a facility to be diverse. The dollars might be there, but rather than putting all that money into recording and producing a record, clients might take that same amount of money and also put it into a DVD documentary to go along with that record or make a presentation for a Website....

2-pop.com, Apr. 27, 2006
PostWorks, New York Sponsors 2006 Tribeca Film Festival
PostWorks, New York announced its sponsorship of the 2006 Tribeca Film Festival as an official Friend of the Festival. PostWorks has also prepared numerous official Festival selections for their screenings. The expanded 2006 Tribeca Film Festival begins today and will run through May 7 throughout Manhattan, with screenings and events anchored in Tribeca...

HollywoodIndustry.com, Apr. 27, 2006
PostWorks, New York Joins 2006 Tribeca Film Festival as "Friend of the Festival" Sponsor 
PostWorks, New York is sponsoring this year’s Tribeca Film Festival as an official “Friend of the Festival,” and the company has helped to prepare numerous films for their Festival screenings over the days ahead, including feature docs “Once In a Lifetime,” “Word.Life,” “The Bridge” and “Golden Venture,” the narrative features “East Broadway” and “The Big Bad Swim,” and the narrative short “Shiner.”...

Avid.com, Apr. 23, 2006
Once in a Lifetime: A Fast-Moving Tribute to a ’70s Phenomenon
Crowder the editor became Crowder the director when it came time to finish the film in HD at PostWorks New York, a postproduction house in the Soho section of the city. Ben Murray, an editor at PostWorks, handled the online on an Avid DS Nitris system....

ThomsonGrassValley.com, Apr. 22, 2006
PostWorks, New York Fortifies Expanding DI Business with New Grass Valley Spirit 2K DataCine
Las Vegas (National Association of Broadcasters Convention) April 22, 2006 — As part of its data-centric workflow, PostWorks, New York, a major post-production and digital intermediate (DI) company based in New York City, has purchased a new Grass Valley™ Spirit 2K high-performance DataCine® system from Thomson (Euronext Paris: 18453; NYSE: TMS), making it the third Spirit system in house. The company also purchased the Grass Valley Bones™ Linux-based software tools, which will help the company's DI business considerably, as most of the systems on the company's internal network are migrating toward the Linux platform.  The new Grass Valley Spirit 2K system is now online at PostWorks, New York, where it is being used for transferring 35mm film images to HD and SD video for the NBC Universal production of "The Black Donnellys" and for converting Super 16mm film-based footage to 2K data for "Prairie Wind" a new feature directed by Jonathan Demme for Paramount Classics....

The Hollywood Reporter, Apr. 21, 2006
Television Post Production Handbook
What's New: The all-HD finishing facility now includes two Avid DS Nitris 7.6 systems, Quantel's iQ 3.5 and five Avid Symphony Nitris systems. New hires include senior technical adviser Joe Beirne, colorist Roger Doran, longform producer Shannon Hall and DS editor Pat Kelleher. PostWorks also recently added a Maximum Throughput Sledgehammer HD!O 2.5 high-output server, for telecine and digital-intermediate work flows, and more than 20 terabytes of storage for 2K and HD media. In addition, PostWorks recently acquired the Lab and now offers film-processing services.  Recent Credits: "The Black Donnellys," "Kidnapped," "Love Monkey"

The Hollywood Reporter, Apr. 21, 2006
The resolution revolution
Rob DeMartin, chief operating officer at New York-based PostWorks, notes that most shows on which his facility has worked recently have been finished in HD, while long-running shows like Bravo's "Queer Eye for the Straight Guy" are still shot and finished in SD.  Many have waited to leap into HD because of the price tag, but those switching now are finding an easier path with high-def technology having dipped in cost....

Film&Video Magazine, Mar, 2006
DI Workflow on Dave Chappelle’s Block Party
PostWorks, New York, the east coast's most comprehensive full-service film and High Definition post facility, today detailed its supporting role in delivering director Michel Gondry’s concert film, Dave Chappelle’s Block Party. Focus Features debuted the film theatrically on Mar. 3....

DIStudio.com, Mar. 29, 2006
Who's Timing What?
PostWorks — New York:  Dave Chapelle's Block Party — Colorist: Scot Olive | Release Date: March 3.

FXGuide, Mar. 25, 2006
PostWorks Gives “Dave Chappelle’s Block Party” 2K DI Support
PostWorks, New York shares its breaking news, detailing the company's 2K DI support for director Michel Gondry's "Dave Chappelle's Block Party," a Rogue Pictures release....

MusicVideoWire, Mar. 14, 2006
"Dave Chappelle’s Block Party” Maximizes Super 16mm Origination With 2K Digital Intermediate Workflow at Postworks, New York
...“PostWorks is a ‘Gold Star’ vendor for us,” said Ben Urquhart, director of post production for Focus Features and Rogue Pictures. “Their client relations and technology are top notch. Ellen, Scot, and the PostWorks crew worked very hard to create the specialized look of the film, and it’s important to me that those efforts are visible to BLOCK PARTY audiences around the world. Often times the color science at the DI facility doesn’t interface well with the photochemical laboratory, but after minimal adjustments, the 35mm prints were very nice. I’ve received compliments on the prints at every screening we’ve had.”...

Cinematographer.com, Mar. 14, 2006
"Dave Chappelle's Block Party" Maximizes Super 16mm with 2K DI at PWNY
PostWorks, New York detailed its supporting role in delivering director Michel Gondry's concert film, "Dave Chappelle's Block Party." Focus Features debuted the film theatrically on Mar. 3....

VFXTalk, Mar. 14, 2006
“Dave Chappelle’s Block Party” Maximizes Super 16mm Origination With 2K DI
...Post-production on the film began at PostWorks in Oct. 2005. PostWorks provided an Avid Media Composer 9000 for the last stage of offline editorial to editors Jeff Buchanan and Sarah Flack. The 2K DI process involved scanning the camera original Super 16mm negative using PostWorks’ new Grass Valley Spirit 2K. George Bunce conformed the 2K data files in Quantel iQ, and Scot Olive then used the Pandora Pogle PiXi system in conjuction with iQ’s 2K playback capability to color grade in real-time on the 16’x9’ screen in PostWorks’ DI Theater. The finished film was recorded to 35mm Kodak Negative Stock via Arri Laser. Custom look-up-tables (LUTs) were built to allow for release printing on Fuji 3513DI stock...

Videography.com, Mar. 14, 2006
"Dave Chappelle's Block Party" Maximizes Super 16mm with 2K DI at PWNY
PostWorks, New York detailed its supporting role in delivering director Michel Gondry's concert film, "Dave Chappelle's Block Party." Focus Features debuted the film theatrically on Mar. 3....

Broadcasting & Cable, Mar. 13, 2006
Fates & Fortunes
Joe Beirne, freelance technical supervisor, joins PostWorks, New York, in the newly created position of senior technical advisor. 

Create Magazine, Mar. 13, 2006
"Dave Chappelle's Block Party" Maximizes Super 16mm Origination With 2K Digital Intermediate Workflow At Postworks, New York
...PostWorks' DI capabilities include the editing of picture and sound, color-grading, and handling of visual effects completely within the digital realm. Recent DI clients include Phil Morrison's "Junebug," Griffin Dunne's "Fierce People," Spike Lee's contribution to UNICEF's "All the Invisible Children," the 2004 Academy Award-nominated films "Asylum," "Capturing the Friedmans," "My Architect" and Oscar winner "The Fog of War," as well as IFC Films' 2003 Sundance Grand Jury Prize nominee "A Decade Under the Influence" and dozens of theatrical spots, trailers and international broadcast campaigns. PostWorks' team also made major contributions to 2006 Oscar winner "The Moon and the Son," 2005 Oscar winner "Born Into Brothels," 2005 Oscar nominee "Tupac: Resurrection," 2005 Sundance Film Festival American Documentary Grand Jury Prize-winner "Why We Fight," 2005 Sundance American Documentary Audience Award-winner "Murderball" and 2003 Oscar winner "Bowling for Columbine," among many other high-profile film, television and short-form projects....

DigitalIntermediates.com, Mar. 13, 2006
“Dave Chappelle’s Block Party” Maximizes Super 16mm Origination With 2K DI Workflow at Postworks, NY
...Produced by Bob Yari Productions, the concert portions of the film were lensed on location in Brooklyn by acclaimed cinematographer Ellen Kuras, a three-time Sundance Film Festival Cinematography Award winner.  The director and DP captured the film’s performances on Super 16mm film stock.  Among many critical services provided by PostWorks, colorist Scot Olive worked directly with the filmmakers to color-grade the 2K Digital Intermediate (DI), which became the source for all the film’s picture deliverables....

Television Week, Feb. 20, 2006
Newsmakers:  TECHNOLOGY
Joe Beirne to senior technical advisor, PostWorks, New York, from independent technical consultant and producer. 

Boards Online, Feb. 14, 2006
Industry news and people moves
New York-based post facility PostWorks has hired Joe Beirne in the new position of senior technical advisor. Beirne was the technical supervisor for films such as Michael Moore's Fahrenheit 9/11 and Martin Scorsese's No Direction Home...

MusicVideoWire, Feb. 14, 2006
Film and Television Technical Pioneer Joe Beirne Joins PostWorks, New York
PostWorks, New York, the east coast’s most comprehensive full-service film and High Definition post facility, today announced that film and television technical pioneer and producer Joe Beirne has joined the firm in the new position of senior technical advisor. In making the announcement, PostWorks’ chief operating officer Rob DeMartin said that the appointment is effective immediately....

DigitalIntermediates.com, Feb. 13, 2006
Tech Pioneer Joe Beirne Joins PostWorks New York
..."As our volume of DI work expands, our film clients have grown in numbers and in their level of technical knowledge," DeMartin said. "Joe has been working as a consultant with clients at that level for many years, and as a regular PostWorks client, he has been integral in resolving some of the most challenging issues we’ve faced over the past few years. In his new role for PostWorks, Joe will ensure that we remain at the forefront of technology, and that the latest innovations will benefit our clients."...

StudioDaily.com, Feb. 13, 2006
Joe Beirne Joins Postworks, New York
The technical supervisor on Michael Moore's award-winning "Fahrenheit 9/11," Martin Scorsese's "No Direction Home," and Eugene Jarecki’s 2005 Sundance Grand Jury Prize winner "Why We Fight," Beirne has also produced projects ranging from M&Co's groundbreaking Talking Heads video "(Nothing but) Flowers" to Godfrey Reggio's "NAQOYQATSI," the all-digital conclusion to the film trilogy which began with "KOYAANISQATSI."...  "I had come to regard Postworks as one indispensable resource for my film clients, and am genuinely thrilled to be asked to join the company at this point in its history," Beirne said. "Postworks has developed an enviably balanced capability that combines big-iron film and tape post muscle with an open and flexible, data-focused workflow. I really admire the people and the results-oriented tech culture here: They just get it."

Sundance Blog on Millimeter, Jan. 26, 2006
Leitner’s Mondo Sundance, part 4
...In the reports-of-film’s-death-have-been-greatly-exaggerated department: this year’s Sundance furthers the impression that Super-16 is undergoing a significant revival. I don’t have hard figures, but saw quite a few “half D.I.” HDCAM screenings of films shot in Super-16. A big success story is apocalyptic thriller “Right at Your Door,” shot in Super-16 and screened as 35mm – based on evident CGI effects, I believe it went the full D.I. process – which has just been acquired for $2M by Lionsgate. Last month at Kodak’s Christmas party in Manhattan I learned that 2005 was a banner year for sales of both Kodak’s 35mm and 16mm negative products. The other night at a raucous condo party (which later migrated to a large hot tub), Fujifilm Account Executive Jonathan Bell described the same for Fuji, calling the past year “incredible.” Perhaps that’s why Postworks New York recently bought The Lab at Moving Images lock, stock, and barrel. The lab is now operating at the same location under a new name, The Lab at Postworks, and Postworks Director of Post Production Services Anthony Caputo, who spent most of the week hanging out at the New York Lounge on Main Street, told me Postworks intends to move the entire lab to a building on Varick Street by year’s end. They’re also adding a print developing machine, something The Lab at Moving Images never had....

The Hollywood Reporter, Jan. 23, 2006
Sundance puts focus on digital
New York's Postworks supervised a handful of projects shot on Super 16mm film then digitally mastered to HD or 2K DI workflows for digital projection at the fest. In addition to Demme's "Neil Young" docu, Postworks mastered Ryan Fleck's "Half Nelson," Paul Fitzgerald's "Forgiven" and Kelly Reichardt's "Old Joy," among others....

dBusinessNews.com, Jan. 18, 2006
POSTWORKS, NEW YORK BEGINS SECOND YEAR AS SUNDANCE INSTITUTE ASSOCIATE, READIES NUMEROUS FILMS FOR THE 2006 SUNDANCE FILM FESTIVAL
Throughout the past several months, PostWorks has been involved in post-production work on many feature films selected as part of the 2006 Sundance Film Festival....

Create Magazine, Jan. 18, 2006
PostWorks, New York Goes to Sundance
Last year, PostWorks collaborated with Sundance Film Festival American Documentary Grand Jury Prize-winner "Why We Fight" and Sundance American Documentary Audience Award- winner "Murderball" - as well as several other Festival selections, including "Rom?ntico," "212" and Kevin Bacon's "Loverboy" for various aspects of post-production. PostWorks also used its Teranex Star-up standards converter to upconvert more than 20 other official festival projects from various formats to 24p for Festival screenings. The 2006 Sundance Film Festival will take place Jan. 19-29, 2005, in Park City, Utah. For further information, please visit www.sundance.org....

DigitalIntermediates.com, Jan. 18, 2006
PostWorks Readies Films for 2006 Sundance Film Festival; Most films shot on S16mm and used HD DI finishing workflows at PostWorks
PostWorks, New York, the east coast's most comprehensive full-service film and High Definition post facility, today announced that it has renewed its role as a Sundance Institute Associate, and as a result, the expanding company is currently helping to prepare numerous films selected for the 2006 Sundance Film Festival.  “Being an Associate of the Sundance Institute offers the extraordinary opportunity to collaborate with independent filmmakers as well as create a year-round relationship working with this one-of-a-kind institution to support independent filmmaking at its best,” explained Rob DeMartin, PostWorks’ chief operating officer. 

Music Video Wire, Jan. 18, 2006
PostWorks, New York Begins Second Year as Sundance Institute Associate
Throughout the past several months, PostWorks has been involved in post-production work on many feature films selected as part of the 2006 Sundance Film Festival. Among those, director Jonathan Demme’s “Neil Young: Heart of Gold” and director Ryan Fleck’s “Half Nelson” were both shot on Super 16mm and underwent full 2K Digital Intermediate (DI) finishes at PostWorks. “Neil Young: Heart of Gold” is set for its world premiere in the Festival’s Premieres showcase, and “Half Nelson” will have its world premiere as part of the Festival’s Independent Feature Film Competition’s slate of Dramatic films. Next, the feature-length films “Forgiven” and “Old Joy” also shot on Super 16 and were finished using HD DI workflows at PostWorks. Director and screenwriter Paul Fitzgerald’s “Forgiven” will screen in the Festival’s Dramatic Competition, and NYU film professor Kelly Reichardt’s “Old Joy,” which she directed and co-wrote, will debut as one of five films representing new directions in filmmaking in the Festival’s Frontier section. Finally, Patricia Foulkrod’s “The Ground Truth: After the Killing Ends,” Raymond De Felitta’s “Tis Autumn – The Search for Jackie Paris” and Alan Berliner’s “Wide Awake” are among the films screening in the 2006 Sundance Film Festival’s Documentary Competition which were supported in some part by PostWorks. Details on these films’ post- production workflows are available upon request...

POST Magazine, Jan. 18, 2006
PHOTOMAG BECOMES POSTWORKS, MIDTOWN
Photomag, PostWorks' (www.pwny.com) full-service post-production boutique, which built its reputation as a premier audio mixing facility, has changed its name to PostWorks, Midtown. The studio is also expanding its services with the addition of a Discreet Smoke/Flame suite....

StudioDaily.com, Jan. 18, 2006
Photomag Changes Name to PostWorks, Midtown
Citing the facility's current workload, which involves post work on several feature films and reality TV series as well as some of TV's largest broadcast events scheduled for the weeks ahead, Ivie says that the addition of Discreet's powerful Smoke and Flame systems illustrates the facility's full-service commitment to its clientele. "Back in the spring, there were basically just audio rooms and a single Avid Symphony," he said. "Now, we have three dedicated Symphony suites and the ability to configure up to eight other suites to accommodate any needs for feature film, television or short-form projects. With the Smoke and Flame, we add creative editorial, visual effects and online finishing capabilities of the highest order." 

FXShare.com, Jan. 17, 2006
Photomag Becomes PostWorks, Midtown -- Adds Smoke & Flame
PostWorks, Midtown offers the talents of online editor and colorist Travis Antolik, editor Steve Beganyi, and editor and graphic artist Anthony Cortese working on Avid Symphony systems. Patrick Donahue, Bobby Elder, Matt Foglia, Billy Gardner, Billy Harper, Bill Ivie, Benny Mouthon, Jared Seidman and Lou Teti share project mixing assignments in any of six sound mixing studios (including the Dolby-approved 5.1 broadcast and DVD mix suite, and the Dolby-approved 5.1 film print mastering mix suite), each powered by Digidesign’s Grammy Award-winning Pro Tools technology....

HollywoodIndustry.com, Jan. 17, 2006
Photomag Becomes PostWorks, Midtown, Adds Discreet Smoke and Flame Suite; Custom Avid & Discreet suites now available for four-walling
PostWorks, New York's renowned full-service post-production boutique in Midtown Manhattan, which built its reputation as one of the premier midtown audio mixing facilities over the past 35 years under the name of Photomag, has changed its name to PostWorks, Midtown.  Also, in line with its aggressive expansion of state-of-the-art audio and video post services, the facility is unveiling a Discreet Smoke and Flame suite....

PostIndustry.com, Jan. 17, 2006
Audio Facility Photomag Becomes PostWorks, Midtown
PostWorks, New York's full-service post-production boutique in Midtown Manhattan, which built its reputation under the name of Photomag, has changed its name to PostWorks, Midtown. Also, in line with its aggressive expansion of state-of-the-art audio and video post services, the facility is unveiling a Discreet Smoke and Flame suite....

dBusinessNews.com, Jan. 16, 2006
POSTWORKS, NEW YORK BEGINS SECOND YEAR AS SUNDANCE INSTITUTE ASSOCIATE, READIES NUMEROUS FILMS FOR THE 2006 SUNDANCE FILM FESTIVAL
Citing the facility’s current workload, which involves post work on several feature films and reality TV series as well as some of TV’s largest broadcast events scheduled for the weeks ahead, Ivie says that the addition of Discreet’s powerful Smoke and Flame systems illustrates the facility’s full-service commitment to its clientele.  “Back in the spring, there were basically just audio rooms and a single Avid Symphony,” he said.  “Now, we have three dedicated Symphony suites – and the ability to configure up to eight other suites to accommodate any needs for feature film, television or short-form projects.  With the Smoke and Flame, we add creative editorial, visual effects and online finishing capabilities of the highest order.”...

post601.com, Jan. 13, 2006
Photomag Becomes PostWorks, Midtown
PostWorks, Midtown account executive Stephen Ostrow has increased the facility’s relationships with network on-air promotions and marketing executives, independent promo companies, freelance designers and effects artists.  To date, he has facilitated new on-air work for both A&E and Lifetime.  Ostrow strongly feels that the addition of the Smoke and Flame systems greatly enhances the facility’s offerings...

Millimeter, Dec., 2005
Dylan's Pipeline
Martin Scorsese's recent documentary No Direction Home: Bob Dylan, was “one of the more challenging multi-format jobs we have ever dealt with,” says Ben Murray, the online editor on the project for PostWorks, New York.  The 3.5-hour documentary covering Dylan in the early 1960s features clips culled from almost every conceivable film and early video format, as well as hundreds of still photos — all of which had to be cleaned up and organized for editing and finishing. Editor David Tedeschi cut the documentary into three versions — the broadcast version that aired on PBS in the fall, the DVD version, and an HD theatrical version — with PostWorks handling the job of transferring clips and onlining the piece....

POST's Editing Newsletter, Dec., 2005
PostWorks hosts edit sessions for new Springsteen DVDs
NEW YORK — Bruce Springsteen's recently released box set, "Born to Run 30th Anniversary Edition," contains not only the album, which has sold nearly 9 million copies since its first release in 1975, but two limited edition DVDs edited by Thom Zimny through Manhattan post house PostWorks. Zimny won an Emmy for his editing on Springsteen's 2001 Live In New York City , and served a substantial role on both DVD projects....

BroadcastBuyersGuide.com, Nov. 21, 2005
PostWorks Upgrades Capabilities With Three 2K Sapphire Systems From da Vinci
Founded in 1995, PostWorks is New York's only full-service film and high definition post-production facility. The company sets itself apart by offering scalable production offices, rentals, and an unwavering commitment to quality and customer service. PostWorks is especially well-suited to handling large-scale feature film and television projects -- using traditional or digital intermediate workflows -- for theatrical, broadcast, and home video release. Current PostWorks projects include the television shows "Queer Eye for the Straight Guy," "Book of Daniel," "The Wire," and "Bedford Diaries," plus "The Hoax" and other feature films.  The three 2K Sapphire systems from da Vinci are seamlessly integrated with Thomson Grass Valley post-production suites -- including PostWorks' new Spirit 2K, the first in Manhattan. By purchasing three identical 2K Sapphire systems, PostWorks can exchange configurations, color lists, and toolset functions, ensuring that every project can be handled in any of the three rooms, thus providing both considerable flexibility and consistency to its workflow....

Pluginz.com, Nov. 21, 2005
PostWorks Reviews 2K Sapphire Systems from da Vinci
New York-based PostWorks has upgraded two of its existing da Vinci 2K Plus™ image enhancement systems to the 2K Sapphire™ level, and purchased a third 2K Sapphire system to meet the post house’s growing workload in feature film and television projects. The 2K Sapphire is part of da Vinci’s 2K Elite™ series, which adds powerful new functionality to the company’s popular Emmy® Award-winning 2K system.  “Our projects often have very different delivery requirements, and our color enhancement suites have to be able to perform reliably and flexibly as we switch from film to tape or tape to tape,” said Rob DeMartin, COO of PostWorks. “Our clients include Oscar®-winning filmmakers and Emmy-winning network and cable television producers. Reliability is essential so that our clients don’t feel any ‘growing pains’ or see any quality difference in the end product. That’s why we put our trust in da Vinci.”...

HD for Indies, Nov. 11, 2005
Interview with editor Frank Reynolds about his first DI (Digital Intermediate) experience
Friday afternoon I had a conversation with Frank Reynolds, a longtime film editor and friend of mine, about his first DI (digital intermediate) experience. He recently finished editing a film called Things That Hang From Trees. The film was shot on Super 16, and they are just finishing up their DI (digital intermediate) process at PostWorks in New York.  This was the first DI session Frank has sat in on after doing traditional lab color timing on many previous films. In general, the DI session seemed much more like an audio mix session than the color timing process he's been through before. They sat in a room and watched the image on a large projection screen, such as one might have at a small theater (he mentioned the Dobie Theaters in Austin, TX for reference, I'd guess those are in the 10-12 foot wide range). Since it is all based on a digital nonlinear system, they could start, pause, rewind, and jump around randomly in the timeline to change things they needed to.  PostWorks was working with an iQ system with Pandora control surfaces. The Super16 original was scanned in at 2K (2048x1556 pixels) and loaded into the Quantel iQ system for color correction. It looks like they will probably spend 5-7 8 hour sessions to color correct the entire film....

SHOOT, Nov. 11, 2005
PostWorks Seals Deal To Buy Film Lab
NEW YORK--The Manhattan postproduction landscape has shifted once again, this time with PostWorks, New York's acquisition of The Lab at Moving Images, which now operates under the moniker PostWorks, The Lab. Financial terms of the deal were not disclosed, although it was rumored to be in the $3.5 million range. For complete story, download issue using link above...

Boards, Nov. 8, 2005
Postworks buys The Lab
NYC-based post-production house PostWorks has acquired The Lab at Moving Images, and will now be known as PostWorks, The Lab. Domenic Rom and Chuck Roback will stay with the processing facility in their current roles, and The Lab's staff will be integrated into PostWorks'. The location will also remain the same, with plans for an additional location within walking distance of PostWorks' 6th Avenue address. PostWorks has also recently doubled its telecine capabilities with two new suites, including the daVinci 2K Plus system and Manhattan's first Grass ValleyTM Spirit 2K machine.

Music Video Wire, Nov. 3., 2005
PostWorks Acquires The Lab at Moving Images
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced the acquisition of The Lab at ... 

DigitalIncident.com, Nov. 2., 2005
PostWorks, New York Extends "One Source"
PostWorks, New York, the east coast's most advanced and comprehensive post production resource,today announced the acquisition of The Lab at Moving Images,New York's newest motion picture processing facility.PostWorks’ CEO David Rosen also announced that his company hasdoubled its telecine capabilities with the addition of two newtelecine suites, featuring the Emmy Award-winning da Vinci 2KPlus system, as well as Manhattan’s very first Grass Valley(TM)Spirit 2K Datacine....

DigitalIntermediates.com, Nov. 2., 2005
PostWorks Adds Da Vinci 2K Plus and Spirit 2K; With Manhattan's First Spirit 2K Datacine, Ready for Even More Long- and Short-Form Work
...“The expansion plan that we started three years ago continues on course, thanks to technical demands in post production,” said David Rosen, PostWorks’ CEO.  “Due to those increasing demands, the need for HD telecine is now an everyday reality.  Propelled even further by the increased volume of work that’s resulting from the Made In NY tax incentives, we are seizing the opportunity to provide a greater level of post production services to support the unprecedented volume of production that’s finding its way to us.”  Over the past year, PostWorks’ success in offering telecine services has served numerous major dramatic and documentary feature films, television specials, series and short-form projects, including handling the dailies for numerous New York-based television pilots earlier this year.  One of those pilots, Barry Levinson’s and Tom Fontana’s “The Bedford Diaries,” was picked up by the WB, and PostWorks is currently handling that series’ dailies, HD conforms and color-correction.  Also driving the new expansion are dailies assignments for HBO’s “The Wire,” NBC’s “The Book of Daniel,” Chad Lowe’s “Beautiful Ohio,” and Lasse Hallström’s “The Hoax”, as well as 2K data scanning for Digital Intermediate finishing on Jonathan Demme’s “Prairie Wind” feature documentary for Paramount Pictures....

HollywoodIndustry.com, Nov. 2., 2005
PostWorks Acquires The Lab at Moving Images; "One Source" commitment makes The Lab an integral part of full-service post operation
...Importantly, both Domenic Rom and Chuck Roback will continue on in their leadership roles, and The Lab's entire employee list will also join the PostWorks family.  It will continue to operate at its present 4,000 sq. foot location at 227 E. 45th Street, and construction is underway for an additional location that will be within walking distance from PostWorks' 6th Avenue location in SoHo....

POST Magazine, Nov. 2, 2005
POSTWORKS ADDS TELECINE SUITES, ACQUIRES THE LAB
PostWorks, New York has doubled its telecine capabilities with the addition of two new suites featuring a da Vinci 2K Plus system and a Grass Valley Spirit 2K Datacine - the first in Manhattan....

PostIndustry.com, Nov. 2., 2005
PostWorks, New York Acquires The Lab at Moving Images
PostWorks, New York announced the acquisition of The Lab at Moving Images, New York's newest motion picture processing facility. PostWorks’ CEO David Rosen also announced that his company has doubled its telecine capabilities with the addition of two new telecine suites, featuring the Emmy Award-winning da Vinci 2K Plus system, as well as Manhattan’s very first Grass Valley Spirit 2K Datacine....

StudioDaily.com, Nov. 2., 2005
Postworks acquires The Lab at Moving Images
The Lab, launched in 2002, has offered development of 35 mm, Super 35 mm, 16 mm and Super 16 mm color negative film, as well as cross-processing and skip bleach processing services, in support of a great many high-profile film, television and short-form projects. The Lab has made impressive gains in the New York market, and was recently awarded the processing duties from HBO for the current season as well as eight additional episodes of their award winning series, "The Sopranos." The company has worked with virtually every major commercial production company, including RSA USA, Hungry Man and @radical media, and also names ABC, CBS, NBC, Paramount, 20th Century Fox and Time Warner among its regular clients. The enterprise becomes PostWorks, The Lab, effective immediately. Financial terms of the deal were not disclosed....

Variety, Nov. 2, 2005
Gotham post office:  Postworks buys the Lab to boost services
Its motto, "One Source," may have an ambitiously Tolkienesque ring to it, but Postworks is indeed trying to create a new reality for East Coast filmmaking. The most concrete sign of this effort came last week when the New York-based post-facilities house inked a deal to acquire Gotham film processing plant, the Lab at Moving Images. Price tag is reckoned to be $3.5 million. Postworks CEO David Rosen will remain at the helmhelm of the combined entity, with Rob DeMartin as chief operating officer....

Yahoo! Finance, Nov. 2, 2005
PostWorks, New York Extends 'One Source' Post-Production Services by Acquiring The Lab at Moving Images
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced the acquisition of The Lab at Moving Images, New York's newest motion picture processing facility.  The announcement was made by PostWorks’ CEO David Rosen.  The Lab, launched in 2002, has offered development of 35 mm, Super 35 mm, 16 mm and Super 16 mm color negative film, as well as cross-processing and skip bleach processing services, in support of a great many high-profile film, television and short-form projects.  The Lab has made impressive gains in the New York market, and was recently awarded the processing duties from HBO for the current season as well as eight additional episodes of their award winning series, "The Sopranos."  The company has worked with virtually every major commercial production company, including RSA USA, Hungry Man and @radical media, and also names ABC, CBS, NBC, Paramount, 20th Century Fox and Time Warner among its regular clients.  The enterprise becomes PostWorks, The Lab, effective immediately....

HP.com, Oct., 2005
Success story: Postworks, New York
HP workstations support growth and success at PostWorks, New York...

Kodak's In Camera, Oct., 2005
Donahue Captures Junebug
...The filmmakers transferred the negative to 2K data files using an ARRILASER at Post Works in New York City. “Often the digital intermediate is used to make a bold visual statement,” says Donahue. “All we really wanted was to represent what was real and there on the negative. But we could shoot more quickly knowing we could compensate in post. For example, because we knew we were going to a DI, we didn’t have to change out all the fluorescents in a vast warehouse location. Our director was able to do things editorially, like dissolves and time shifts, which are expensive and time-consuming optically. The DI helped us immensely, but the look is simple and elegant.”...

DI Studio Newsletter, Oct. 26, 2005
Between Sessions with... John Crowley, colorist, PostWorks, New York
Q: What were the artistic challenges of coloring Everything is Illuminated"?
The film is a very emotional film and we had to come up with different looks for different moods of the film. Most notably, there's a flashback sequence that is very sad, and the cinematographer Matty Libatique, ASC and director Liev Schreiber decided to go for a look that was really contrasty, desaturating colors, and adding colors into the low lights....

Digital Cinema Magazine, Sep. 23, 2005
"Everything Is Illuminated" Gets 2K DI Finish at PostWorks
PostWorks announced its 2K Digital Intermediate support for the feature directorial debut of renowned actor Liev Schreiber's feature film...

DigitalIntermediate.com, Sep. 20, 2005
More Facilities in NY and L.A. Adopt FilmLight Systems
PostWorks NY, Captive Audience Productions, and Hollywood Intermediate/MDI add FilmLight systems...

Dzine.tv.com, Sep. 16, 2005
ESPN Selects Lipow/Stoner Design For 'GamePlan' PPV Campaign
Credits for PostWorks New York and Photomag Sound & Image....

POST Magazine, Sep. 8, 2005
PHOTOMAG POSTING BRAVO'S 'BEING BOBBY BROWN'
Photomag Sound & Image (www.pmag.com), PostWorks' full-service boutique, is handling post for the Bravo hit "Being Bobby Brown." The reality show follows the life of R&B singer Bobby Brown and his equally-famous wife, singer Whitney Houston. Co-produced by B2 Entertainment and Brownhouze Entertainment the series relies on five offline Avid suites and two online suites at the studio....

DigitalPostProduction.com, Sep. 6, 2005
Photomag Serves as Post Home for "Being Bobby Brown"
Photomag Sound & Image, PostWorks New York's renowned full-service post-production boutique in Midtown Manhattan, today detailed their role in supporting the production of Bravo’s hit reality television series, “Being Bobby Brown.”...

Variety, Sep. 6, 2005
High tech on a low budget
Indie filmmakers once were stuck with low-end tools and materials, B&W 16mm or short-ends. But now, with digital video and desktop editing, they've gone high-tech, and are demanding the tools available to big studios -- like the digital intermediate (DI) process. 
Post Logic prexy and CEO Steve Hendricks says, "The indie filmmaker has looked at DI in the last 24 months as something that's a little too expensive, a little too rich for them. We're saying, 'How do we make that affordable?' L.A.'s Post Logic, eFilm, Company 3, iO Film and Gotham's PostWorks are among the shops making a push to bring DI to the indie world.... 

DBusinessNews.com, New York, Sep. 2, 2005
Photomag Sound & Image Serves as Post-Production Home for "Being Bobby Brown"
NEW YORK - Photomag Sound & Image, PostWorks New York's renowned full-service post-production boutique in Midtown Manhattan, today detailed their role in supporting the production of Bravo’s hit reality television series, “Being Bobby Brown.” Co-produced by B2 Entertainment and Brownhouze Entertainment for Bravo, the series’ executive producers include Tracey...

PostIndustry.com, Sep. 2, 2005
Photomag Sound & Image Posts "Being Bobby Brown"
The final version of each episode was conformed at Photomag by online editors Travis Antolik and Steve Beganyi – as well as freelancer Brian Turner. Photomag mixer Lou Teti created each episode's final mix. Photomag's supporting team also included coordinating producer Bryn Neuenschwander and account executive Stephen Ostrow....

Film&Video Magazine, Aug., 2005
Color Commentary:  DPs, VFX Artists and Graders on Safe, Sane DIs
If you saw The Island, this summer’s big-budget sci-fi/action adventure from director Michael Bay and DreamWorks, you’ve seen the current state of the art in digital finishing. Interestingly, if you saw Junebug, an atmospheric release set in the American South from debut director Phil Morrison and Sony Classics, you’ve also seen a digital success story. While The Island is a tweaked-out extravaganza boasting sharp, lush images with deep blacks and saturated colors, Junebug is a straightforward indie-style drama from a director who claims Yasujiro Ozu and Abbas Kiarostami among his influences. The DI helps Michael Bay amplify his high notes, and it helps Morrison modulate his overall tone...

Millimeter, Aug., 2005
Cool Graphics:  Toon Disney Channel's Europe and Middle East Network Package
Production: CA Square, New York; Creative Director: Carlos Ferreyros; Art Directors/Designers/Animators:  Alejandro Melguizo, Ariel Eroles; After Effects/Composite: Ian Freeman; 3D Animation: Walter Lubinski; Audio Design:  Sacred Noise, New York; Online Post: PostWorks, New York; Producer: Erika Pietsch; Associate Producer: Alison Shields.

Avid.com, Aug. 15, 2005
Romance and Cigarettes Strikes a Unique Chord with Musical Storytelling
...the film's post process offered more than the usual efficiencies associated with digital editing and shared storage. PostWorks, New York also provided a custom telecine process for simultaneous preparation of SD dailies (stored on DVCAM as a backup), HD dailies (stored on D5 tape), and direct-to-disk dailies (stored on the Avid Unity server). As a result of this streamlined media preparation, the post team could start using SD dailies for creative cutting almost immediately, while HD material was available for conforming cuts on demand for screening in PostWorks' digital intermediate (DI) theater....

POST Magazine, Aug. 12, 2005
POSTWORKS USING SCRATCH IN DI PIPELINE
In his search for a creating a data-centric DI workflow, Billy Baldwin, president of PostWorks in New York City, recently purchased Assimilate's Scratch system, bringing the speed and versatility found in digital video production to the film world....

DigitalIntermediates.com, Aug. 10, 2005
The DI-Revolution; SCRATCH Gets High Scores at PostWorks, New York
Digital Intermediate (DI) technology is put to the test with Billy Baldwin, President of PostWorks, New York. His passion for building a streamlined process for post production has put him on a search for the best systems and solutions that can easily interact within a DI pipeline, and thereby condense production schedules while maintaining the integrity of the project....

Film&Video Magazine, June, 2005
Making Stock Footage Work
Billy Baldwin, president of New York’s PostWorks, knows documentaries. He’s worked on lauded nonfiction film projects including Oscar-winners The Fog of War and Born Into Brothels as well as nominees My Architect, Capturing the Friedmans, and Tupac: Resurrection. Many of those films required crafty decisions in post to make stock footage cohere aesthetically, utilizing a skill set that feature-film producers don’t always understand or appreciate. “If we can get multiple formats out to film, you’d think we could handle a single format easily,” says Baldwin. “But when we bid on a feature, they just want to know what other features we’ve done. Documentaries, even award-winning ones, have their own set of unique challenges.”...

POST Magazine, June 2005
FILM SCANNING; A look at some of today's top film scanners and recorders
Since 1999, Lasergraphics has seen a 60 percent increase in sales, with installations at Digital Film Group in Vancouver; PostWorks in New York; and Matchframe and Ascent Media in Burbank....

SHOOT, Jun. 17, 2005
Staff Additions
Photomag Sound & Image, which is PostWorks, New York's midtown Manhattan boutique, has brought on board general manager/audio mixer Bill Ivie, mixer/sound designer Billy Gardner, and executive producer Andy Rando.  Ivie co-founded Parallax Audio Productions, New York, the in-house audio department of Betelgeuse Productions.  Gardner comes over to Photomag from Parallax as does Rando, who was most recently that shop's musical director... 

Shots, Jun. 13, 2005
ON THE MOVE
Photomag Sound & Image, PostWorks New York's post boutique, has hired Bill Ivie as general manager and mixer, Billy Gardner as mixer and sound designer, Stephen Ostrow as account executive, and Andy Rando as executive producer.

Create Magazine, Jun. 10, 2005
Photomag Sound & Image Bolsters Staff, Expands Support And Services
"The infusion of resources that began last year in terms of remodeling, reengineering and expanding our offerings into the realm of video editing now takes a momentous step in the area of team-building," Joe Caterini began. "Each of these gentlemen is well respected in the post audio business, and adding their combined talents greatly expands the quality of services and support we can offer to our clients." 

Post601.com, Jun. 10, 2005
Photomag Sound & Image Bolsters Staff, Expands Support and Services
...Photomag offers the talents of online editor and colorist Travis Antolik, editor Steve Beganyi, and editor and graphic artist Anthony Cortese working on Avid Symphony systems. Joe Caterini, Patrick Donahue, Bobby Elder, Matt Foglia, Billy Harper, Benny Mouthon, Jared Seidman, Lou Teti – and now Bill Ivie and Billy Gardner – share project mixing assignments in any of six sound mixing studios, each equipped with its own VO recording room and powered by Digidesign’s Grammy Award-winning Pro Tools technology...

Pluginz.com, Jun. 10, 2005
Photomag Sound & Image Bolsters Staff, Expands Support and Services
Photomag Sound & Image, PostWorks New York's renowned full-service post-production boutique in Midtown Manhattan, today announced its continued expansion of both audio and video support services through the addition of several key appointments to the firm’s sales, management and talent rosters...

Videography, Jun. 10, 2005
Photomag Adds Staff, Expands Services
...Joe Caterini, president of Photomag Sound & Image, announced that Photomag has added several key staff members, each of whom was most recently affiliated with New York’s Betelgeuse Productions or its in-house audio department, Parallax Audio Productions. Betelgeuse’s former director of sales Stephen Ostrow is now set to lead Photomag’s sales efforts, Parallax co-founder Bill Ivie joins Photomag as general manager and mixer, Parallax’s Andy Rando comes onboard as executive producer, and Emmy Award-winning audio mixer and sound designer Billy Gardner, also formerly of Parallax, joins Photomag’s artistic staff. The appointments are effective immediately....

Pro Sound News, Jun. 10, 2005
Photomag Sound & Image Bolsters Staff, Expands Support and Services
Photomag Sound & Image, PostWorks New York's full-service post-production boutique in Midtown Manhattan, has announced its continued expansion of both audio and video support services through the addition of several key appointments to the firm's sales, management and talent rosters....

POST Magazine, May, 2005
INDEPENDENTS
Eluto delivered a sequence to online editor Ken Sirulnick, president of New York City's Glue Editing & Design, who finished Protocols on Avid Symphony. To integrate the Digital Betacam footage with the DVCPRO-50 24p footage, he used 3 Prong's Speed Ramp plug-in to simulate the 24p motion and Symphony's color correction capabilities to match the look. Glue partner Steve Pequignot prebuilt moves on stills, replicating those crafted for the offline, with Stage Tools' Moving Pictures plug-in. These moves were then incorporated into the online for fine tuning and color correction.  Sirulnick cleaned up stock and news footage in Symphony, resized it and panned and scanned to fit the clips into the film's anamorphic mode. Glue also redesigned and rebuilt the rough opening title sequence using Symphony and Sapphire plug-ins. The end credit roll was recreated in HD at 1080/24p in Glue's Avid DS Nitris in preparation for an eventual film-out. Upconversion to 1080i/30 HD, a requirement for Sundance, was performed at PostWorks, NY.... 

Broadcast Engineering's Beyond the Headlines e-newsletter, May 22, 2005
PostWorks handles dailies for four NYC-based network TV pilots
PostWorks, a New York City-based post facility, announced that it handled dailies for four of the nine network television pilots that have filmed in New York City over the past two months.  Billy Baldwin, PostWorks’ president, said this season represents the largest number of network pilots shooting in New York in the last decade....

DigitalCinemaReport, May 26, 2005
PostWorks Handles Dailies for Four NYC-Based Network TV Pilots
...To increase its capabilities, PostWorks added Digital Rapids DRC Stream 2500 capture and processing boards to its infrastructure. For each project, PostWorks' team was crucial in transferring dailies according to each studio's varying specs and rapidly distributing dailies to executives on both U.S. coasts. ...

Real Estate Weekly, May 25, 2005
Tenants love to be in the heart of Hudson Square
Postworks, New York, a digital post-production facility, has signed a lease to expand its existing space by 11,000 s/f on the 14th floor of 100 Avenue of the Americas, for a total of 37,000 s/f.  Postworks, New York handled its own negotiations. Trisha Gerry and David Silberberg of Spaceworks Realty worked on behalf of Common Cause/NY.  PostWorks, New York, has experienced tremendous growth recently and will now occupy space on the 11th, 12th and 14th floors of 100 Avenue of the Americas to accommodate its expanding operations.

Hawaii Film Office Blog, May 20, 2005
Meanwhile in Gotham...
...Several Pacifika events are being held at PostWorks, self-proclaimed to be New York's only full-service film and High Definition post facility. The company says its steady workload is due in part to the generous New York film tax incentives passed last year: “Whether it’s due to the ‘Made in NY’ tax incentive program, economic recovery from the effects of 9/11, or the rising strength of the Canadian dollar, production in New York is busier than ever,” said PostWorks’ president Billy Baldwin. “This season represents the largest number of network pilots shooting in New York in the last decade, and we’re very proud to have worked on four of them.”...

Post601.com, May 20, 2005
PostWorks, New York Handles Dailies For Four NYC-Based Network TV Pilots
Rapid dailies transfer and distribution to both U.S. coasts for major networks boosts facility's Hollywood reputation

Create Magazine, May 19, 2005
Postworks Handles Dailies For Four NYC-Based Network TV Pilots
...For each of project, workflows were carefully designed to accommodate the multiple delivery formats needed and to account for every moment from the instant the negative arrived. Most shot film and transferred to HD with simultaneous SD records to tape. In addition, content was also encoded to various proxy formats like MPEG2 and Windows Media files and/or digitized as Avid media. To increase its capabilities, PostWorks added Digital Rapids DRC Stream 2500 capture and processing boards to its infrastructure. For each project, PostWorks' team was crucial in transferring dailies according to each studio's varying specs - and rapidly distributing dailies to executives on both U.S. coasts.... 

Hollywood Industry, May 19, 2005
PostWorks Handles Dailies for Four NYC TV Pilots
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today detailed its work in handling dailies for four of the nine network television pilots that have filmed in New York City over the past two months....

Post Industry, May 19, 2005
PostWorks Handles Dailies for Four NYC-Based Network TV Pilots
...PostWorks' team handled the dailies on "NY-70" for NBC Universal Television, Levinson/Fontana's "The Bedford Diaries" for the WB, "Love Monkey" for Sony Pictures Television and Paramount Network Television, and "The Prince," which Matt LeBlanc and Jesse Wigutow executive produced for the WBTV through LeBlanc's Fort
Hill Productions....

Pluginz.com, May 18, 2005
PostWorks, New York Handles Dailies For Four NYC-Based Network TV Pilots
..."For our one-hour drama pilot entitled 'NY-70,' we used Postworks to handle all of the HD dailies telecine, duplication and specialized WM9 encoding to accommodate our Digital Dailies application,” said Joe Dervin, VP of post production for NBC Universal Television Studio.  “We had a very positive experience, which is always comforting when you are managing things from 3,000 miles away.  I look forward to the next opportunity to work with Postworks.”...

GlobeSt.com, May 16, 2005
PostWorks Expands Again
NEW YORK CITY-The digital post-production facility takes another 15,000 sf in the Hudson Square site. PostWorks now occupies 37,000 sf in the approximately 334,000-sf building....

SHOOT, May 13, 2005
PostWorks Gets an Itch for Scratch
...With datacentric workflows still in the early stages of evolution, there are many ways to use a system as part of a post environment.  One method is currently in use at PostWorks, New York.  Here, Scratch runs on an HP 9300 workstation and currently has 1.25 TB of storage.  "Scratch is a very versatile system; we are not using it for any one particular use," explained Billy Baldwin.  "We are looking for an open multipurpose system.  We do a lot of 2k work, and we needed a system that we could use as a preconformer and prepping station for 2k.  It's a great conform system and great analytically to measure color.  Beyond that, we use it for a digital restoration system."

International Cinematography Guild's ICG Magazine, April 2005
Indie Post
Now in its seventh year, the Sundance Digital Center at the 2005 Sundance Film Festival showcased new technologies and applications relevant to the filmmaking process.  Low-cost software editing programs such as Apple's Final Cut Pro, Avid Xpress and even iMovie have now given filmmakers the ability to finish their films at broadcast quality.  "The digital revolution continues to change the way we produce and distribute films," says Ian Calderon, Sundance Institute, director of Digital Initiatives.  "Filmmakers now have more options to economically create and distribute work to the largest audience in the shortest amount of time.  We can expect new kinds of stories to emerge with each of these developments."  This year's Sundance Film Festival held some interesting statistics.  Of the 120 feature films that screened at the festival, 49 screened on HD and of the 82 shorts, there were 40 films that screened on HD.  the percentage of feature films shot on digital was 35% and there was nly one film that screened on standard 16mm.  According to Sundance programmer Mike Plante, the phrase, "Shot on digital" is all over the board, some in 24p HD, but mostly in mini-DV.  "I was on panels discussing both acquisition and post production," says Billy Baldwin, President and Co-Owner of PostWorks, New York.  "In the acquisition panel, we predominantly talked about post and in the post panel, we predominantly talked about acquisition.  There were plenty of questions, but nobody walked away with any finite ideas.  In the digital postproduction ara, the fine line between production and postproduction is beginning to disappear."  With this information in mind, ICG takes an in depth look at the postproduction process on two unique low budget films at this year's festival....

POST Magazine, Apr., 2005
Daily Flexibility; Because digital dailies can be played anywhere, having a consistent viewing environment is crucial
For Romance and Cigarettes, PostWorks New York provided dailies in two ways: in HD on D-5 tape for the director and in SD on DVDs for MEM executives in Los Angeles....

DigitalCinemaReport, Apr. 28, 2005
Five Tribeca Films Did At Least Some Post at PostWorks, New York
Five feature films Fierce People, Gay Sex in the 70s, Life on the Ledge, Red Doors and Rikers High all collaborated with PostWorks for various aspects of post-production in preparing for their world premieres at the 2005 Tribeca Film Festival. "During the past four years, while we've been building the infrastructure and assembling the staff to offer New York's best digital finishing services for television, features and documentaries, the Tribeca Film Festival has grown up right in our neighborhood - and become one of the city's most anticipated annual cultural events," began PostWorks' president Billy Baldwin. "We're very proud to have contributed to each of these films, and share our sincere thanks and best wishes with the teams behind each one."...

DigitalProducer.com, Apr. 27, 2005
PostWorks NY Congratulates Clients on their Tribeca Entries
Since 1995, PostWorks, New York has emerged as the region's only full-service film and High Definition post facility.  Located in SoHo, PostWorks sets itself apart by offering scalable production offices, rentals and the highest level of commitment to quality and customer service.  PostWorks enlists an elite team of artists, engineers and producers and has optimized its entire operation for non-linear, High Definition and Digital Intermediate technologies. Our clients include Oscar winning filmmakers, network and cable television programs and award winning commercials and music videos....

TV Technology, Apr. 25, 2005
Making Dollars and Sense of the Transition
...Billy Baldwin, president, PostWorks, looked at the question from the perspective of satisfying his clients. "We are challenged by the number of HD formats and the fact that production and distribution formats vary so incredibly. How you get from point A to point B requires a lot more than just purchasing some HD software and a new high-definition camera."...

Create Magazine, Apr. 21, 2005
PostWorks, New York Congratulates Client Filmmakers On Selection For The 2005 Tribeca Film Festival
"During the past four years, while we've been building the infrastructure and assembling the staff to offer New York's best digital finishing services for television, features and documentaries, the Tribeca Film Festival has grown up right in our neighborhood  and become one of the city's most anticipated annual cultural events," began PostWorks' president Billy Baldwin. "We're very proud to have contributed to each of these films, and share our sincere thanks and best wishes with the teams behind each one." 

DirectorsWorld, Apr. 21, 2005
PostWorks, New York Clients Selected for 2005 Tribeca Film Festival
PostWorks, New York congratulated several of its clients for having their feature films selected as part of the 2005 Tribeca Film Festival. "Fierce People," "Gay Sex in the 70s," "Life on the Ledge," "Red Doors" and "Rikers High" all have collaborated with PostWorks for various aspects of post-production in preparing for their world premieres at the festival. PostWorks also has a working history with Tribeca selection "Mad Hot Ballroom," having provided online and color correction services to prepare the documentary for its premiere earlier this year at the Slamdance Film Festival....

Forbes.com, Apr. 21, 2005
PostWorks, New York Congratulates Client Filmmakers on Selection for the 2005 Tribeca Film Festival
...When Griffin Dunne's "Fierce People" premieres on Sat., Apr. 24, the audience will witness the extraordinary visual results of the film's Digital Intermediate (D.I.) finishing process, which was executed entirely at PostWorks. Over the past several weeks, executive in charge of post production for Lions Gate Films Phil Stilman, project director of photography Will Rexer and director Griffin Dunne have worked very closely with PostWorks' team. Artists including colorist John Crowley helped to finish the film using a complete 2K data workflow -- a first for a feature finishing in New York....

The New York City Final Cut User Group, Apr. 20, 2005
Postworks works on 5 in TriBeCa FF
Several high-profile films that are set for world premieres over the days ahead at the Tribeca Film Festival, all of which have collaborated with PostWorks for various aspects of post-production. Our complete story includes information on PostWorks' support of dramatic features “Fierce People,” “Life on the Ledge” and “Red Doors,” as well as feature documentaries “Gay Sex in the 70s” and “Rikers High.”  The post details on “Fierce People” involved a complete 2K data workflow to produce a Digital Intermediate (DI) – the first time this approach has been used for a feature finishing in New York...

Hollywood Industry, Apr. 15, 2005
ATTO Boosts Post Production Efficiency With 4-Gigabit Fibre; Technology powers latest advances in HDTV, audio, video, graphics & animation
ATTO Technology, Inc., a global leader of storage connectivity and infrastructure solutions for data-intensive computing environments, is powering 4-Gigabit Fibre Channel (4-Gb) solutions to meet the critical needs of post-production facilities. With ATTO 4-Gb Fibre Channel storage adapters and bridges, content creation markets are experiencing more efficient workflow, complete data protection, and a higher-quality result for clients, while enjoying an easily implemented and cost-effective system.  As the media industry rapidly migrates to all-digital processes and becomes more data-driven, the need for increased bandwidth providing higher throughput has become critical. Companies can achieve greater productivity and more timely delivery of higher-quality projects utilizing 4-Gb Fibre Channel technology to manage multiple projects with effective dataflow.  Two New York City-based shops, Frame:Runner and PostWorks, recently integrated 4-Gb Fibre Channel into their storage networks by working with ATTO partner Facilis Technology. Both shops chose the Celerity FC-42XS and FC-41XS storage adapters to boost production while ensuring backward compatibility with existing storage infrastructure....

The Hollywood Reporter, Apr. 13, 2005
Get Real- TV Postproduction Handbook
PostWorks New York president Billy Baldwin says unscripted dramas put a great onus on post facilities to take charge of organization.  "How you log, digitize and manage the digital assets is crucial," he says.  Agrees PostWorks executive Hayli Halper, a former post associate producer on Bravo's "Queer Eye for the Straight Guy," "If you have less control in the field, then you want to get as much control as you can in post."...

POST Magazine, Apr. 5, 2005
AVID'S CEO AND CTO TO ADDRESS INDUSTRY AT NAB 2005
Avid Technology president/CEO David Krall and VP/CTO Mike Rockwell will deliver keynote presentations to attendees of the MultiMedia World Conference at the 2005 NAB convention in Las Vegas, April 18-21....

Digital Producer, Apr. 5, 2005
Avid CEO and CTO to Address Industry at NAB 2005; Executives to speak on the transition to HD and the dynamics of DRM
The panel discussion to follow Krall's keynote will dissect the "before and after" of incorporating HD into the content-creation process, examine the value chain of HD production, reveal where bottlenecks and inefficiencies lie, and discuss new technologies that are leading to cost-effective HD production that delivers the highest quality results. Adi Kishore, senior analyst, Media & Entertainment Strategies at the Yankee Group, will moderate the session, and the panelists will include Billy Baldwin, president, PostWorks New York, Andy King, head of Capital Development, BBC Resources, Roger Ogden, senior vice president of Gannett Television and president and general manager of KUSA-TV, Denver, and Gavin Schutz, xecutive vice president and chief technology officer, Ascent Media Group.

The Hollywood Reporter, Mar. 16, 2005
movers
PostWorks New York has named postproduction executive Carol Jazwinski as vp sales. She had been with Manhattan Transfer since 2000, handling post services for projects including "The Job" for DreamWorks, "Sex and the City" and "The Wire" for HBO and "Fling" for Paramount. PostWorks also has named Anthony Caputo director of postproduction services. He had been vp and director of operations for New York's Moving Images.

EditorsNet, Mar. 10, 2005
Avid CEO David Krall to Keynote "Transitioning to HD''
Following Krall's keynote address, the Super Session will include a panel discussion moderated by Adi Kishore, senior analyst, media & entertainment strategies, at the Yankee Group. Other confirmed participants include Andy King, head of capital development, BBC Resources; Billy Baldwin, president, PostWorks; Roger Ogden, senior vice president of Gannett Broadcasting and president and general manager for KUSA-TV, Denver; and Gavin Schutz, executive vice president and chief technology officer, Ascent Media Group. 

Business Wire, Mar. 8, 2005
Avid's David Krall to Keynote ``Transitioning to HD'' Super Session at NAB2005
Following Krall's keynote address, the Super Session will include a panel discussion moderated by Adi Kishore, senior analyst, media & entertainment strategies, at the Yankee Group. Other confirmed participants include Andy King, head of capital development, BBC Resources; Billy Baldwin, president, PostWorks; Roger Ogden, senior vice president of Gannett Broadcasting and president and general manager for KUSA-TV, Denver; and Gavin Schutz, executive vice president and chief technology officer, Ascent Media Group....

DigitalCinemaReport, Mar. 1, 2005
PostWorks Adds HD Closed Captioning to Its Capabilities
"In our demanding environment where we are regularly finishing numerous feature presentations, episodic series and commercials in HD, providing HD closed caption encoding became vital," says Gregory Dragonetti, duplication manager for PostWorks, New York. "Among its most important features, coupled with EEG's CCPlay software, the EN530 Smart Encoder allows us to read captioning from almost any captioning file and encode to most formats and frame rates."...

Film&Video Magazine, Feb., 2005
The Very Independent DI; The Intermediators: Special Report: Filmmakers Take the DI Route for 16mm/DV Projects
...“The line between production and post has gone away with the introduction of the DI process,” says PostWorks president Billy Baldwin. “You really need to think your work all the way through the DI process before you shoot a single frame. There are at least 100 questions to ask as to what you’re starting with and where you intend to end up.” Baldwin reports that, after meeting with filmmakers, his New York facility will customize the process for a particular film and its deliverable requirements....

Millimeter, Feb., 2005
Telecine Two-Step
Romance & Cigarettes, an upcoming independent feature written and directed by John Turturro, illustrates the growing affordability of HD dailies in the indie film world. Turturro shot the movie in 35mm over the course of 45 days in New York City, and during that time, he turned to a workflow process developed by PostWorks, New York, to create simultaneous, direct-to-tape-and-disk HD and SD transfers for the purpose of quickly achieving two key goals. Those goals: to let editor Ray Hubley quickly edit the movie in his Avid Media Composer using instantly accessible audio-synched selects for rapid dailies viewing in PostWorks' digital theater; and simultaneously archiving those takes in the 1080/24p HD format in order to speed up the HD online process once Hubley finished his edit...

Videography, Feb., 2005
PostWorks Preps Why We Fight
At PostWorks' facility in SoHo and at its subsidiary, Photomag Sound & Image in Manhattan, Director Eugene Jarecki oversaw the finishing for his documentary Why We Fight.  Work included sound design and final audio mixing, 24p conform and titling in Avid DS Nitris, color correction in PostWorks' digital intermediate theater and mastering to HDCAM 1080i....

DigitalIntermediates.com, Feb. 25, 2005
PostWorks Delivers Two 2005 Academy Award Nominees; Documentary Filmmakers Leverage PostWorks’ Advanced DI Capabilities
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced that two of the five feature documentary films nominated for this year’s Academy Awards relied upon the company for critical post- production support.  In working with this year’s nominees – Ross Kauffman and Zana Briski’s “Born Into Brothels: Calcutta's Red Light Kids” and Lauren Lazin’s “Tupac: Resurrection” – PostWorks continues to expand its leading role in delivering Oscar-caliber documentaries. The company also made significant contributions to four 2004 Oscar nominees, including “My Architect,” “Capturing the Friedmans,” “Asylum” and Errol Morris’ Academy Award winning documentary, “The Fog of War.”

Videography, Feb. 22, 2005
PostWorks, New York Gives "Romance & Cigarettes" Custom Dailies
With John Turturro's MGM/UA and GreeneStreet Productions-backed star-studded big screen musical "Romance and Cigarettes" making its way toward its release date, PostWorks, New York detailed its approach at handling the film's dailies transfer and serving in an ongoing supporting role as the project's post-production home.  Shot in 35mm over 45 days of filming on location in New York, PostWorks' team, under the direction of executive producer Matthew Reedy, responded to the project's unique early post- production demands by implementing a hybrid approach.... 

POST Magazine, Feb. 15, 2005
POSTWORKS ADDS HD CLOSED CAPTIONING SERVICES
PostWorks announced the availability of HD closed captioning services via the addition of a new EN530 HDTV Smart Encoder IV and CCPlay software from EEG Enterprises. 

Film&Video Magazine, Feb. 14, 2005
PostWorks Offering HD Closed Captioning Services
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced the latest update to its full-service film and High Definition (HD) post offerings: the availability of HD closed captioning services via the addition of a new EN530 HDTV Smart Encoder IV and CCPlay software from EEG Enterprises, Inc....

Videography Magazine, Feb. 10, 2005
HD Closed Captioning Services Now Available at PostWorks, New York
PostWorks, New York announced the latest update to its full-service film and High Definition (HD) post offerings: the availability of HD closed captioning services via the addition of a new EN530 HDTV Smart Encoder IV and CCPlay software from EEG Enterprises, Inc.  EEG’s EN530 Smart Encoder is a universal closed caption encoding solution supporting HD and Standard Definition (SD) video encoding, decoding and bridging....

Millimeter HD Focus Newsletter, Jan. 25, 2005
HD Dailies for Romance & Cigarettes
Romance & Cigarettes, an upcoming independent feature written and directed by John Turturro, illustrates the growing affordability of HD dailies in the indie film world. Turturro shot the movie in 35mm over the course of 45 days in New York City, and during that time, he turned to a workflow process developed by PostWorks, New York, to create simultaneous, direct-to-tape-and-disk HD and SD transfers for the purpose of quickly achieving two key goals. Those goals: to let editor Ray Hubley quickly edit the movie in his Avid Media Composer using instantly accessible audio-synched selects for rapid dailies viewing in PostWorks' digital theater; and simultaneously archiving those takes in the 1080/24p HD format in order to speed up the HD online process once Hubley finished his edit...

Park City Digital Report, Jan. 22, 2005
Panel Examines Advances in Postproduction
A panel held at the Digital Center at 12pm on Tuesday, Jan. 25, will explore options for independent film postproduction.  Moderated by Billy Baldwin, president of PostWorks in New York, the session will address new low-cost editing software and HD formats and standards.  Editors and filmmakers will also join this conversation.... 

Digital Producer, Jan. 21, 2005
PostWorks Readies Films for the 2005 Sundance Film Festival
PostWorks, New York, a 2005 Sundance Institute Associate, today detailed its role in readying scores of films for screening as part of the 2005 Sundance Film Festival, most notably director/screenwriter Eugene Jarecki's documentary "Why We Fight."  The Festival began yesterday in Park City, Utah, and runs through Jan. 30. An inside look at the anatomy of the American war machine which is anticipated as being among the festival's most powerful films, "Why We Fight" was originally commissioned by BBC Four's Storyville series, where it will debut over the weeks ahead. In the meantime, at PostWorks' facility in SoHo and at its subsidiary, Photomag Sound & Image in Midtown, Jarecki is currently overseeing the film's finishing.  Ongoing work includes sound design and final audio mixing, conforming in 24P in Avid's DS Nitris, handling color-correction in PostWorks' Digital Intermediate Theater, then adding titles in Nitris and mastering the project to HDCAM 1080i.  All of the work will be completed in time for the film's world premiere on Sun., Jan. 23, at the 2005 Sundance Film Festival....

Videography, Jan. 21, 2005
PostWorks, New York Readies Films for the 2005 Sundance
PostWorks, New York, a 2005 Sundance Institute Associate, detailed its role in readying several films for screening as part of the 2005 Sundance Film Festival, most notably director/screenwriter Eugene Jarecki’s documentary “Why We Fight.”   As previously announced, official 2005 Sundance Film Festival selections “Murderball,” “Romántico,” “212” and Kevin Bacon’s “Loverboy” have all collaborated with PostWorks and its subsidiary Photomag Sound & Image for various aspects of post-production. PostWorks also used its Teranex Star-up standards converter to upconvert more than 20 other official festival projects from various formats to 24p for Festival screenings.... 

Hollywood Industry, Jan. 18, 2005
Avid Expands Presence at 2005 Sundance Film Festival; Company to connect with independent filmmakers via multiple forums
...Other Avid-related activity at Sundance will include a panel discussion on postproduction topics moderated by Billy Baldwin, owner of New York postproduction facility PostWorks, and featuring Avid principal product designer Michael Phillips...

Avid.com, Jan. 8, 2005
Avid Expands Presence at 2005 Sundance Film Festival; Company to connect with independent filmmakers via technology forums, hands-on training sessions, sponsored events, panels, and film screenings
...Other Avid-related activity at Sundance will include a panel discussion on postproduction topics moderated by Billy Baldwin, president of New York postproduction facility PostWorks, and featuring Avid principal product designer Michael Phillips...

Film Festival Reporter, Winter 2004
Digital Intermediates in NYC:  POSTWORKS, NEW YORK
Over the past five years, PostWorks, New York has been instrumental in the integration of high definition solutions for the film and broadcast communities. Our experiences in post production for HD, film, and broadcast have been the perfect combination for the creation of new workflows...

POST Magazine, Dec., 2005
2005 Outlook:  Digital Intermediates
Billy Baldwin, president of PostWorks in New York.   Strengths:  The DI process can raise the overall quality of the product and the experience of creating it.  With a wider and richer palette available, this cinematic editorial and grading environment offers DPs and directors complete control over the look and feel of their movie throughout post-production.  They can apply sophisticated color enhancements to every shot; have flexibility to make changes even after the offline is completed; maintain high-quality throughout their film regardless of the number of 'opticals' they use; and review changes instantly on a large screen.  The producer also benefits because the DI reduces the time needed for post production and ensures better project tracking, security, and quality control. It reduces the costs associated with late changes and, with single mastering for all deliverables, the production saves time creating all necessary versions, including those for audience testing, press kits, screenings, and trailers....

Videography, Dec., 2005
The Digital Screening Room
Billy Baldwin, president of PostWorks in New York, admits that his company has completed a number of DI features using an HD CRT monitor. At the time of that work, he felt that the digital projection equipment wasn't so much better that it always justified the cost to him or his clients. PostWorks had a unit from Digital Projection with a 1280 DLP chip but still did some feature work with a CRT monitor. Projection technology has advanced so far in terms of contrast ratio, color reproduction and resolution that we felt we had to get one of the 2K projectors. We went with Digital Projections' 2K DLP model. When you are working with grain management, or a key or a composite or titles--any number of highly critical elements--they just don't manifest themselves enough on even the highest quality CRT monitor."... 

DigitalProducer.com, Dec. 21, 2004
PostWorks NY Client Works Going to 2005 Sundance Festival
PostWorks, New York, a 2005 Sundance Institute Associate, today congratulated several of its clients for having their feature films selected as part of the 2005 Sundance Film Festival. "Murderball," "Romantico," "212" and Kevin Bacon's theatrical feature directorial debut "Loverboy" all have collaborated with PostWorks and its subsidiary Photomag Sound & Image for various aspects of post-production....

POST Magazine, Dec. 2, 2004
POSTWORKS HELPS CATCH PHISH
PostWorks (www.pwny.com) played a key role in delivering the Phish "IT" Aug. 2 PBS broadcast special and the subsequent 2-disc DVD release which debuted on Oct. 12. PostWorks' team began working on the project back in June for producer/director Mary Wharton, Sugar Camp Films, Dionysian Productions and the WGBH Educational Foundation...

Digital Cinema Report, Dec. 1, 2004
Digital Intermediates:  Gearing Up
PostWorks, New York has selected For-A’s new one mix/effect Hanabi HVS-1000HS digital switcher for its recently opened digital intermediate theatre....

411 Publishing's 411 Update, Nov., 2004
HD Clarity in the Digital Intermediate World from PostWorks, New York President Billy Baldwin
More major motion pictures and commercials were finished with the use of Digital Intermediates this year than ever before. It’s a step in the production process that, as Billy Baldwin, president of PostWorks, NY explains, is becoming more and more essential as the use of final high def formats continues to increase. PostWorks, NY recently built the first Digital Intermediate Theater on the East Coast and we caught up with Baldwin to find out a little bit more about the process and how it relates specifically to HD production. His expertise and in-depth answers in the following Q&A help shed a bright and dare we say, high resolution, light on the DI process and beyond....

Boards, Nov, 2004
INVENTORY+HOOKUPS
PostWorks, New York brought on Anthony Caputo as director of post production services.  Caputo was most recently VP and director of operations for New York's Moving Images. 

Mix Magazine, Nov. 2004
Photomag Sound & Image Relaunches
Joe Caterini, president of Photomag Sound & Image (www.pmag.com), announced the completion of an extensive round of facility updates, all of which stemmed from the company's 2003 purchase by PostWorks, New York.  Photomag has added two video editing suites (each with complete Avid Symphony systems), in addition to extensive remodeling and re-engineering, allowing for seamless integration of audio, video finishing and graphics capabilities. Each of the company's six sound mixing studios has its own voice-over room and Pro Tools systems.  In other company news, PostWorks, New York, has completed two surround Dolby-approved mix rooms: Mix 1 is a broadcast and DVD mix suite, and Mix 2 is a film print mastering mix stage. “To give our mixers and our clients the greatest options in the realm of 5.1 mixing, our chief audio engineer, Brian Dorfman, gathered the latest input on acoustic design and equipment specs from Dolby Labs' engineers and then designed our two new rooms from the ground up,” explained Caterini.

POST Magazine, Nov., 2004
POST PEOPLE
PostWorks, New York (www.pwny.com) has hired veteran post production executive Carol Jazwinski as its new VP of sales. Jazwinski joined Manhattan Transfer (now Company 3 New York) in 2000, handling post services for longform accounts. Prior to that, she was at Post Perfect for seven years helping to establish its reputation in episodic series. In her new role, Jazwinski will work with PostWorks' director of sales and marketing Anne Bakoulis to expand sales efforts. 

Videography Magazine, Nov., 2004
Caterini Studios, PostWorks Team for The Woodsman
Joe Caterini, the supervising sound editor and re-recording mixer for the 35mm independent feature The Woodsman, devised a new workflow for the film's post....

Videography Magazine, Nov., 2004
The Digital Screening Room
...Billy Baldwin, president of PostWorks in New York, admits that his company has completed a number of DI features using an HD CRT monitor.  At the time of that work, he felt that the digital projection equipment wasn't so much better that it always justified the cost to him or his clients.  PostWorks had a unit from Digital Projection with a 1280 DLP chip but still did some feature work with a CRT monitor...

Film&Video Magazine, Nov. 30, 2004
PostWorks, New York Helps Deliver Phish "IT" PBS Special
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today detailed its key supporting role in delivering the Phish "IT" Aug. 2 PBS broadcast special and the subsequent 2-disc DVD release which debuted on Oct. 12....

Music Video Wire, Nov. 30, 2004
Postworks, New York Supports Award-Winning Team In Delivering PHISH "IT" PBS Broadcast Special And DVD Release
PostWorks’ team first helped Wharton’s all-star collaborators complete the finishing processes for the 90-minute "IT: A Phish Concert Special" for delivery to PBS stations across the U.S. in time for their Aug. 2 airdate. Offline editing was handled by Emmy award-winning editors Thom Zimny and Alex Hall in one of PostWorks’ Avid Symphony suites, incorporating source footage from formats including HDCAM 1080i, DVCAM and HDCAM 23.98....

Broadcast Engineering's Beyond the Headlines e-newsletter, Nov. 29, 2004
PostWorks New York selects FOR-A switcher for DI Theater
HD post-production company PostWorks has opened a digital intermediate (DI) theater in New York and equipped it with a FOR-A Hanabi HVS-1000HS digital switcher. The DI theater officially opened in October and has already completed digital mastering for several commercial and long-form television and feature film projects. It is the first theater on the east coast designed specifically for DI mastering....

Broadcast Engineering's HD Technology Update e-newsletter, Nov. 29, 2004
PostWorks, New York chooses FOR-A Hanabi switcher for DI theater
PostWorks, New York selected FOR-A’s new 1M/E Hanabi HVS-1000HS digital switcher for its recently opened digital intermediate (DI) theater.  The DI theater officially opened in October and has already completed digital mastering for several commercial and long-form television and feature film projects. It is the first theater on the East Coast designed specifically for DI mastering.  Digital intermediate is the replacement of film’s final optical processing with a digital master. Color correction, titles and visual effects can be pre-visualized in real-time and changed instantly. A finished 2K master can be output to film or any format in multiple resolutions, frame rates and aspect ratios.  The Hanabi switcher supports 1080i/59.94, 1080p/23.98, 720p/59.94, and other major HD and SD formats. The switcher is a 2RU size and comes with a DVE card installed.

4 Regional Film&Video, Nov. 23, 2004
PostWorks New York selects FOR-A HANABI 1 for DI theatre project
PostWorks New York has selected FOR-A’s new one mix/effect HANABI HVS-1000HS digital switcher for its recently opened digital intermediate (DI) theatre.
The DI theatre officially opened in October and has already completed digital mastering for several commercial and long-form television and feature film projects. It is the first theatre on the east coast designed specifically for DI mastering....

The Hollywood Reporter, Nov. 12, 2004
Commercial appeal
Television advertisers, increasingly concerned about audience fragmentation and the rise of the personal video recorder, are looking to the cinema and its captive and quantifiable audiences. The numbers speak for themselves: The Cinema Advertising Council reports that U.S. cinema ad revenue grew a whopping 48% last year to $315.1 million, compared with $212.3 million in 2002.  Digital intermediate-style work flows have begun to attract attention on Madison Avenue, particularly on spots set to go to film. Agency clients walk away with a high-resolution master that can be used to create all deliverables, including NTSC and high-definition for domestic TV distribution, PAL for international audiences and film for theatrical releases.  Although it is a relatively new concept within the ad industry, postproduction houses already offering such variations on the DI process include Santa Monica's Company 3 and New York's Nice Shoes, TCS and PostWorks....

The Hollywood Reporter, Nov. 12, 2004
Independent thinking; HD offers a budget DI alternative
The spirit of independent film has reached the digital intermediate industry: Demand is strong, and postproduction companies face the challenge of customizing business models for a broad, multiformat marketplace.  Post houses large and small are exploring variations on studio DI procedures in order to service the indie sector and make the process more accessible.  "Everyone will use DI," predicts director Errol Morris, whose Academy Award-winning 2003 documentary feature "The Fog of War: Eleven Lessons From the Life of Robert S. McNamara" went through a DI at PostWorks, New York. "It's about the end look -- preserving in the process everything that is interesting about the original format -- and it's about dealing with different kinds of media effectively."  "Fog" combines material that originated in standard- and high-definition video with 16mm and 35mm film.  "When you are dealing with media that is coming from all over the place, (DI) gives you control over how that material is blended together," Morris says. "It used to be (that) 16mm was a poor man's 35mm; now it has become part of a palette that ultimately goes to digital but has its own unique characteristics. Rather than restricting options, DI makes many, many more available."...

TV Technology, Nov. 12, 2004
PostWorks Switches with For-A
PostWorks, New York recently selected For-A's Hanabi HVS-1000HS digital switcher for its digital intermediate (DI) theater. The 2RU Hanabi switcher supports 1080i, 1080p and 720p and SD. PostWorks is using the switcher for the final optical processing of film. The SD/HD switchable, multibit, multiformat Hanabi includes an internal DVE card. "With the advent of HD, there are now more formats than ever," said Billy Baldwin, president of PostWorks, New York, adding, "We create multiple deliverables from this one room."... 

DigitalIntermediates.com, Nov. 8, 2004
PostWorks Selects FOR-A Switcher for DI Theater
PostWorks, New York selected FOR-A’s new one mix/effect HANABI HVS-1000HS digital switcher for its recently opened digital intermediate (DI) theater. The DI theater officially opened in October and has already completed digital mastering for several commercial and long-form television and feature film projects. It is the first theater on the east coast designed specifically for DI mastering.  Digital intermediate is the replacement of film’s final optical processing with a digital master. Color correction, titles, and visual effects can be pre-visualized in real-time and changed instantly. A finished 2K master can be output to film or any format in multiple resolutions, frame-rates and aspect ratios....

Videography, Nov. 8, 2004
PostWorks, New York Selects FOR-A Hanabi 1 M/E Switcher
PostWorks, New York selected FOR-A’s new one mix/effect HANABI HVS-1000HS digital switcher for its recently opened digital intermediate (DI) theater...

Film&Video Magazine, Oct., 2004
Short Takes: Headlines
PostWorks has opened a new digital intermediate theater in itslower-Manhattan digs.  The room sports an 18-foot-wide screen and teams the Spirit DataCine, Pandora color-correction, a Quantel iQ an Digital Projection IS8-2K and 35mm projectors.  Film-outs are handled by Arrilaser and Lasergraphics film recorders.  While the suites are primarily for color grading, president Billy Baldwin ways, "A lot of our film clients come down and just spot-check their D5s."

Film&Video Magazine, Oct., 2004
Short Takes:  Headlines
PostWorks has opened a new digital intermediate theater in itslower-Manhattan digs.  The room sports an 18-foot-wide screen and teams the Spirit DataCine, Pandora color-correction, a Quantel iQ an Digital Projection IS8-2K and 35mm projectors.  Film-outs are handled by Arrilaser and Lasergraphics film recorders.  While the suites are primarily for color grading, president Billy Baldwin ways, "A lot of our film clients come down and just spot-check their D5s."

Millimeter, Oct., 2004
Home Movies, Big Screen
Jonathan Caouette's Tarnation, an 88-minute autobiographical documentary detailing the filmmaker's experiences growing up in a troubled American family, has been garnering buzz during the past year, touring Sundance and Cannes and earning praise from critics such as Roger Ebert, as well as the executive producer support of Gus Van Sant and John Cameron Mitchell....  Blowing up the documentary to 35mm at PostWorks in New York continued the organic process of the film's creation...

Film&Video Magazine, Oct. 21, 2004
NYC Post Exec Anthony Caputo Joins PostWorks New York
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced that veteran film and television post production facility operations executive Anthony Caputo has joined the firm as director of post production services....

Television Week, Oct. 18, 2004
Newsmakers
Carol Jazwinski to VP, sales, PostWorks, from account executive, Company 3. Also, Anthony Caputo to director, post-production services, PostWorks, from VP and director, operations, Moving Images.

Boards Online, Oct. 13, 2004
Industry highlights and people moves
PostWorks, New York brought on Anthony Caputo as director of post production services. Caputo was most recently VP and director of operations for New York's Moving Images.

Film&Video Magazine, Oct. 13, 2004
PostWorks New York Hires Carol Jazwinski as VP Sales
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced the hiring of veteran New York City post production executive Carol Jazwinski as its new vice president of sales. Company CEO David Rosen made the announcement....

Media Life, Oct. 8, 2004
People
Anthony Caputo joins PostWorks as director of post production services

SHOOT Magazine, Oct. 8, 2004
REP REPORT
PostWorks, New York, has appointed Carol Jazwinski as its VP of sales.

POST Magazine, Oct. 7, 2004
ANTHONY CAPUTO JOINS POSTWORKS AS DIRECTOR OF POST SERVICES
Anthony Caputo has joined PostWorks, New York (www.pwny.com) as director of post production services....

The CREATIVITY E-Mail, Oct. 5, 2004
 MOVERS: Moves at Hal Riney, Crossroads and PostWorks
Carol Jazwinski, formerly of Company 3, has joined New York's PostWorks as VP of sales.

Media Life, Oct. 5, 2004
People
Carol Jazwinski named VP of sales of PostWorks

MediaPost's People on the Move, Oct. 5, 2004
PostWorks, New York
...has hired CAROL JAZWINSKI as its new vice president of sales. 

Millimeter Magazine, Oct. 5, 2004
PostWorks Unveils new DI Theater
 “The ability to see a project on a theater-size screen in full resolution while performing further color-correction and cleanup prior to recording to film is the final step in giving our clients the most powerful and precise transition from digital to film possible.”...

DigitalIntermediates.com, Oct. 4, 2004
PostWorks, New York Unveils DI Mastering Theater
Designed by veteran film industry consultant Jim Moore, PostWorks' plush new 34-seat DI Theater houses Digital Projection IS8-2K digital and Kinoton FP 30E 35mm film projectors. The Theater also offers full access to PostWorks' vast array of advanced post tools, including Discreet Inferno and Flame, Quantel IQ, Spirit DataCine, Pandora MegaDEF Evolution and DaVinci 2K, as well as ARRILASER and Lasergraphics film recorders.  As Baldwin pointed out, his company's past five years of experience integrating HD solutions for the film and broadcast communities has given PostWorks a thorough understanding of laboratories' and distributors' deliverable requirements. Client-customized workflows ensure that projects of all budgets have access to the very best editorial, sound, design, color-correction, clean-up and finishing solutions available, and the new DI Theater is a critical component in giving filmmakers maximum creative control over their finished images....

FXGuide, Oct. 4, 2004
PostWorks, NY unveils new DI Theater
Comprehensive, full-service DI Theater built from the ground up....

Pluginz.com, Oct. 4, 2004
PostWorks, New York Unveils DI Mastering Theater
"This announcement is an extremely important one for our company," added Rob DeMartin, who is a co-owner of PostWorks along with Baldwin and CEO David Rosen. "We began a plan three years ago, and today we can say that our company stands alone in the breadth and the quality of the services we provide from Manhattan. Our plans have many other highlights in store, but we are all celebrating this new Digital Intermediate Theater and everything it represents to our clients."  Having pioneered its DI finishing process for Miramax's 2001 release of PINERO, PostWorks' recent DI clients include the 2004 Academy Award- nominated films ASYLUM, CAPTURING THE FRIEDMANS, MY ARCHITECT and (Oscar winner) THE FOG OF WAR, as well as IFC Films' 2003 Sundance Grand Jury Prize nominee A DECADE UNDER THE INFLUENCE and dozens of theatrical spots, trailers and national/international broadcast campaigns....

POST Magazine, Oct. 4, 2004
JAZWINSKI JOINS POSTWORKS AS VP, SALES
PostWorks, New York (www.pwny.com) has hired veteran post production executive Carol Jazwinski as its new VP of sales....

Yahoo! Finance, Oct. 4, 2004
PostWorks, New York Unveils First East-Coast Theater Designed Specifically for Digital Intermediate Mastering
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced the completion of the first theater on the east coast designed specifically for Digital Intermediate (DI) mastering. The announcement was made by company president Billy Baldwin and chief operating officer Rob DeMartin.  "With the artistic and economic benefits of Digital Intermediate technology making it the standard for mastering broadcast and film projects," Baldwin said, "we have built our clients a comprehensive, full-service DI Theater from the ground up."...

SHOOT Magazine, Oct. 1, 2004
PostWorks, New York, Completes DI Theater; New Cinema Environment Aimed At Commercial & Longform Clients
PostWorks, New York, has recreated a movie theater environment for clients in its new 34-seat digital intermediate (DI) mastering theater at its SoHo facility, designed for commercial, television and feature film work. The theater offers both film and digital projection capabilities, as well as 5.1 Surround Sound audio.  "The ability to see a project on a theater-size screen in full resolution while performing color-correction and cleanup prior to recording to film is the final step in giving our clients the most powerful and precise transition from digital to film possible," explained PostWorks president Billy Baldwin....

HollywoodIndustry.com, Sep. 10, 2004
Postworks Adds Two Dolby Digital 5.1-Surround Mix Rooms; Dolby-approved 5.1 suites for broadcast, DVD and film mastering
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced the completion of two new surround mix rooms. Mix 1 is a Dolby- approved 5.1 broadcast and DVD mix suite, and Mix 2 is a Dolby- approved 5.1 film print mastering mix stage. The announcement was made by Joe Caterini, director of audio services for PostWorks, New York.  "After first making tremendous inroads as the surround-sound format of choice for DVD, Dolby Digital 5.1 is now the widely adopted standard for networks offering high-definition television service," explained Caterini, who is up for an Emmy for his work mixing last year's "Russia: Land of the Czars" for The History Channel....

Film&Video Magazine, August 2004
10 Ways To Stretch The Indie Dollar; » $450,000 Worth of Money-Saving Ideas for Production and Post
“Some folks hear ‘digital intermediate’ and they think 2K or 4K, and some dangerous assumptions get made,” says Billy Baldwin, CEO at PostWorks/New York. DI can also be done in D5 or DVCAM at 1080 by 1920. Baldwin, who’s worked with discerning indie directors from Errol Morris on the upcoming Fog of War to Andrew Jarecki on last year’s Capturing the Friedmans, will do the math quickly to convince a producer he’ll be bucks-up going the DI route....

Film&Video Magazine, August 2004
Go With the Flow:  DI Opens Wide With Pipelines For Every Budget
“If you’re doing 2K digital scanning,” says Billy Baldwin, president of Manhattan’s PostWorks, “never rule out shooting Super 16 or three-perf 35 and transferring to HD for the DI. It’s a great way to save money.” Production in 16mm has heated up for features and documentaries lately, and some of the reason may be that filmmakers feel they can get more out of the emulsion with the DI process. ASC president Richard Crudo predicts, “You’re going to see a huge resurgence in 16 as DI becomes more manageable and cheaper. People are going to say, ‘My God, look at the quality you can get out of this.’”...

POST Magazine, August, 2004
Getting Down to Bid; Tighter Time Schedules and Technology are Streamlining the Bidding Process
PostWorks, New York works mostly in the film and television arenas.  In these industries, particularly, consolidation in the marketplace has changed the way the bidding process operates, says Anne Bakoulis, national account manager at PostWorks.  "In the past, we could just keep our ear to the ground and know what projects are coming to New York or LA an dspeak to the post productio supervisors for that show," Bakoulis continues.  "More and more what I do is move up the food chain in these enormous corporations and identify who those decision-makers are for those larger entities.  And often they'll send us a laundry list of services they know their companies are going to use, guarantee a certain amount of work and we send them a priprietary rate card.  the bean counters are starting to run the world.  So for the past two years many times I've been bidding for a set amount of services, not a single projects."....

Mix Magazine, Aug. 30 2004
Photomag Sound & Image Announces Expanded Post Services, New Video Suites
In 1970, when the 11th floor of 222 East 44th Street was being converted into Photomag, its double wall construction, floating floors and advanced acoustic design set the standards for a state-of-the-art sound mixing facility. Today, Joe Caterini, president of Photomag Sound & Image, announced the completion of an extensive round of facility updates, all of which stem from the company’s 2003 purchase by PostWorks, New York....

Film&Video Magazine, Aug. 27, 2004
Photomag Sound & Image Relaunches In NYC
..."Since being acquired by PostWorks, Photomag has undergone a renaissance, adding two video editing suites and experiencing extensive remodeling and reengineering," Caterini began. "Our infrastructure has been upgraded to allow seamless integration of our audio, video finishing and graphics capabilities. With our mixing talents continuing to represent the most accomplished commercial, television and feature film mixers, we're now ready to accommodate all types of projects and give our clients more options under one roof."...

Pro Sound News, Aug. 26, 2004
Photomag Expands Post Services, Adds Video Suites
Photomag's new video edit suites are equipped with complete Avid Symphony systems. The editorial roster consists of online editor and colorist Travis Antolik, emerging editor Steve Beganyi, and editor and graphic artist Anthony Cortese.  The company's six sound mixing studios each have their own VO recording room and harness Digidesign's Grammy Award-winning Pro Tools technology. Project mixing assignments fall into the respected hands of Caterini, Patrick Donahue, Bobby Elder, Matt Foglia, Billy Harper, Benny Mouthon, Jared Seidman and Lou Teti....

POST Magazine, Aug. 24, 2004
PHOTOMAG SOUND & IMAGE RE-LAUNCHES IN NYC
Long-time mixing facility Photomag (www.pmag.com) was acquired by Postworks in 2003 and has undergone an extensive round of studio updates that includes the addition of video editing capabilities. Now going by the name Photomag Sound & Image, the studio is equipped with two Avid Symphony NLEs in addition to its six upgraded Digidesign Pro Tools suites....

Film Festival Reporter, Winter 2004
Digital Intermediates in NYC:  POSTWORKS, NEW YORK
Over the past five years, PostWorks, New York has been instrumental in the integration of high definition solutions for the film and broadcast communities. Our experiences in post production for HD, film, and broadcast have been the perfect combination for the creation of new workflows...

POST Magazine, Dec., 2005
2005 Outlook:  Digital Intermediates
Billy Baldwin, president of PostWorks in New York.   Strengths:  The DI process can raise the overall quality of the product and the experience of creating it.  With a wider and richer palette available, this cinematic editorial and grading environment offers DPs and directors complete control over the look and feel of their movie throughout post-production.  They can apply sophisticated color enhancements to every shot; have flexibility to make changes even after the offline is completed; maintain high-quality throughout their film regardless of the number of 'opticals' they use; and review changes instantly on a large screen.  The producer also benefits because the DI reduces the time needed for post production and ensures better project tracking, security, and quality control. It reduces the costs associated with late changes and, with single mastering for all deliverables, the production saves time creating all necessary versions, including those for audience testing, press kits, screenings, and trailers....

Videography, Dec., 2005
The Digital Screening Room
Billy Baldwin, president of PostWorks in New York, admits that his company has completed a number of DI features using an HD CRT monitor. At the time of that work, he felt that the digital projection equipment wasn't so much better that it always justified the cost to him or his clients. PostWorks had a unit from Digital Projection with a 1280 DLP chip but still did some feature work with a CRT monitor. Projection technology has advanced so far in terms of contrast ratio, color reproduction and resolution that we felt we had to get one of the 2K projectors. We went with Digital Projections' 2K DLP model. When you are working with grain management, or a key or a composite or titles--any number of highly critical elements--they just don't manifest themselves enough on even the highest quality CRT monitor."... 

DigitalProducer.com, Dec. 21, 2004
PostWorks NY Client Works Going to 2005 Sundance Festival
PostWorks, New York, a 2005 Sundance Institute Associate, today congratulated several of its clients for having their feature films selected as part of the 2005 Sundance Film Festival. "Murderball," "Romantico," "212" and Kevin Bacon's theatrical feature directorial debut "Loverboy" all have collaborated with PostWorks and its subsidiary Photomag Sound & Image for various aspects of post-production....

POST Magazine, Dec. 2, 2004
POSTWORKS HELPS CATCH PHISH
PostWorks (www.pwny.com) played a key role in delivering the Phish "IT" Aug. 2 PBS broadcast special and the subsequent 2-disc DVD release which debuted on Oct. 12. PostWorks' team began working on the project back in June for producer/director Mary Wharton, Sugar Camp Films, Dionysian Productions and the WGBH Educational Foundation...

Digital Cinema Report, Dec. 1, 2004
Digital Intermediates:  Gearing Up
PostWorks, New York has selected For-A’s new one mix/effect Hanabi HVS-1000HS digital switcher for its recently opened digital intermediate theatre....

411 Publishing's 411 Update, Nov., 2004
HD Clarity in the Digital Intermediate World from PostWorks, New York President Billy Baldwin
More major motion pictures and commercials were finished with the use of Digital Intermediates this year than ever before. It’s a step in the production process that, as Billy Baldwin, president of PostWorks, NY explains, is becoming more and more essential as the use of final high def formats continues to increase. PostWorks, NY recently built the first Digital Intermediate Theater on the East Coast and we caught up with Baldwin to find out a little bit more about the process and how it relates specifically to HD production. His expertise and in-depth answers in the following Q&A help shed a bright and dare we say, high resolution, light on the DI process and beyond....

Boards, Nov, 2004
INVENTORY+HOOKUPS
PostWorks, New York brought on Anthony Caputo as director of post production services.  Caputo was most recently VP and director of operations for New York's Moving Images. 

Mix Magazine, Nov. 2004
Photomag Sound & Image Relaunches
Joe Caterini, president of Photomag Sound & Image (www.pmag.com), announced the completion of an extensive round of facility updates, all of which stemmed from the company's 2003 purchase by PostWorks, New York.  Photomag has added two video editing suites (each with complete Avid Symphony systems), in addition to extensive remodeling and re-engineering, allowing for seamless integration of audio, video finishing and graphics capabilities. Each of the company's six sound mixing studios has its own voice-over room and Pro Tools systems.  In other company news, PostWorks, New York, has completed two surround Dolby-approved mix rooms: Mix 1 is a broadcast and DVD mix suite, and Mix 2 is a film print mastering mix stage. “To give our mixers and our clients the greatest options in the realm of 5.1 mixing, our chief audio engineer, Brian Dorfman, gathered the latest input on acoustic design and equipment specs from Dolby Labs' engineers and then designed our two new rooms from the ground up,” explained Caterini.

POST Magazine, Nov., 2004
POST PEOPLE
PostWorks, New York (www.pwny.com) has hired veteran post production executive Carol Jazwinski as its new VP of sales. Jazwinski joined Manhattan Transfer (now Company 3 New York) in 2000, handling post services for longform accounts. Prior to that, she was at Post Perfect for seven years helping to establish its reputation in episodic series. In her new role, Jazwinski will work with PostWorks' director of sales and marketing Anne Bakoulis to expand sales efforts. 

Videography Magazine, Nov., 2004
Caterini Studios, PostWorks Team for The Woodsman
Joe Caterini, the supervising sound editor and re-recording mixer for the 35mm independent feature The Woodsman, devised a new workflow for the film's post....

Videography Magazine, Nov., 2004
The Digital Screening Room
...Billy Baldwin, president of PostWorks in New York, admits that his company has completed a number of DI features using an HD CRT monitor.  At the time of that work, he felt that the digital projection equipment wasn't so much better that it always justified the cost to him or his clients.  PostWorks had a unit from Digital Projection with a 1280 DLP chip but still did some feature work with a CRT monitor...

Film&Video Magazine, Nov. 30, 2004
PostWorks, New York Helps Deliver Phish "IT" PBS Special
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today detailed its key supporting role in delivering the Phish "IT" Aug. 2 PBS broadcast special and the subsequent 2-disc DVD release which debuted on Oct. 12....

Music Video Wire, Nov. 30, 2004
Postworks, New York Supports Award-Winning Team In Delivering PHISH "IT" PBS Broadcast Special And DVD Release
PostWorks’ team first helped Wharton’s all-star collaborators complete the finishing processes for the 90-minute "IT: A Phish Concert Special" for delivery to PBS stations across the U.S. in time for their Aug. 2 airdate. Offline editing was handled by Emmy award-winning editors Thom Zimny and Alex Hall in one of PostWorks’ Avid Symphony suites, incorporating source footage from formats including HDCAM 1080i, DVCAM and HDCAM 23.98....

Broadcast Engineering's Beyond the Headlines e-newsletter, Nov. 29, 2004
PostWorks New York selects FOR-A switcher for DI Theater
HD post-production company PostWorks has opened a digital intermediate (DI) theater in New York and equipped it with a FOR-A Hanabi HVS-1000HS digital switcher. The DI theater officially opened in October and has already completed digital mastering for several commercial and long-form television and feature film projects. It is the first theater on the east coast designed specifically for DI mastering....

Broadcast Engineering's HD Technology Update e-newsletter, Nov. 29, 2004
PostWorks, New York chooses FOR-A Hanabi switcher for DI theater
PostWorks, New York selected FOR-A’s new 1M/E Hanabi HVS-1000HS digital switcher for its recently opened digital intermediate (DI) theater.  The DI theater officially opened in October and has already completed digital mastering for several commercial and long-form television and feature film projects. It is the first theater on the East Coast designed specifically for DI mastering.  Digital intermediate is the replacement of film’s final optical processing with a digital master. Color correction, titles and visual effects can be pre-visualized in real-time and changed instantly. A finished 2K master can be output to film or any format in multiple resolutions, frame rates and aspect ratios.  The Hanabi switcher supports 1080i/59.94, 1080p/23.98, 720p/59.94, and other major HD and SD formats. The switcher is a 2RU size and comes with a DVE card installed.

4 Regional Film&Video, Nov. 23, 2004
PostWorks New York selects FOR-A HANABI 1 for DI theatre project
PostWorks New York has selected FOR-A’s new one mix/effect HANABI HVS-1000HS digital switcher for its recently opened digital intermediate (DI) theatre.
The DI theatre officially opened in October and has already completed digital mastering for several commercial and long-form television and feature film projects. It is the first theatre on the east coast designed specifically for DI mastering....

The Hollywood Reporter, Nov. 12, 2004
Commercial appeal
Television advertisers, increasingly concerned about audience fragmentation and the rise of the personal video recorder, are looking to the cinema and its captive and quantifiable audiences. The numbers speak for themselves: The Cinema Advertising Council reports that U.S. cinema ad revenue grew a whopping 48% last year to $315.1 million, compared with $212.3 million in 2002.  Digital intermediate-style work flows have begun to attract attention on Madison Avenue, particularly on spots set to go to film. Agency clients walk away with a high-resolution master that can be used to create all deliverables, including NTSC and high-definition for domestic TV distribution, PAL for international audiences and film for theatrical releases.  Although it is a relatively new concept within the ad industry, postproduction houses already offering such variations on the DI process include Santa Monica's Company 3 and New York's Nice Shoes, TCS and PostWorks....

The Hollywood Reporter, Nov. 12, 2004
Independent thinking; HD offers a budget DI alternative
The spirit of independent film has reached the digital intermediate industry: Demand is strong, and postproduction companies face the challenge of customizing business models for a broad, multiformat marketplace.  Post houses large and small are exploring variations on studio DI procedures in order to service the indie sector and make the process more accessible.  "Everyone will use DI," predicts director Errol Morris, whose Academy Award-winning 2003 documentary feature "The Fog of War: Eleven Lessons From the Life of Robert S. McNamara" went through a DI at PostWorks, New York. "It's about the end look -- preserving in the process everything that is interesting about the original format -- and it's about dealing with different kinds of media effectively."  "Fog" combines material that originated in standard- and high-definition video with 16mm and 35mm film.  "When you are dealing with media that is coming from all over the place, (DI) gives you control over how that material is blended together," Morris says. "It used to be (that) 16mm was a poor man's 35mm; now it has become part of a palette that ultimately goes to digital but has its own unique characteristics. Rather than restricting options, DI makes many, many more available."...

TV Technology, Nov. 12, 2004
PostWorks Switches with For-A
PostWorks, New York recently selected For-A's Hanabi HVS-1000HS digital switcher for its digital intermediate (DI) theater. The 2RU Hanabi switcher supports 1080i, 1080p and 720p and SD. PostWorks is using the switcher for the final optical processing of film. The SD/HD switchable, multibit, multiformat Hanabi includes an internal DVE card. "With the advent of HD, there are now more formats than ever," said Billy Baldwin, president of PostWorks, New York, adding, "We create multiple deliverables from this one room."... 

DigitalIntermediates.com, Nov. 8, 2004
PostWorks Selects FOR-A Switcher for DI Theater
PostWorks, New York selected FOR-A’s new one mix/effect HANABI HVS-1000HS digital switcher for its recently opened digital intermediate (DI) theater. The DI theater officially opened in October and has already completed digital mastering for several commercial and long-form television and feature film projects. It is the first theater on the east coast designed specifically for DI mastering.  Digital intermediate is the replacement of film’s final optical processing with a digital master. Color correction, titles, and visual effects can be pre-visualized in real-time and changed instantly. A finished 2K master can be output to film or any format in multiple resolutions, frame-rates and aspect ratios....

Videography, Nov. 8, 2004
PostWorks, New York Selects FOR-A Hanabi 1 M/E Switcher
PostWorks, New York selected FOR-A’s new one mix/effect HANABI HVS-1000HS digital switcher for its recently opened digital intermediate (DI) theater...

Film&Video Magazine, Oct., 2004
Short Takes:  Headlines
PostWorks has opened a new digital intermediate theater in itslower-Manhattan digs.  The room sports an 18-foot-wide screen and teams the Spirit DataCine, Pandora color-correction, a Quantel iQ an Digital Projection IS8-2K and 35mm projectors.  Film-outs are handled by Arrilaser and Lasergraphics film recorders.  While the suites are primarily for color grading, president Billy Baldwin ways, "A lot of our film clients come down and just spot-check their D5s."

Film&Video Magazine, Oct., 2004
Short Takes:  Headlines
PostWorks has opened a new digital intermediate theater in itslower-Manhattan digs.  The room sports an 18-foot-wide screen and teams the Spirit DataCine, Pandora color-correction, a Quantel iQ an Digital Projection IS8-2K and 35mm projectors.  Film-outs are handled by Arrilaser and Lasergraphics film recorders.  While the suites are primarily for color grading, president Billy Baldwin ways, "A lot of our film clients come down and just spot-check their D5s."

Millimeter, Oct., 2004
Home Movies, Big Screen
Jonathan Caouette's Tarnation, an 88-minute autobiographical documentary detailing the filmmaker's experiences growing up in a troubled American family, has been garnering buzz during the past year, touring Sundance and Cannes and earning praise from critics such as Roger Ebert, as well as the executive producer support of Gus Van Sant and John Cameron Mitchell....  Blowing up the documentary to 35mm at PostWorks in New York continued the organic process of the film's creation...

Film&Video Magazine, Oct. 21, 2004
NYC Post Exec Anthony Caputo Joins PostWorks New York
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced that veteran film and television post production facility operations executive Anthony Caputo has joined the firm as director of post production services....

Television Week, Oct. 18, 2004
Newsmakers
Carol Jazwinski to VP, sales, PostWorks, from account executive, Company 3. Also, Anthony Caputo to director, post-production services, PostWorks, from VP and director, operations, Moving Images.

Boards Online, Oct. 13, 2004
Industry highlights and people moves
PostWorks, New York brought on Anthony Caputo as director of post production services. Caputo was most recently VP and director of operations for New York's Moving Images.

Film&Video Magazine, Oct. 13, 2004
PostWorks New York Hires Carol Jazwinski as VP Sales
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced the hiring of veteran New York City post production executive Carol Jazwinski as its new vice president of sales. Company CEO David Rosen made the announcement....

Media Life, Oct. 8, 2004
People
Anthony Caputo joins PostWorks as director of post production services

SHOOT Magazine, Oct. 8, 2004
REP REPORT
PostWorks, New York, has appointed Carol Jazwinski as its VP of sales.

POST Magazine, Oct. 7, 2004
ANTHONY CAPUTO JOINS POSTWORKS AS DIRECTOR OF POST SERVICES
Anthony Caputo has joined PostWorks, New York (www.pwny.com) as director of post production services....

The CREATIVITY E-Mail, Oct. 5, 2004
 MOVERS: Moves at Hal Riney, Crossroads and PostWorks
Carol Jazwinski, formerly of Company 3, has joined New York's PostWorks as VP of sales.

Media Life, Oct. 5, 2004
People
Carol Jazwinski named VP of sales of PostWorks

MediaPost's People on the Move, Oct. 5, 2004
PostWorks, New York
...has hired CAROL JAZWINSKI as its new vice president of sales. 

Millimeter Magazine, Oct. 5, 2004
PostWorks Unveils new DI Theater
 “The ability to see a project on a theater-size screen in full resolution while performing further color-correction and cleanup prior to recording to film is the final step in giving our clients the most powerful and precise transition from digital to film possible.”...

DigitalIntermediates.com, Oct. 4, 2004
PostWorks, New York Unveils DI Mastering Theater
Designed by veteran film industry consultant Jim Moore, PostWorks' plush new 34-seat DI Theater houses Digital Projection IS8-2K digital and Kinoton FP 30E 35mm film projectors. The Theater also offers full access to PostWorks' vast array of advanced post tools, including Discreet Inferno and Flame, Quantel IQ, Spirit DataCine, Pandora MegaDEF Evolution and DaVinci 2K, as well as ARRILASER and Lasergraphics film recorders.  As Baldwin pointed out, his company's past five years of experience integrating HD solutions for the film and broadcast communities has given PostWorks a thorough understanding of laboratories' and distributors' deliverable requirements. Client-customized workflows ensure that projects of all budgets have access to the very best editorial, sound, design, color-correction, clean-up and finishing solutions available, and the new DI Theater is a critical component in giving filmmakers maximum creative control over their finished images....

FXGuide, Oct. 4, 2004
PostWorks, NY unveils new DI Theater
Comprehensive, full-service DI Theater built from the ground up....

Pluginz.com, Oct. 4, 2004
PostWorks, New York Unveils DI Mastering Theater
"This announcement is an extremely important one for our company," added Rob DeMartin, who is a co-owner of PostWorks along with Baldwin and CEO David Rosen. "We began a plan three years ago, and today we can say that our company stands alone in the breadth and the quality of the services we provide from Manhattan. Our plans have many other highlights in store, but we are all celebrating this new Digital Intermediate Theater and everything it represents to our clients."  Having pioneered its DI finishing process for Miramax's 2001 release of PINERO, PostWorks' recent DI clients include the 2004 Academy Award- nominated films ASYLUM, CAPTURING THE FRIEDMANS, MY ARCHITECT and (Oscar winner) THE FOG OF WAR, as well as IFC Films' 2003 Sundance Grand Jury Prize nominee A DECADE UNDER THE INFLUENCE and dozens of theatrical spots, trailers and national/international broadcast campaigns....

POST Magazine, Oct. 4, 2004
JAZWINSKI JOINS POSTWORKS AS VP, SALES
PostWorks, New York (www.pwny.com) has hired veteran post production executive Carol Jazwinski as its new VP of sales....

Yahoo! Finance, Oct. 4, 2004
PostWorks, New York Unveils First East-Coast Theater Designed Specifically for Digital Intermediate Mastering
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced the completion of the first theater on the east coast designed specifically for Digital Intermediate (DI) mastering. The announcement was made by company president Billy Baldwin and chief operating officer Rob DeMartin.  "With the artistic and economic benefits of Digital Intermediate technology making it the standard for mastering broadcast and film projects," Baldwin said, "we have built our clients a comprehensive, full-service DI Theater from the ground up."...

SHOOT Magazine, Oct. 1, 2004
PostWorks, New York, Completes DI Theater; New Cinema Environment Aimed At Commercial & Longform Clients
PostWorks, New York, has recreated a movie theater environment for clients in its new 34-seat digital intermediate (DI) mastering theater at its SoHo facility, designed for commercial, television and feature film work. The theater offers both film and digital projection capabilities, as well as 5.1 Surround Sound audio.  "The ability to see a project on a theater-size screen in full resolution while performing color-correction and cleanup prior to recording to film is the final step in giving our clients the most powerful and precise transition from digital to film possible," explained PostWorks president Billy Baldwin....

HollywoodIndustry.com, Sep. 10, 2004
Postworks Adds Two Dolby Digital 5.1-Surround Mix Rooms; Dolby-approved 5.1 suites for broadcast, DVD and film mastering
PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today announced the completion of two new surround mix rooms. Mix 1 is a Dolby- approved 5.1 broadcast and DVD mix suite, and Mix 2 is a Dolby- approved 5.1 film print mastering mix stage. The announcement was made by Joe Caterini, director of audio services for PostWorks, New York.  "After first making tremendous inroads as the surround-sound format of choice for DVD, Dolby Digital 5.1 is now the widely adopted standard for networks offering high-definition television service," explained Caterini, who is up for an Emmy for his work mixing last year's "Russia: Land of the Czars" for The History Channel....

Film&Video Magazine, August 2004
10 Ways To Stretch The Indie Dollar; » $450,000 Worth of Money-Saving Ideas for Production and Post
“Some folks hear ‘digital intermediate’ and they think 2K or 4K, and some dangerous assumptions get made,” says Billy Baldwin, CEO at PostWorks/New York. DI can also be done in D5 or DVCAM at 1080 by 1920. Baldwin, who’s worked with discerning indie directors from Errol Morris on the upcoming Fog of War to Andrew Jarecki on last year’s Capturing the Friedmans, will do the math quickly to convince a producer he’ll be bucks-up going the DI route....

Film&Video Magazine, August 2004
Go With the Flow:  DI Opens Wide With Pipelines For Every Budget
“If you’re doing 2K digital scanning,” says Billy Baldwin, president of Manhattan’s PostWorks, “never rule out shooting Super 16 or three-perf 35 and transferring to HD for the DI. It’s a great way to save money.” Production in 16mm has heated up for features and documentaries lately, and some of the reason may be that filmmakers feel they can get more out of the emulsion with the DI process. ASC president Richard Crudo predicts, “You’re going to see a huge resurgence in 16 as DI becomes more manageable and cheaper. People are going to say, ‘My God, look at the quality you can get out of this.’”...

POST Magazine, August, 2004
Getting Down to Bid; Tighter Time Schedules and Technology are Streamlining the Bidding Process
PostWorks, New York works mostly in the film and television arenas.  In these industries, particularly, consolidation in the marketplace has changed the way the bidding process operates, says Anne Bakoulis, national account manager at PostWorks.  "In the past, we could just keep our ear to the ground and know what projects are coming to New York or LA an dspeak to the post productio supervisors for that show," Bakoulis continues.  "More and more what I do is move up the food chain in these enormous corporations and identify who those decision-makers are for those larger entities.  And often they'll send us a laundry list of services they know their companies are going to use, guarantee a certain amount of work and we send them a priprietary rate card.  the bean counters are starting to run the world.  So for the past two years many times I've been bidding for a set amount of services, not a single projects."....

Mix Magazine, Aug. 30 2004
Photomag Sound & Image Announces Expanded Post Services, New Video Suites
In 1970, when the 11th floor of 222 East 44th Street was being converted into Photomag, its double wall construction, floating floors and advanced acoustic design set the standards for a state-of-the-art sound mixing facility. Today, Joe Caterini, president of Photomag Sound & Image, announced the completion of an extensive round of facility updates, all of which stem from the company’s 2003 purchase by PostWorks, New York....

Film&Video Magazine, Aug. 27, 2004
Photomag Sound & Image Relaunches In NYC
..."Since being acquired by PostWorks, Photomag has undergone a renaissance, adding two video editing suites and experiencing extensive remodeling and reengineering," Caterini began. "Our infrastructure has been upgraded to allow seamless integration of our audio, video finishing and graphics capabilities. With our mixing talents continuing to represent the most accomplished commercial, television and feature film mixers, we're now ready to accommodate all types of projects and give our clients more options under one roof."...

Pro Sound News, Aug. 26, 2004
Photomag Expands Post Services, Adds Video Suites
Photomag's new video edit suites are equipped with complete Avid Symphony systems. The editorial roster consists of online editor and colorist Travis Antolik, emerging editor Steve Beganyi, and editor and graphic artist Anthony Cortese.  The company's six sound mixing studios each have their own VO recording room and harness Digidesign's Grammy Award-winning Pro Tools technology. Project mixing assignments fall into the respected hands of Caterini, Patrick Donahue, Bobby Elder, Matt Foglia, Billy Harper, Benny Mouthon, Jared Seidman and Lou Teti....

POST Magazine, Aug. 24, 2004
PHOTOMAG SOUND & IMAGE RE-LAUNCHES IN NYC
Long-time mixing facility Photomag (www.pmag.com) was acquired by Postworks in 2003 and has undergone an extensive round of studio updates that includes the addition of video editing capabilities. Now going by the name Photomag Sound & Image, the studio is equipped with two Avid Symphony NLEs in addition to its six upgraded Digidesign Pro Tools suites....

Film&Video Magazine, July 2004
The Rules of Sharing; How to Decide Whether to Go SAN or NAS
...Maximum Throughput, for example, takes advantage of the already low cost and relative ease of use of standard NAS technology while bringing it up to the performance par of SANs. Mike Hughes, VP of business development, points out that an extremely fast NAS device like the company’s Sledgehammer (delivering 200 MB/s sustained throughput at roughly $12/GB) can provide enterprise-class performance at a fraction of the cost of a fibre-channel SAN. For example, PostWorks, based in NYC, installed a Sledgehammer NAS to move mundane preparatory and administrative tasks like file distribution, storage and media encoding away from their more expensive workstations like Discreet’s Inferno and Quantel’s iQ. This reduced the number of steps it took PostWorks to complete various post processes, decreasing inefficiencies and increasing profitability....

Film&Video Magazine, Jul. 19, 2004
Discreet Signs Two Additional Resellers; Kicks off new partnership with training on Discreet’s smoke system
...“The training course on the Discreet smoke system was a great experience,” said Brian Benson, Visual Effects Supervisor at Postworks and long time user of Discreet’s inferno system. “The system is truly powerful and its speed and versatility are mind blowing. I’m happy to have had the opportunity to learn the ropes of the smoke system from some of the most talented experts in our industry.” Brian attended the first round of courses at VCA’s New York headquarters on June 16-18....

The Hollywood Reporter, Jul. 13, 2004
Cine Scholars
When a group of student screenwriters from Mission High School in southeastern Texas suddenly found themselves without a director of photography for their short film "Toothpaste," they didn't call the captain of the audiovisual squad. Instead, they dialed up filmmaker Robert Rodriguez, who sent over veteran cinematographer Guillermo Navarro.  The students had a Hollywood "in" because their film was being produced by Scenarios USA, a New York-based nonprofit organization that solicits frank student essays about sex and health then helps take those words from page to screen. "Without the involvement of the Los Angeles film community, there would be no Scenarios," says Maura Minsky, a former ABC News producer who co-founded the organization five years ago.  Michael Apted, Griffin Dunne, David Frankel, Tamara Jenkins, Doug Liman and Ben Younger are among the other directors who have volunteered their services for Scenarios, which sponsors writing contests in three school districts in New York, Florida and Texas (Minsky plans to expand the program nationwide in 2007). The completed films, which have played everywhere from the Sundance Channel to Showtime, have the look and feel of top documentaries; last year, Salon.com called them "the hippest, best-edited, most entertaining (sex education) videos ever made."  The movies resonate, Minsky believes, "because they're produced with support and donations from the same companies that make our feature films." Those companies include CFI Film Labs, Kodak, Panavision, Technicolor and postproduction shops Madhouse and Postworks....  For more information about Scenarios USA, visit www.scenariosusa.org.

Film&Video Magazine, June 2004
"I Bought the Shot...Now What?"; How Filmmakers Deal With Multi-Format Stock Footage — and How it Sometimes Saves Their Scenes
Fog of War footage at different frame rates and aspect ratios all had to be converted, conformed and color-corrected into one technically cohesive HD-resolution master.
...War coverage is always in demand, and when award-winning documentary filmmaker Errol Morris needed help organizing the huge array of archival footage in numerous film formats he needed for his acclaimed film The Fog of War: Eleven Lessons of Robert S. McNamara (Sony Pictures Classics), which was finished in 24p HD, he turned to PostWorks New York.  “This project presented a number of complex technical challenges, especially as it used footage from all over the world,” explains Billy Baldwin, PostWorks president. In addition to Morris’ interviews and dramatic recreations that were shot in 24p, there were “hours of archival footage in different formats, from film to D1 to PAL.” Footage also included different frame rates and aspect ratios, including some recently declassified White House recording, all of which had to be converted, conformed and color-corrected into one technically cohesive HD-resolution master.  “Wherever possible, we tried to get the negative — but that wasn’t always available — and when we did we transferred it on our Spirit,” Baldwin adds. “We had a lot of 16mm and some 35mm, but some of it had already been transferred to various formats such as D1 and Digital Betacam, and that material was upconverted.”  The Fog of War job began with senior online editor Peter Heady, who used the Quantel iQ and Teranex Star-up converter to convert and conform the archival source footage into 24p. From there, colorist Eric Alvarado performed the color-correct using the da Vinci 2K color enhancement system. After the film was output to 35mm using the Arrilaser film recorder, Matt Foglia mixed the audio in 5.1.  The documentary was built around more than 20 hours of interviews that director Morris conducted with McNamara, all shot in 24p. “We mastered the entire job in 24p, as you have to pick a common denominator to use as your platform,” notes Baldwin. “We did a lot of compositing of the archival footage and used all kinds of filters and played around with it a lot. There was also a lot of clean-up done, such as dirt and scratch removal, and we used Avid’s Nitris system to do most of that work. Ultimately, we hit it with every system we had.”

HDTVBuyer, May 2004
Director Errol Morris's Academy Award-winning documentary...
...The Fog of War was an array of archival footage in numerous film formats, that was finished in 24p HD. Morris turned to PostWorks New York for complex postproduction. Billy Baldwin, PostWorks CEO, comments, “In addition to Errol's interviews and dramatic recreations that were shot in 24p high-def format, there were hours of archival footage — all residing in different formats, frame rates, and aspect ratios — all of which had to be converted, conformed and color-corrected into one technically cohesive HD resolution master.” Senior online editor Peter Heady used the Quantel iQ and Teranex Star-Up converter to convert and conform the archival source footage into 24p format. From there, colorist Eric Alvarado performed the color correct using the da Vinci 2K color enhancement system. The film was output to 35mm using the Arrilaser film recorder...

Videography, May, 2004
PostWorks New York Goes MegaDEF
New York-based PostWorks purchased Pandora's MegaDEF Evolution color correction system. "The MegaDEF will serve as a cornerstone of our 2K/HD digital intermediate theater," explains PostWorks VP Operations Tim Spitzer. The DI theater is equipped with a Thomson Grass Valley Spirit DataCine, Quantel's iQ, Digital Projection's iS8 2K digital projector and a Kinoton 35mm EQ film projector. "The MegaDEF allows us to scan to 2K either as fully color-corrected scans or as flat scans, to suit working from cut or uncut negative," Spitzer continues....

EditorsNet, May 11, 2004
2004: HD's Big Year
...On the product side, Avid introduced the DNA family, a hybrid architecture designed to enhance the power of both host-based software capabilities and hardware-based acceleration. For the post market, Avid DNA comprises of three systems: Media Composer Adrenaline, Avid Xpress Pro with Avid Mojo, and Avid DS Nitris. Targeted, respectively, at the professional post, DV/independent film and high-end finishing and compositing markets, these products made significant inroads in 2003, with major customer wins including postproduction facilities Discovery Production Group, Framerunner, PostWorks, L.A. Digital Post and Turner Studios.  Many of Avid's post customers expanded their HD services during the past year to accommodate increasing demand for HD content, especially in the television market. A growing number of facilities employed the Avid|DS HD system as well as the next generation Avid DS Nitris solution, Avid's newest HD finishing product.  Avid's prominence in Hollywood continued in 2003 with feature film editing credits including Seabiscuit, The Cat in the Hat, Mystic River and Tupac: Resurrection, which was shot in HD and finished and mastered on an Avid DS Nitris system....

Videography, May 11, 2004
Posting 'Fog of War': Errol Morris' Oscar-Winning Documentary
Though their subjects varied widely, three of this year's Academy Award-nominated documentaries had one thing in common. "My Architect" and "Capturing the Friedmans," as well as the winning film, "The Fog of War: Eleven Lessons of Robert S. McNamara," were finished at PostWorks New York. Winning the Oscar was a major achievement for Director Errol Morris, whose films, including "Thin Blue Line" and "Mr. Death," have been repeatedly overlooked by the Academy. It was no less a technical achievement for PostWorks, which played an integral role in the film's complex post-production....

Millimeter Magazine, Apr. 2004
DI Tech: NAS for DI
...PostWorks New York, for example, recently purchased a Sledgehammer HD!O system to manage its growing volume of encoding chores, which includes the digitizing and loading of DPX files for DI work. (The HD!O version adds realtime HD/SD video capture, playback, and recording.) PostWorks CEO Billy Baldwin says that “Sledgehammer undid the bottleneck” for handling the company's current range of projects, which include long-form work that was tying up a Quantel iQ for simple encode jobs. Running a 14,000-frame test that fed images to PostWorks's ArriLaser, Baldwin clocked the setup as some two hours faster to complete the task, as compared to output from the Quantel iQ's Dylan array. For PostWorks, says Baldwin, it makes more sense to liberate the iQ for more profitable work....

The Hollywood Reporter, Apr. 24, 2004
news digest
Apple opts for open H.264; Discreet smokes NAB show; Pandora picked by post leaders; HDV makes Final Cut....

Avid.com, Apr. 19, 2004
Guest Editors
Feature films.  Television commercials.  Prime time programs.  Documentaries.  Even the country's hottest outdoor fishing program.  These many categories and subjects are as unique as the people who bring them to life.  What do these professionals have in common?  They all entrust their ideas to Avid systems and solutions.  From the independent filmmaker using Avid Xpress Pro software to the full-service postproduction facility pushing the limits of HD production with Avid DS Nitris systems, each of our guest speakers has a powerful story to tell.  Please join Avid in welcoming them to NAB 2004!  Billy Baldwin is a twelve-year postproduction professional with experience in all aspects of video post.  A partner at PostWorks, New York's largest all-digital high definition facility, he is one of the pioneers in the use of digital intermediates in the film and television industries.  Billy's recent projects include "Queer Eye for the Straight Guy" for Bravo and the Academy Award winning documentary film, The Fog of War.

Max-T.com, Apr. 14. 2004
PostWorks NY and Sledgehammer HD!0; PostWorks one-steps the process with Sledgehammer HD!0, allocating its resources more productively -- and profitably
Following their recent move to a sprawling 50,000 square foot facility, NYC-based post-production specialisits PostWorks decided that a new, economical piece of equipment was needed to liberate more expensive machinery from time-consuming tasks.  Due to a massive volume of content combined with unrelenting deadines, bottlenecks developed as its edit rooms were tied up just to manage the encoding work -- digitizing and loading .dpx files in particular as projects involving digital intermediates increase.  So, PostWorks needed the ability to allocate legacy resources more productively and profitably....

iCOM Magazine, March 2004
PostWorks Teams With Director Errol Morris for Academy Award-Winning Documentary
When award-winning documentary filmmaker Errol Morris needed help organizing the huge array of archival footage in numerous film formats, and finishing his latest film The Fog of War: Eleven Lessons of Robert S. McNamara (Sony Pictures Classics) in 24p high-def format he turned to PostWorks New York, the full-service post production house specializing in high-def, off/online editorial, visual effects compositing, CGI and complete video and audio finishing for television, feature film and multimedia....

POST Magazine, Mar. 2004
EDIT THIS! 'QUEER EYE FOR THE STRAIGHT GUY'; HD-DVD and other DVD iterations are on the horizon
NEW YORK - Charged with giving hope to clueless and style-challenged heterosexuals, the witty and urbane Fab Five from Queer Eye for the Straight Guy display boundless energy and good humor. Those attributes are shared by the hardworking video and audio post teams that bring The Fab Five's makeovers to fans eagerly awaiting the next episode of the feel-good reality hit.  Produced by Bravo and Scout Productions of Boston and New York, Queer Eye is currently airing its third cycle of programs on Bravo cable and NBC. Shot primarily with two Sony DSR-570 DVCAM cameras, each episode unfolds over a four-day period. Sony PD-150 Mini DV cameras are also used to capture action in close quarters such as closets and bathrooms.  Five to six weeks are devoted to offlining each episode. "We wish it was longer," says supervising producer Lynn Sadofsky. The pace of the series is rapid: There may be as many as 1,000 cuts in a 45-minute episode. "There's an overall sense of urgency - The Fab Five running out of their car and into the straight guy's house, racing into stores - and that's reflected in the way we edit," she notes.   Post production offices for Queer Eye are on the premises of New York City's Postworks www.pwny.com, which handles the offline (Avid Media Composer Meridiens), online (Avid Symphony) and color correction (da Vinci 2K)....

SHOOT, Mar. 28, 2004
Ebel Goes On A Little Tikes Adventure
"Playroom Pirates" features youngsters enjoying a pirate adventure: navigating through a storm, spying an enemy ship and engaging in a sword fight. As the kids escape their sinking ship, their parents watch their imaginary adventure in amazement. The :30 concludes with the tag line, "Little Tikes. For the way kids really play."  TELECINE:  PostWorks, New York.  John Crowley, colorist.

Max-T.com, Mar. 9. 2004
Maximum Throughput Enables PostWorks New York to Manage Media More Efficiently Throughout Facility Sledgehammer Selected by Post-Production Specialists Renowned for Their Technical Expertise
Maximum Throughput Inc., a developer and provider of high-performance, networked storage and media management solutions, announced today that PostWorks New York, post-production specialists occupying one of the most technologically robust facilities on the east coast, has purchased a Sledgehammer HD!O system to manage a massive volume of encoding; the digitizing and loading of .dpx files in particular as projects involving digital intermediates increase....

SHOOT, Mar. 5, 2004
Oscar Winners Carry Spot Ties
HOLLYWOOD - A number of the artisans who won Academy Awards this past Sunday (Feb. 29) have ties to the commercialmaking community. One in fact, Errol Morris, earlier this year received a Directors Guild of America (DGA) Award nomination as best spot director of 2003. Morris, who directs commercials via bicoastal/international @radical.media, also earned a DGA nomination for his documentary The Fog of War. While he didn't win the DGA Award in either category, the film went on to garner the coveted Oscar, gaining distinction from the Academy of Motion Picture Arts and Sciences as best documentary feature.  The Fog of War was built around interviews that Morris conducted with former U.S. Secretary of Defense Robert S. McNamara. PostWorks, New York—which recently completed its acquisition of New York post facilities The Tapehouse Companies and SMA Realtime—did the online, color correction, film recording and audio post. The cinematographer on The Fog of War was Peter Donahue, who recently returned to Dattner Dispoto and Associates, Los Angeles, for representation. Donahue also regularly serves as DP on Morris-helmed commercials.

Quantel.com, Mar. 4, 2004
Postworks' iQ conforms the Oscar-winning 'Fog of War'
New York-based Postworks is basking in Oscar's glow these days, having played a major role in the film 'Fog of War – 11 Lessons From the Life of Robert S. McNamara' which won the Best Documentary category at this year's 76th Annual Academy Awards. Postworks' Senior Editor, Peter Heady, conformed the 106-minute winning documentary using the Quantel iQ....

Millimeter Magazine, Feb. 2004
DI: NYC
The recent Paramount/MTV Films documentary on rapper Tupac Shakur, Tupac: Resurrection, is believed to be the first wide-release feature film to be digitally mastered using Avid's new DS Nitris system. Although not strictly an independent film since Paramount released it, Tupac evolved out of the MTV documentary division under the stewardship of director/producer Lauren Lazin and was put together “indie style” on a limited budget and turnaround schedule. Therefore, the digital mastering process used on the project at PostWorks, New York, according to Billy Baldwin, president of PostWorks, reflects a workflow that he claims will become increasingly affordable for independent and limited-budget productions in the near future.  Among other things, the project raises the issue of how digital intermediate should be defined. The job came to PostWorks when the company was still beta-testing Nitris — a multistream, 10-bit, HD mastering tool — and it required editor Rich Calderon to combine footage from dozens of video and film formats and sources into a pristine HD master.  Baldwin admits that the project does not fit the definition being used these days for DI: a project acquired on film, mastered entirely in the digital universe, and then shot back out to film. But he says that definition is beside the point when looking at Tupac: Resurrection, which started with material from almost every possible format and was mastered to HD resolution before going out to film.  “The term ‘digital intermediate’ is getting thrown around a lot these days, but when you think about it, a DI simply means the use of a digital medium to master a project prior to going out to film, without having to cut negative,” he says. “This job met that definition, and more importantly, it illustrates the concept that technology for performing a DI is becoming accessible for indie films, documentaries, and more straightforward narratives that are not effects intensive. In such situations, the requirement to work at true 2k or 4k — more expensive workflows — is not there. This accessibility is important because on this job and on future jobs like it, the need to create multiple versions at broadcast resolution is more simply accomplished using Nitris. We had to simultaneously build the theatrical version, a 4×3 pan-and-scan version, and so on.”

Design In Motion, Feb. 9, 2004
Click 3x Helps Showtime's 'Queer as Folk' Come of Age
Telecine: Postworks, New York, Colorist: Eric Alvarado.

Digital Producer, Feb. 9. 2004
Click 3x Helps Showtime’s “Queer as Folk” Come of Age
Film to tape was done at Postworks, New York, Eric Alvarado, colorist. 

Film&Video Magazine, Jan. 2, 2004
The Indie Diary
Last Spring, Michael Totten and Leda Maliga, independent filmmakers and producers, agreed to produce a short film written and directed by Josh Marchette. That left them about 6 months to make their short before a Sundance submission deadline of Sept. 12th. Film and Video asked Totten and Maliga to document the making of their picture. 

IFP New York indielink, Dec. 2003
The 25th Annual IFP Market 2003 Conference Audio Cassettes
Avid Solutions for Filmmakers:  Your film or digital project is in the can and now your looking for the best editing solution.  This workshop examines the latest technology that Avid has to offer for both film and 24p formats.  Topics covered include workflow and enhancements in digital audio production.  Moderator:  Michael Phillips, Avid Technologies.  Panelists:  Billy Baldwin, Postworks; Irene Burns, Post Supervisor, Levinson/Fontana; Emily Gardner, Post Supervisor, InDigEnt. 

NY FCP UG, Dec., 2003
NYC FCP UG December meeting
December again, shorter days lead us deeper into the cave with hot mulled cider, chestnuts roasting and the annual NYC FCP Holiday Grab Bag meeting. Taking place next week, 17 December which is a Wednesday night, at the Apple Store. Doors open at 5:00pm, show goes from 5:30 to 7:30, you might want to leave behind your creature comforts and join the community for one last get together this year. Presentations:  Billy Baldwin, CEO Postworks, NYC.

Digital Cinema, Dec. 19, 2003
TV Remix "Pops" Into Theaters
Television is no longer the only outlet for innovative commercials. New York-based PostWorks has finished a 1080/24p commercial for Coca Cola, titled "Sprite Remix," that's designed for cinema screens. The creative vision of ad agency Ogilvy Mindshare, the 60-second hip-hop spot promotes a new soft drink.  "The challenge for us was mixing and matching video from a variety of formats, frame rates, and aspect ratios into one spot that would be visually flawless when projected onto a wide screen," says Peter Heady, PostWorks HD editor. "This meant scrutinizing every frame and making countless tweaks for a very clean presentation."  Ironically, once the video was technically pristine, Heady did subsequent passes to add dirt and film grain, and scan lines on background video monitors. Postproduction required transforming original SD film footage and 1020 by 1080 TIFF files into 1080/24p using PostWorks' Quantel iQ workstation. The iQ scan-converted 30 fps video to the filmic frame rate of 24 fps. The HD cinema version also involved extensive graphics and effects compositing work, including rotoscoping, matte work, logo removal, and color correction, all of which was done in the IQ. After the finished HD Cinema spot was output from the iQ onto Panasonic HD-D5 tape, it was printed to film on a Lasergraphics machine in both the 185:1 (flat) and 235:1 (anamorphic) formats for cinematic release.

2-pop forums, Dec. 12, 2003
NYC FCP UG December meeting
Taking place next week, the New York City Final Cut Pro user group (NYCFCPUG) will meet Wednesday evening the 17th of December, at the Apple Store. PRESENTATIONS:  Billy Baldwin, CEO Postworks, NYC.

SHOOT, Dec. 12, 2003
R!OT Manhattan Adds Jay Tilin
Visual effects artist and editor Jay Tilin has joined R!OT Manhattan. He comes over from The Anx, New York, which PostWorks, New York, took over earlier this year as part of its acquisition deal for Tapehouse, New York. Tilin had been with The Anx and Tapehouse for more than a dozen years. A native New Yorker, he began his career with Devlin Video Services, New York....  Other recent spot credits for Tilin include Compass Bank for Crispin Porter + Bogusky, Miami; Ralph Lauren via Carlson & Partners, New York; The Olive Garden out of Grey, New York; and Victoria's Secret via its in-house agency. In the longform arena, Tilin has worked on the PBS documentary Reporting America at War, and Sean "P. Diddy" Combs' production Bad Boy This, Bad Boy That, as part of the MTV Making the Band series. 

Digital Producer, Dec. 5, 2003
PostWorks New York Helps Explore Hip Hop's Connection Brian de Palma's "Scarface"
"In this country, you gotta get the money first; then you get the power." So says Tony Montana, the anti-hero of director Brian de Palma's classic Scarface (1983), played with staggering gusto by the immortal Al Pacino. Judging by Scarface: Origins of a Hip Hop Classic (2003), a new mini-documentary from Def Jam Records and Gorilla Flix, that kind of gritty insight resonated for many of today's hip-hop stars. Directed by noted music video director Benny Boom and finished at PostWorks New York, the fascinating short will be included on the 20th anniversary DVD of the film. Starring such names from the hip-hop world as Sean "P. Diddy" Coombs, Method Man, Eve, Nas and, of course, Scarface, the film features many of the stars explaining how much the movie has meant to them. P. Diddy claims to have seen the film sixty-three times. Method Man likens Tony Montana to Superman, while Scarface explains his reaction in three simple words: "That was me!" From there, the film's most famous scenes are examined and dissected for their importance to the emergence of today's hip-hop culture. Throughout, the film's themes are accentuated by the rapid fire editing, graphics and titles created by the PostWorks team. "PostWorks colorist Eric Alvarado had worked with Benny Boom a number of times before," explained Todd Ruff, Creative Director at Post Works. "We were very eager to work on such a cool project and fortunately they also needed a strong graphics package. Gorilla Flix, Benny's company, also ended up renting three Avid suites and performed the re-record mix here with the help of PostWorks' audio engineer Matt Foglia." Roughly divided into chapters bearing titles such as "The Come Up" and "The Downfall," Origins benefits from some highly-stylized titles created by PostWorks artist Aaron Vasques. "We started working on a Friday night," remembers Vasques, "and we pretty much worked straight through the weekend, nights and all. It was definitely a great experience to work that closely with Benny, rather than having to send things out for approval. He knew exactly what he wanted, which was an illustrative treatment somewhat reminiscent of line art. Using Adobe After Effects, we came up with a unique style." Vasques and Boom were not the only ones pulling all nighters at PostWorks. Colorist Eric Alvarado, a long-time friend and collaborator on some fifteen of Boom's music videos, received final footage at nine o'clock on a Sunday night, then worked through the night to transform the MiniDV footage into just the right look. "The subject and the interviews were great, but it was a big challenge to get the appropriate look and feel out of the MiniDV footage," said Alvarado. The footage was shot fairly quickly using whatever lighting was available, so I used a lot of Power Windows and grading to bring out a balanced picture and a good clean image. It was a long night, but definitely worth the effort." 

Boards Edit Guide, Dec. 1, 2003
Cutting commentary
Nothing solicits strong opinion like a good old-fashioned roundtable. With this in mind, Boards corralled some top folk from leading US edit houses to discuss points of professional pride and pain. While the bottom line is essentially 'talent trumps all', our well-informed debaters proffer insights on every aspect of the editorial business, from emerging technology through business models to arguably one of the most important tools of an edit shop - catering.
The Panelists: Stephanie Apt: Managing director, Final Cut, New York, Billy Baldwin: Owner, PostWorks, New York, Bob Cagliero: Executive producer, 89 Edit, New York, Bob Corti: Executive vice president, Manhattan Transfer, Miami....

SHOOT, Nov. 28, 2003
Coppos Kicks It For Staples
In "Soccer Mom," a man stands on the sidelines of a children's soccer game next to a cardboard cutout of his wife. As he shouts encouragement at the team, he interacts with his "wife," high-fiving her and holding her up. Suddenly, the cutout gets hit in the face with an errant soccer ball, and topples over. The crowd gasps, and the man picks her up, saying, "She's okay. Mommy's okay. She'll walk it off." A voiceover states, "Back to school shopping can take you away from other things," as the ad cuts to a mother and son looking for school supplies at Staples. The :30 ends with the Staples logo and the voiceover: "Back to school shopping at Staples. Now that was easy."AUDIO POST:  The Anx, New York.  Carl Mandelbaum, mixer; Lou Teti, assistant mixer. (Mandelbaum has since joined PostWorks, New York, and The Anx name has been dissolved.)

SHOOT, Nov. 28, 2003
Why HD?  Commercialmakers identify advantagesto HD finishing
How many people do you know who are receiving high-definition television (HDTV) broadcasting in their homes? Probably not too many—either inside or outside the industry. Early on, the high definition argument was to post spots in HD so they wouldn't look inferior to the programming available on HDTVs. But since advertising is about reaching a quantifiable audience, HDTV has not been a compelling option for advertisers. For limited HD audiences....
Cinema Advertising:  The most commonly cited reason for using HD, according to companies such as Technicolor Creative Services and PostWorks, both in New York, is the ease in repurposing TV ads for cinema distribution. Theatrical advertising is already popular in many parts of the world, including Canada and much of Europe, and it appears poised to take off in the U.S.

Film&Video Magazine, Nov. 16, 2003
Avoiding Speed Bumps in Posting HD; How Savvy Producers Keep High Def Headaches to a Minimum
“For [HD] broadcast the formats are our greatest challenge,” says Billy Baldwin, CEO at PostWorks New York. “Add in all the formats from 480p to 1080i — along with frame rates from 23.976 to 60p — and you’ll find that there are probably 18 different digital formats on the market right now. Everyone thought that HD would bring an end to the format wars, but now it’s worse.”  Founded in 1995, PostWorks is a veteran of the format wars, having produced feature films, commercials, dramatic series, and a variety of other broadcast projects including work for ESPN and Monday Night Football as well as several HD pilots and shows for HBO. The only way for a house like this to keep up with client demands is to make a huge investment in equipment. PostWorks uses the works, including a Quantel iQ, Discreet’s inferno system, two Avid Nitris systems, and an HD linear suite. “If you are going to do HD, you have to go all the way or go home,” notes Baldwin. “Anyone can go out there and buy an HD-compatible [computer-based NLE] system, but you can’t run a professional company using software solutions.” ....

Hollywood Industry, Nov. 15, 2003
10 Ways To Stretch The Indie Dollar
From pre-production to post and from low-budget to no-budget, the common denominator in independent projects is a lack of Hollywood largess. We spoke with a range of creative personnel working in every aspect of the business — including directors, producers, editors and post gurus — to get the skinny on how today’s crop of maverick movie-makers is getting maximum value from minimal investments. 

SHOOT, Nov. 14, 2003
John Crowley, Jay Tilin Come Aboard PostWorks
NEW YORK - Earlier this year, New Jack, LLC, a holding company formed by the principals of PostWorks, New York, reached agreements in principle to acquire substantially all the assets of Editing Concepts (the parent of the Tapehouse family of companies) and SMA Realtime (SHOOT, 5/2, p. 1). At that time, the company began an effort to merge these businesses into the PostWorks brand, and establish one of the largest post entities on the East Coast. PostWorks CEO Bill Baldwin anticipates completing the acquisitions by year's end; PostWorks is already managing the two pending acquisitions...."PostWorks is well-positioned for HD, which, thanks to our clients' increased demand for cinema spots, means we can better accommodate the advertising community," added Tilin. What's currently housed at The Anx—a Quantel Henry, Discreet Smoke, Discreet Flame, and two Thomson Grass Valley Spirit Datacines with Pandora Pogle Mega-Def color correction systems—will be moved to the Soho locale. (PostWorks recently discontinued offering the Millennium Machine for telecine; it now offers all Spirits.)  The Soho space offers a new HD projection screening room designed specifically for the projection of cinema spots. In the new space, the Anx talent will also have access to the rest of the company's HD resources, including a Quantel iQ, two new Avid Nitris systems, a Sony-equipped HD linear bay, da Vinci 2k, two HD Discreet Infernos, LaserGraphics and ArriLaser film recorders, Teranex standards converters, Alias' Maya, Avid Media/ Film Composer suites, Digidesign's ProTools, and support of all HD formats, including HD D5, HDCAM and D6. 

The Hollywood Reporter, Oct. 28, 2003
New York Post
Busy post houses in New York might be entering a kind of renaissance, as several large new facilities operated by major companies such as Technicolor and Ascent Media Group set up shop in Manhattan and existing houses expand — all hoping to capitalize on the recent increase in the number of shooting days in the city....

Avid.com, Oct. 23, 2003
Major New York Postproduction Facilities Invest in Avid DS Nitris
Avid Technology, Inc. (NASDAQ: AVID) today announced that three major New York City-based postproduction facilities -- FrameRunner, PostWorks, and Image Group -- are among the first to purchase the Avid DS Nitris system, which hit the market worldwide last week. Each company is adding an Avid DS Nitris system to its existing arsenal of Avid products and will use it to finish increasing amounts of HD work, including commercials, television programs, and feature films. "Avid DS Nitris has many of the Media Composer features that our editors know and love, and its faster than anything else out there," said Billy Baldwin, president of PostWorks. "The capability to do real-time effects and playback with uncompressed 10-bit HD media has been on everyone's wish list for some time now. Today, with Avid DS Nitris, it's a reality. We're already using the system to finish a Bruce Springsteen DVD and a Tupac Shakur documentary for MTV."

Post Industry, Oct. 22, 2003
Major New York Post-Production Facilities Invest in Avid DS Nitris
Avid Technology, Inc. announced that three major New York City-based postproduction facilities -- FrameRunner, PostWorks, and Image Group -- are among the first to purchase the Avid DS Nitris system, which hit the market worldwide last week. Each company is adding an Avid DS Nitris system to its existing arsenal of Avid products and will use it to finish increasing amounts of HD work, including commercials, television programs, and feature films. As the most robust system in Avid's Digital Nonlinear Accelerator family, or Avid DNA, the Avid DS Nitris system augments host-based processing with the media processing power of more than 30 of today's latest Pentium 4 processors. It is the only finishing tool on the market to deliver real-time effects and color correction with two streams of uncompressed 10-bit HD media and eight streams of 10-bit uncompressed SD media. The Avid DS Nitris system supports a wide range of high-quality formats, from compressed SD to 2K, and delivers a deep set of video and audio editing capabilities - including the color correction feature found in the Symphony system. 

Digital Producer, Oct. 22, 2003
New York Postproduction Facilities Invest in Avid DS Nitris; As demand for HD finishing for commercials, television, and films increases, companies choose real-time 10-bit system from Avid
Avid Technology, Inc. today announced that three major New York City-based postproduction facilities -- FrameRunner, PostWorks, and Image Group -- are among the first to purchase the Avid DS Nitris system, which hit the market worldwide last week. Each company is adding an Avid DS Nitris system to its existing arsenal of Avid products and will use it to finish increasing amounts of HD work, including commercials, television programs, and feature films.  "The interest in short- and long-form HD projects from some of our most high-profile clients -- such as CBS and Comedy Central -- has been growing steadily, and we felt it essential to make the move to HD without sacrificing the performance and features we've come to expect from SD systems. Avid DS Nitris meets all of our needs in one box," said Tom Emmenegger, president of FrameRunner.  "Avid DS Nitris has many of the Media Composer features that our editors know and love, and it's faster than anything else out there," said Billy Baldwin, president of PostWorks. "The capability to do real-time effects and playback with uncompressed 10-bit HD media has been on everyone's wish list for some time now. Today, with Avid DS Nitris, it's a reality. We're already using the system to finish a Bruce Springsteen DVD and a Tupac Shakur documentary for MTV."... 

Digital Producer, Oct. 22, 2003
Quantel Conducts Seminar Demonstrating Workflow Concepts; "Changing Technologies For :30 Spots" in Chicago Next Week
In association with Roscor and SCREEN Magazine, Quantel is conducting a seminar on “workflow change.” The goal is to create a lively discussion that will help Agency and Post creatives prepare for the next generation of high-resolution finishing techniques. High resolution finishing – in either HD or 2K – allows for higher quality SD masters, easier effects work with increased flexibility in color correction and potentially lower Telecine cost. The panelists include: Craig Leffel, Senior Colorist, Opt1mus; Larry Byrne, Senior Partner, Executive Producer, Ogilvy & Mather, Michael Davis, Vice President, Director Of Emerging Media, Draft Chicago; Paul Demars, Director Of Technical Operations, Grace & Wild, Detroit; Peter Heady, Senior Editor, Postworks, New York.

DigitalVideoEditing, Oct. 3, 2003
Post Works' New Sprite Remix High Def Spot Splashes on Cinema Screens
NEW YORK, NY (Oct. 03, 2003) -- With captivating, contemporary imagery, eye-popping colors, and an irresistible dance mix, Coca Cola's "Sprite Remix" high-definition spot recently spashed onto cinema screens nationwide. Finished in 1080/24p by PostWorks New York for cinematic presentation, "Sprite Remix" is the creative vision of Ogilvy Mindshare, New York, to promote the new Sprite Remix tropical fruit flavored soft drink.  Targeting teens and 20-somethings, the 60-second spot features hip-hop artist Biz Markee spinning records back and forth on a turntable for effect. Behind him are multiple monitor walls filled with dynamic, trendy, artistic video displays. Adding to the spot's visual impact.is an array of stock footage‹ including an Elvis Impersonator, Puff Daddy, Magic Johnson, Mohammed Ali, and a dancing Suma wrestler‹edited in a quick pace "flutter cut" style. "The challenge for us was mixing and matching video from a variety of formats, frame rates and aspect ratios into one spot that would be visually flawless when projected onto a widescreen," says Peter Heady, PostWorks HD editor. "This meant scrutinizing every frame and making countless tweaks for a very clean presentation." Ironically, once the video was technically pristine, Heady did subsequent passes during which he added dirt and film grain to give the stock footage an antique look as well as scan lines on the video images he composited into the monitors on the wall behind Biz Markee.  While the HD cinema spot was based on the same footage and graphics formerly edited for two 30-second TV spots by Rana Martin of Lost Planet Editorial, PostWorks technical team‹including VP of Operations Tim Spitzer and Post Supervisor Aimee Marks‹pushed the creative concept much farther. "Since we had been given the creative rough cuts and high-resolution graphics used for the two TV spots, putting the HD Cinema version together should have been a very straight-forward process. But because the clients wanted to explore creative possibilities, and push the envelope for the cinema version, much of what we did was actually created from scratch," says Heady.... 

Design In Motion, Oct. 1, 2003
PostWorks Delivers 'Sprite Remix' HD Cinema Spot
With captivating imagery, eye-popping colors and an irresistible dance mix, Coca-Cola's :60 "Sprite Remix" high definition spot recently splashed onto cinema screens nationwide. Finished in 1080/24p by PostWorks New York for cinematic presentation, "Sprite Remix," the creative vision of Ogilvy Mindshare, promotes the Sprite ReMix tropical fruit-flavored soft drink.... 

Moviemaker, Sept., 2003
Parting the Wizard’s Curtain
James Tocher (MM): What are some of the philosophies of your company? What's your approach to the footage and your client?  Billy Baldwin, PostWorks (BB): It's important to remember that, in addition to frame rate conversions and possibly de-interlacing, which could soften the image, you're working with two different color spaces (YUV versus RGB)—not to mention the film stocks' interpretation of the image with respect to contrast. The dangerous thing about getting into a lot of shot-to-shot timing is that you just don't have the control that you have in the HD environments with something like the daVinci. MM: What is the relationship between cost and quality, from your company's perspective? BB: There's a reason why cheaper formats are cheaper—you get what you pay for. I personally believe that the Mini DV wave hit the beach and has already washed out to shore. The accessibility of HD and 24p formats have opened up incredibly in the last few years and there is very little reason for filmmakers not to pursue those options....

Avid.com, Sept. 21, 2003
PostWorks New York
Most post houses hope to gain very specific benefits from using the Avid Unity MediaNetwork shared media networking and storage solution. Those benefits often include the ability to handle more jobs, increase revenues and enjoy an easier, more streamlined workflow. PostWorks, New York, a premier post-production house that provides post services for a wide range of television projects, had a slightly different reason for installing Avid Unity MediaNetwork.  “For us, having Unity had more to do with what we were going to lose by having it,” says Billy Baldwin, owner of the New York-based post house. “All that hectic running around, moving storage from one room to another…it’s bad for clients, bad for engineers, bad for everybody. Our primary goal was to get rid of all of that time spent moving media around.”

Avid.com, Sept.. 21, 2003
Avid Announces Worldwide Availability of Avid|DS v6.0 Family; Beta Customers Underscore Benefits of Media Composer-style Interface, Increased Processing Performance, and Enhanced Conform Capabilities
Avid Technology has announced the worldwide availability of the Avid®|DS HD, Avid|DS and Avid|DS HD Editor v6.0 systems, the company's premiere solutions for real-time editing and finishing in standard and high definition. During Avid's extensive beta testing program, editors gave the new version high marks for its now fully mature Media Composer®-style interface and enhanced conform capabilities. "This is amazing. The interface on the new version is so similar to Media Composer," said Billy Baldwin of PostWorks, an Avid|DS HD v6.0 beta site. "This means that editors at our facility can easily move to Avid|DS from any Avid system, along with their media, whether they are going from offline to online or from standard definition to high definition." ...

The Hollywood Reporter, Sep. 16, 2003
New York Post
A directory of New York postproduction houses...

SHOOT, Sep. 12, 2003
SPECIAL REPORT: EDITORS_ The Rush; Avid's Adrenaline speeds up spotwork
Offline editors are getting a rush from Media Composer Adrenaline, the first product offering based on the new Digital Nonlinear Accelerators (DNA) from Avid, headquartered in Tewksbury, Mass. The system, which costs $24,999, is earning kudos from those who have used it. "We bought six of them," reports Michael Raimondi, president of Union Editorial, Santa Monica, which opened its doors six months ago. "After working on them, it just made sense to buy them."  Billy Baldwin, CEO of New York-based PostWorks, agrees. His eight-year-old company beta tested two Adrenalines, and subsequently acquired 13 more. "I think it's a very well thought-out system," he says. "It is significantly faster [than other systems], and gives you significant power in the tool set."

SHOOT, Sep. 5, 2003
PostWorks Taps HD Technology to Produce Sprite Cinema Ad
Interest in repurposing work originally created for broadcast television continues. A recent example is Sprite's "Remix" for Ogilvy Mindshare, New York, which was re-finished in high definition (HD) at New York-based PostWorks for cinema distribution. A similar standard-definition (SD) version is currently airing on broadcast television....

Design In Motion, Aug. 18, 2003
PostWorks New York Influences 'A Decade Under the Influence'
PostWorks New York lent its technical know-how to the complex post-production process for "A Decade Under the Influence," a three-part IFC documentary that examines the films and filmmakers that led to the cinematic revolution that took place in the 1970s. Post-production involved the organization and storage of hundreds of hours of source footage from myriad sources....

Directors World, Aug. 18, 2003
PostWorks New York Influences 'A Decade Under the Influence'
PostWorks New York lent its technical know-how to the complex post-production process for "A Decade Under the Influence," a three-part IFC documentary that examines the films and filmmakers that led to the cinematic revolution that took place in the 1970s. Post-production involved the organization and storage of hundreds of hours of source footage from myriad sources....

HDExpo, Aug. 18, 2003
HD EXPO BRINGS “VARICAMP” WORKSHOPS TO NEW YORK; HD EXPO Hosts Second Workshop for East Coast to Foster Growth of HD Production in the Area
Following the recent success of the first HD EXPO Workshop in Washington, D.C., HD EXPO founder Kristin Petrovich announced today that the organization will bring the HD EXPO Workshop to New York in order to create a strong high definition community. Panasonic lends their high definition VariCam for the HD EXPO “VariCamp” Workshop, which hopes to encourage the use of high definition programming within the production industry locally. Other significant forces in high definition include IDX and Fujinon, who are participating nationally in the workshops as workshop HD EXPO Gold Sponsors.  The HD EXPO “VariCamp” Workshop will be held October 16, 17, 18, 2003 at Postworks, located at 100 6th Avenue (Avenue of the Americas), New York, NY 10013.... 

SHOOT, Aug. 15, 2003
Dirs. Pollack And Mandoki Revisit Dr. King's Dream For Saatchi, N.Y. 
 Memory fades after 40 years. Which is why a pair of PSAs out of Saatchi & Saatchi, New York, and produced by Santa Monica-based Independent Media, are somewhat startling. The spots imagine what life in America would be like today if Dr. Martin Luther King Jr. had never dreamt of racial equality. "Halle" was directed by Sydney Pollack (Out of Africa, Tootsie) and stars Oscar-winning actress Halle Berry.  "Al" was directed by Luis Mandoki (Angel Eyes, Message In A Bottle) features Today Show weatherman Al Roker.  The online editor was Tim Farrell of Liquid Light, New York. Black Logic (now PostWorks), New York, created the graphics. Credit goes to CG director Doug Johnson, Inferno artist Brian Benson, CG artist Kuan Lin and producer Angela Cacchione. Rob DiFondi of Sound Lounge, New York, was the audio mixer. Sound designer was Marshall Grupp of Marshall Grupp Sound Design & Music, New York.  "All these services were donated," Saatchi executive producer/associate director of broadcast production/ producer Sheldon Levy said gratefully. "It was first class all the way in terms of support services and all their vendors."

Boards Online, June 1, 2003
Hookups
New York-based PostWorks announced its takeover of beleaguered neighbor Tapehouse and all affiliates including Tapehouse Editorial, Digital Film and Broadband, as well as Black Logic and The Anx. PostWorks also purchased NY-based SMA Realtime, which, like Tapehouse, was in Chapter 11 bankruptcy protection and already under PostWorks' management. At the same time, PostWorks acquired 50% of audio post shop Caterini Studios, NY. 

Mix Magazine, May 15, 2003
PostWorks Finishes Lenny Kravitz DVD
Editor Barney Miller recently finished up work on the DVD documentary about artist Lenny Kravitz (Lenny Live) at Post Works New York.   "We were happy to get the chance to work with both Barney and Mark [Seliger, photographer and music video director] again," said Post Works COO Billy Baldwin. "They had a great deal of footage to work with and it made perfect sense for them to use our Avid Symphony systems, as well as our staff. We were willing to do whatever it took to make this project a success."  Miller is the founder of New York's Company X Media and has worked with Seliger on previous music video projects for Elvis Costello, Willie Nelson and Kravitz. He said that the project began with a small test back in July of 2002, when Seliger began shooting Kravitz onstage and off during his recent summer tour.  "We cut the backstage footage on a laptop with Avid DV Xpress," said Miller. "Lenny even helped edit some of the DV footage from a coffee shop around the corner from his hotel. From 300 hours, we cut it down to about four. We then created select reels and made DV tapes, which we transferred to Digibeta in order to blend it as closely as possible with the live concert footage. One of the concerts used just one camera, while the other two used four and six cameras. It was like blending 11 cameras into one seamless look. We used two laptops for the backstage stuff, but cut the live concert footage on the Avid Media Composer."  "The team at Post Works are always great to work with," Miller said.  "They are technically proficient and impeccably equipped for a job such as this one. It only made sense to finish the project on their Symphony systems, given that we used Avid products for the rest of the project. I was able to take the footage, conform and tweak it, and then perform tape-to-tape corrections at Post Works. I could just send the Media Composer bins over, and they made all the necessary changes to the uncompressed version on their Symphony."

Mix Magazine, May 15, 2003
PostWorks Acquires Tapehouse Companies
Post-production company PostWorks New York has acquired the Tapehouse Companies and all of its affiliates (including Tapehouse Editorial, Tapehouse Digital Film, Tapehouse Broadband, Black Logic and The Anx), as well as SMA Realtime. Additionally, PostWorks has purchased 50% of audio post house Caterini Studios.  "In an age of shifting formats and technology, our goal is to provide a safe haven for producers to realize their projects," said Billy Baldwin, PostWorks CEO. "We are taking the best parts of these companies and bringing them forward into a new era of post-production that will surpass client's expectations and focus on service, not just services."....

Boards Online, May 7, 2003
PostWorks scoops up Tapehouse, SMA; CEO says multiple acquisitions driven by desire for talent
New York-based PostWorks looks set to become a post powerhouse after its recent spending spree.  This week the company announced its takeover of beleaguered neighbor Tapehouse and all affiliates including Tapehouse Editorial, Digital Film and Broadband, as well as Black Logic and The Anx.  PostWorks also purchased NY-based SMA Realtime, which, like Tapehouse, was in Chapter 11 bankruptcy protection and already under PostWorks' management. At the same time, PostWorks acquired 50% of audio post shop Caterini Studios, also of NY....

POST Magazine, May 5, 2003
POST WORKS ACQUIRES COMPANIES
NEW YORK — Post house PostWorks in New York has acquired the Tapehouse Companies and all of its affiliates including Tapehouse Editorial, Tapehouse Digital Film, Tapehouse Broadband, Black Logic and The Anx, as well as SMA Realtime and 50 percent of audio post house Caterini Studios.... 

Videography, May 5, 2003
PostWorks Acquires Assets of Tapehouse Companies, SMA Realtime
Post-production company PostWorks New York has acquired the Tapehouse Companies and all of its affiliates -- including Tapehouse Editorial, Tapehouse Digital Film, Tapehouse Broadband, Black Logic and The Anx -- as well as SMA Realtime. Additionally, PostWorks has purchased 50 percent of audio post house Caterini Studios....

SHOOT, May 2, 2003
PostWorks Principals Move To Acquire Tapehouse Cos.
NEW YORK - As the industry says goodbye to a legacy, there are dramatic changes afoot in the New York postproduction community. Earlier this month, two longstanding Manhattan companies filed for Chapter 11 bankruptcy: Editing Concepts Inc., the company founded decades ago by industry veterans Arthur Williams and Mark Polyocan, which includes the Tapehouse family of shops; and SMA Realtime, headed by president/partner Mike Morrissey and CTO/partner David Satin.  New Jack, LLC, a holding company recently formed by the principals of PostWorks, New York—CEO Billy Baldwin, chairman David Rosen and COO/CFO Robert E. DeMartin Jr.—is managing both Editing Concepts Inc. and SMA Realtime, and has agreements in principle to acquire substantially all their assets, according to Baldwin. New Jack is operating under a temporary managing agreement for Editing Concepts Inc., approved by the bankruptcy court; final approval was pending at press time, according to Editing Concepts Inc.'s attorney Jerome Reisman of Reisman, Peirez, Reisman & Calica, Garden City, N.Y. Editing Concepts principals Polyocan and Williams could not be reached for comment as SHOOT went to press....

SHOOT, May 2, 2003
Home
And speaking of returning home, there's a familiar name back in SHOOT's masthead and on its front page this week: Carolyn Giardina, who comes aboard as senior editor/technology and postproduction. She first established herself in the business as a SHOOT reporter, moving up the ranks as senior editor/postproduction, and editorial director of a series of supplements on DTV and Advertising. Carolyn established top contacts throughout the business, providing our readership with expertise and insights into assorted significant developments. A couple of years ago, she left to take on the editorship of a monthly trade publication, but thankfully, she's now back with us on the weekly news beat. Her contributions to this week's issue include reportage on PostWorks' deals involving Editing Concepts (parent to the Tapehouse companies), SMA Realtime and Caterini Studios. We welcome her back. 

SHOOT, Apr. 4, 2003
STREET TALK
PostWorks, New York has entered into an agreement to acquire substantially all the assets of Tapehouse, New York, and its affiliates (Tapehouse Editorial, Tapehouse Digital Film, Tapehouse Broadband, Tapehouse Toons, Photomag, Black Logic and The Anx), as well as the assets of SMA Realtime, New York. Additionally, PostWorks has acquired 50 percent of New York audio post house Caterini Studios. The deals widely expand PostWorks continued growth into high definition, film finishing, visual effects, CG animation, graphic design and audio. In the coming months, PostWorks New York plans to consolidate most of the companies into a new 45,000-square-foot corporate headquarters in the SoHo section of New York—a prime exception being The Anx, which will remain in its current downtown Manhattan facility….

POST Magazine, March 27, 2003
NAB '03: HARDWARE OR SOFTWARE?
Billy Baldwin, COO of PostWorks New York, agrees. “It is important to see through the clouds of euphoria that surround software-based systems and get back to the business of post. That is, software is the smallest part of the equation when it comes down to creating an end product that must meet professional distribution standards. We will still see a significant amount of manufacturers looking to ride the wave by creating third-party plug-ins and hardware for software-based NLEs, but the deficits and limitations of piecing systems together from multiple manufacturers have proven to greatly out weighs the benefits.”  In terms of hardware, Baldwin has his eye on the latest in HD digital projection. “There are very few true digital HD projectors in New York. Many facilities that say they do it merely take a downconverted standard definition signal and feed it into a CRT projector. That’s not true HD, let alone 24p. Because there is no current projection standard and color grading is a major concern for us, we’ll be specifically looking at DLP projectors.”

SHOOT, Mar. 7, 2003
STREET TALK
At press time, rumors were swirling that a deal is brewing between New York shops PostWorks and the Tapehouse family of companies. Stay tuned….

SHOOT, Feb. 7, 2003
Area 51 Is Fast For Imagistics
Four :30s showcase the dependability and efficiency of Imagistics systems. In "Anticipation," male office workers express disbelief that the copier is down, not realizing that the women have unplugged it in hopes that the hunky repairman will arrive on the scene. "Jamming" shows the copier being disabled by the workers with wads of paper, coffee cups and a shoe. In "Report," two workers who've finished assembling a report, are indignant when a slimy co-worker takes one to personally deliver to the boss. Thanks to an Imagistics system, the employees deliver the report first. "Zip," which is the nickname of a once-indispensible and super-fast worker, wonders if he still "has it", after an Imagistics system has taken his place.  POST/VISUAL EFFECTS:  Company 3, New York; Billy Gabor, colorist; Elisha Levin, producer; PostWorks, New York.  Ben Murray, online editor/Flame artist; Jon Siczewicz, Flame artist.  AUDIO POST:  PostWorks, New York. Axel Ericson, mixer/engineer.

Broadcast Engineering, Dec. 1, 2002
Teranex's Star-up converter
Billy Baldwin.  The current market for 24p in the United States is larger than most people think. It’s not just George Lucas and a handful of Hollywood studios. There are numerous documentaries and independent production companies using the medium to their advantage.  PostWorks New York, a post-production facility located in Manhattan, does many projects for theatrical distribution, with film as the end product. The facility handles about one feature-length film per month, and many documentaries. Examples include “A Decade Under the Influence,” about the best films of the 1970s, and “The Billabong Odyssey,” about a quest to surf the world’s largest waves. These and other documentaries often use multiple sources on different film and video formats (interviews shot on 24p and archival footage on every format imaginable). The facility also handles narrative films.

The Hollywood Reporter, Sep. 24, 2002
New York Post
A directory of New York postproduction houses...

SHOOT, Aug. 23, 2002
Is Post Dead?
Billy Baldwin.  It's been just over a decade since Avid's Media Composer changed the face of postproduction, and now that Final Cut Pro is the first would-be competitor to sustain any serious, professional attention the industry is all abuzz speculating as to how soon a low cost, highly-functional desktop NLE will finally be available. What is the ultimate effect on the post industry? Will the accessibility of the technology kill the post house as we know it?

DigitalVideoEditing, Jul. 23, 2002
WIRING 'THE WIRE' Post Works New York Brings it All Together for HBO
When HBO asked PostWorks New York for help on the network's new show The Wire ­ a gritty new drama that explores both the world of big city drug dealers and the cops trying to bring them to justice ­ the New York equipment provider and post house knew they had their work cut out for them. For one thing, the production is based in Baltimore. For another, the show's entire editing team was devoted to the Macintosh. All of which meant not only did PostWorks have to deliver and set up three Avid Media Composers to Baltimore, but also train the editing team to use the more speedy and reliable Windows NT. "Ultimately, they needed a complete environment set up in Baltimore, but they also needed space in New York as well," says Billy Baldwin, COO at PostWorks New York. "We set them up with full access to an Avid Unity server and two more Avid Media Composers." ....

Digital Producer, Jul. 17, 2002
PostWorks New York Uses Xpress DV Laptops to Extend Power of Symphony Stations
At post house PostWorks New York, COO Billy Baldwin is embracing Avid's Xpress DV nonlinear editing (NLE) software as part of the company's strategy to maximize their investment in Avid's top-of-the line finishing station, Symphony. The first test of his strategy is the PBS's "Life 360," the magazine-style series produced by PBS in association with ABC News, which is now in its second season. "Life 360" is being produced for PBS by the ABC Nightline production unit....

Hollywood Industry, Jul. 17, 2002
PostWorks New York Creates New Post-production Workflow Model For PBS' Life 360
At post house PostWorks New York, COO Billy Baldwin is embracing Avid's affordable Xpress DV nonlinear editing (NLE) software as part of the company's forward-thinking strategy to maximize their investment in Avid's top-of-the line finishing station, Symphony.... 

Digital Producer, Jun. 24, 2002
Avid Ships Avid|DS v6.0 Family of Editing Systems
Avid Technology, Inc. today announced the worldwide availability of the Avid|DS HD, Avid|DS and Avid|DS HD Editor v6.0 systems, the company's premiere solutions for real-time editing and finishing in standard and high definition. During Avid's extensive beta testing program, editors gave the new version high marks for its now fully mature Media Composer-style interface and enhanced conform capabilities. "This is amazing. The interface on the new version is so similar to Media Composer," said Billy Baldwin of PostWorks, an Avid|DS HD v6.0 beta site. "This means that editors at our facility can easily move to Avid|DS from any Avid system, along with their media, whether they are going from offline to online or from standard definition to high definition." 

4 Regional Film & Video (UK), June 18, 2002
PostWorks buy Teranex Star-up converter for documentary
PostWorks New York have purchased Teranex’s Star-up up-converter with noise reduction to provide a real-time solution to finish projects in 24p, the new digital format for the post-production arena.  Star-up’s first project at PostWorks, the documentary 'A Decade Under The Influence', is a complex retrospective of original films that changed Hollywood forever and individual interviews with the luminaries that made them such as Francis Ford Coppola, Clint Eastwood and Dennis Hopper, recorded in 24p. Star-up has been charged with the task of up-converting and noise reducing source material to produce a 1080p24 Master for distribution to diverse outlets. The film is scheduled for release in September to coincide with the New York Film Festival.  “Teranex’s Star-up enables us to convert all the sources, including heavily compressed and noisy DVDs, to 24p. We then have the flexibility to finish the Master in 1080p24 and easily create varied versions without colour shift issues or degradation of picture quality,” said Billy Baldwin, Chief Operating Officer at PostWorks. According to Mr Baldwin, PostWorks already has plans to utilize Star-up to convert Standard Definition material in another documentary to 1080p24. Star-up is a powerful, flexible and upgradeable up-converter with high-performance noise reduction that offers variable aspect ratio conversion. Star-up integrates PixelMotion de-interlacing, colourspace conversion for correct image colour during up-conversion, and image resizing capabilities for the highest possible quality up-conversion. The software-based application runs on a single Teranex video computer and supports future formats and features as they emerge with a simple software upgrade.

POST Magazine, June 17, 2002
POSTWORKS ADDS TERANEX UPCONVERTER
NEW YORK — Manhattan post house PostWorks (www.pwny.com) has purchased Teranex’s Star-up up-converter with noise reduction which it will use to finish projects in 24p HD....

POST Magazine, May 1, 2002
New York, New York
NEW YORK - PostWorks worked closely with director Nora Ephron and editor Richard Marks to complete the Academy Awards salute to New York films, which featured classic movies set in Manhattan.... 

SHOOT, Apr. 1, 2002
SANs for Post
...Over the past several years, a more advanced approach has been offered by a Fibre Channel Storage Area Network (SAN). Unlike even Gigabit Ethernet, Fibre Channel's high throughput reliably supports realtime playback of uncompressed video streams. And because a single storage volume — generally multiple hard drives in a RAID (Redundant Array of Independent Disks) or JBOD (Just a Bunch Of Disks) — appears to each user as local storage, SANs are free of the downloading and version-control hassles that can make LANs cumbersome....Millimeter: What areas of postproduction are served by your SAN, and what were the motivating factors that caused your facility to make the investment?  William Baldwin: We are a unique shop in that we have both in-house facilities and a large rental department. We got involved with Avid's Beta program for its Unity system, and our first jobs with the system were driven by the needs of our clients, one of whom wanted to capture at broadcast resolution and edit with five systems set up in Rome, New York, for the Woodstock Festival. We also installed Unity systems in our two facilities, more for our own piece of mind than anything. We now own five Unity systems total for rental and our facilities.

Digital Producer, Mar. 20, 2002
PostWorks New York Teams With Nora Ephron and Richard Marks For Academy Awards Salute To New York Films
On Sunday, March 24, the Academy Awards will feature a salute to New York films ­ a segment directed by filmmaker Nora Ephron (Sleepless In Seattle) and edited by Richard Marks (The Godfather Part II, As Good As It Gets), and greatly aided by the technical expertise at PostWorks New York.  PostWorks New York's founder and CEO Billy Baldwin worked closely with Ephron and Marks on the best way to handle the over six hours of classic New York movie footage they were provided, all of which needed to be whittled down to just four minutes. PostWorks provided Marks with two Avid Media Composers and an Avid Unity so that he and his assistant could seamlessly work together. In addition, PostWorks' Matt Foglia served as the projects audio engineer.... 

Hollywood Industry, Mar. 20, 2002
PostWorks New York Assists with Academy Awards Salute to New York Films
On Sunday, March 24, the Academy Awards will feature a salute to New York films -- a segment directed by filmmaker Nora Ephron (Sleepless In Seattle) and edited by Richard Marks (The Godfather Part II, As Good As It Gets), and greatly aided by the technical expertise at PostWorks New York.... 

DigitalPostProduction, Mar. 11, 2002
PostWorks New York Brings Technical Expertise To CBS' 9/11 Special
On Sunday, March 10 at 9pm, the night before the sixth month anniversary of the September 11 tragedy, CBS presented their much-talked about documentary featuring never- before-seen footage of the attacks on New York City captured by French filmmaking brothers Jules and Gideon Naudet and narrated by actor Robert De Niro. The project was aided significantly by the fast and efficient work of PostWorks New York.  Despite an already full-to-overflowing broadcast schedule, CBS News knew the footage needed a lot of work. Enlisting the aid of Post Works New York, the network significantly enhanced their facility on West 57th Street to handle the story. On little more than a moment's notice, Post Works New York delivered and fully installed five Avid Media Composer 9000's, all linked together to an Avid Unity storage area network.  "We have a huge facility here, with over a 100 Avids, but with this project there was a need for even more hardware," said Adam Goldfried, CBS's Manager of Non Linear Technology. "The footage needed to be digitized quickly, music needed to be added and all of which needed to be housed on our server so it could be shared among all our editors. It was crucial that there be no downtime due to technical problems. PostWorks did an outstanding job."... 

Digital Producer, Feb. 7, 2002
Post Works New York Helps Refine the Process at A&E's 100 Centre Street
After a successful debut, Sidney Lumet's hard-hitting drama series, 100 Centre Street, moves into its second season on A&E. But behind-the-scenes, the equally exciting story is the show's continued use of 24p, the newest digital format to hit post-production. PostWorks New York, the Manhattan-based post-production house and NLE provider, worked with the 100 Centre Street post staff to find innovative solutions to the show's complex production.  Among the primary challenges faced during the show's first season was that the shows Head Editor, Tom Swarthout, who uses an Avid Film Composer, could not immediately digitize the material shot in 24p. Instead, the original source footage had to be down-converted to NTSC DigiBeta before it could be brought into Swarthout's Avid. Editing at 24fps, the Avid then converted the media back into native frame rate. After the picture was locked, the Avid provided a frame accurate 24 fps EDL for the online house, but only after the time-consuming and expensive down-conversions had taken place. PostWorks New York was able to rise to the challenge. "PostWorks worked closely with Sony to ensure that their HD decks would be able to feed directly to the Avid Film Composer," explained Billy Baldwin, Co-founder and Chief Operations Officer at PostWorks New York. "Now, the editors load directly into the offline systems from the HD decks. We also set up a Storage Area Network, so their systems could share the media quickly and easily between all the workstations." In addition to three Avid film composers, the Long Island City, NY production uses Digidesigns' Pro-Tools and on-lines the picture to the Avid|DS HD system.... 

Digital Producer, Jan. 10, 2002
PostWorks New York Uses 24p Format for Foreign Delivery of Sun Records Documentary
PostWorks New York helped filmmaker Bruce Sinofsky use the 24p format of his new film Good Rockin' Tonight: The Legacy of Sun Records to meet overseas delivery requirements....

Digital Producer, Dec. 20, 2001
PostWorks New York Takes DV to Film For Miramax's Pinero
Puerto Rican poet, playwright and actor Miguel Pinero drew artistic inspiration from his own life. Now, the ill-fated writer's tumultuous, and ultimately tragic life is dramatized in Pinero, a feature-length bio-pic directed by Leon Ichaso and starring Benjamin Bratt in the title role. PostWorks New York was brought in to bring order to the challenging post-production process.... 

Digital Producer, Nov. 26, 2001
Avid World: More Than Just a User Conference; Conference’s Exhibitors to Showcase Latest Innovations
The event is being held Dec. 9-12 at New York's Jacob Javits Convention Center. The “Next Gig Soiree,” on Tuesday, October 9, from 5:30 to 8:30 p.m., will put attendees in the same room as top editors and producers from several TV networks, news shows and recording companies, as well as representatives from Fortune 1000 companies, Hollywood and ad agencies.  The event kicks off with a “Power Panel” of heavyweights from TV networks, post-production facilities, record labels and ad agencies, discussing jobs and recruiting. After a Q&A session, a networking cocktail reception will follow, and all conference attendees are admitted free to this three-hour career-enhancing party. Panelists include: Marshall Grupp, Grupp Sound Design & Music and Co-owner, Sound Lounge; Warren Lustig, senior editor, CBS's "60 Minutes II"; Peter Sgro, VP, Post Production, Lifetime Television for Women; Mark Shimmel, Sr. VP, Marketing & Artist Relations, Arista Records; Rick Cordero, President, Pavement, Inc. George Avgerakis, contributing editor to Videography magazine, will moderate this panel. The conference’s four “gold sponsors” are B&H, Postworks, Virtual Media Technology and Video Corporation of America. In addition, more than 30 companies related to the audio and video industries will be exhibiting their latest innovations on the Avid World expo floor. 

SHOOT, Oct. 26, 2001
Victor Barroso Joins PostWorks, New York
Victor Barroso has joined PostWorks, New York, as the director of its newly created graphics and visual effects division. He brings to the digital postproduction facility more than 12 years of experience in the effects industry. Barroso's addition complements PostWorks' acquisition of Discreet Logic's Flame and Smoke systems, as well as Nothing Real's Shake software. "It was the next logical step for [PostWorks] to provide proper graphics support...

Digital Producer, Oct. 24, 2001
Victor Barroso Joins Post Works, New York As Head of Graphics and Effects Division
PostWorks, New York has named visual effects and graphic designer Victor Barroso director of the company's newly created Graphics & Visual Effects division. In acquiring Discreet Logic's Flame and Smoke systems and Nothing Real's Shake software, the four-year-old digital postproduction facility now offers complete finishing services for its film, broadcast and commercial clients. "Our goal over the last twelve months," says PostWorks co-founder and co-CEO, Billy Baldwin, "has been to fine tune the workflow for our clients so that the post production environment becomes as seamless as possible. Our in-house audio and graphics divisions mean we've eliminated the traditional compatibility issues that exist when projects are forced to finish or mix at separate studios. PostWorks can now handle graphics, titling and finishing with the same attention to detail and technical expertise that make us such a strong facility." 

SHOOT, Oct. 19, 2001
STREET TALK
PostWorks, New York, has named visual effects/graphics designer Victor Barroso director of the company's newly created graphics and visual effects division….

SHOOT, July 20, 2001
Final Cut Grows U.S. Staff; Stateside Office Set To Move Into New Manhattan Headquarters
NEW YORK - Final Cut, New York, has brought on board two key editors—Gary Knight and Adam Jenkins—from its sister office in London. Additionally, the New York edit shop is set to move into new headquarters in the Chelsea neighborhood of Manhattan.  Launched in London by editor/company director Rick Russell and company director Greg Caplan in 1995, Final Cut opened a New York office last year (SHOOT, 4/7/00, p.7). The Manhattan venture initially rented space from PostWorks, New York. But after seeing substantial demand for its services from U.S. agencies, Final Cut is now ready to expand its stateside operation. 

SHOOT, April 27, 2001
REP REPORT
Anne Bakoulis has joined Postworks, New York, as director of sales. She will handle national and international sales for the postproduction facility.…

SHOOT, April 20, 2001
NEWSBRIEFS
PostWorks, New York, has added Matt Foglia in the newly created role of chief audio engineer. He had been with Sony Music Studios, New York, where he was serving as mixer/engineer….

Boards Online, Apr. 12, 2001
People Moves: PostWorks Hires Foglia
PostWorks, New York has named sound mixer/engineer Matt Foglia as its chief audio engineer.  Foglia comes to PostWorks from Sony Music Studios' audio post deparment, where he worked on projects ranging from film to TV to commercials.

Boards Online, Aug. 11, 2000
PostWorks Goes Global
PostWorks has teamed with WAM!NET for a beta test project of WAM!NET's new Layered Media Service.  The new technology, a secure high-bandwidth wide area network designed to move digital media, allows companies to send dailies and media globally at gratifying speed; an uncompressed 30-second spot will travel from New York to London in less than two minutes.  Final Cut, the London and New York-based editorial company, is currently using the technology to send their dailies overseas to and from their home office in London.  "We think of ourselves as a creative company with a strong technical vision under the surface," explains Greg Caplan of Final Cut. "PostWorks matched that perfectly; they are always trying to push the envelope."  Both PostWorks and Final Cut have plans to establish a bureau service for the WAM!NET layered Media services, allowing the digital transport and digital content management services technology available to other companies in the near future

Boards Online, June 15, 2000
New Partners Join PostWorks, New York
PostWorks, New York co-founder Billy Baldwin joins with new partners Robert E. DeMartin, Jr. and Tiffany Rosen to facilitate the expansion of the outfit, bringing experience in the financial and film world respectively.  The move signals a period of growth for PostWorks, New York, after a second facility was recently acquired in Manhattan this past April. In addition, construction is underway to double its post-production facilities.  "We have had many production companies running business through us using both long and short form," says Tiffany DeMartin, director of marketing and public relations. "We now have clients like Final Cut (the London based editorial company) who will be using PostWorks and its stateside offices for a period of six months."  DeMartin and Rosen join PostWorks as 50% owners in the company. DeMartin becomes chief financial officer while Rosen will serve as director of marketing/public relations.

SurroundPro, June 5, 2000
Post-Production Facility Expanding to Double Capacity; New Partnership Gives Company Financial and Marketing Support
PostWorks, New York co-founder Billy Baldwin has joined with new partners Robert E. DeMartin, Jr. and Tiffany Rosen. DeMartin and Rosen bring experience in the financial and film worlds, respectively, and the move signals a period of growth for the company with construction already underway that more than doubles the company's post-production facilities and includes a second New York City location ("Unveiling Party" to be announced).  New partners Robert DeMartin and Tiffany Rosen join PostWorks as 50% owners in the company. DeMartin, who holds a degree in Business Management from the Eccles School of Business at the University of Utah, will serve as PostWorks' chief financial officer and co-chief executive officer. DeMartin is also the co-owner and managing member of Sherman Management Group, and the owner and president of CDI, Inc. Both companies are based in Connecticut.  Tiffany Rosen will serve as PostWorks' director of marketing/public relations, a new position in the company. A veteran of the film business, Rosen is a fellowship recipient from Columbia University's Graduate Film School and worked in feature films as a production coordinator for nearly ten years before leaving to work in theatre as a marketing and public relations director. Rosen is a winner of the American Marketing Association's Mark of Excellence Award for her marketing campaigns and is currently the co-owner and creative director for Sherman Management Group in Connecticut.  The new partnership gives PostWorks the financial mainstay to institute new growth. The company recently acquired a second facility in New York City where it will house additional editing suites, its rental division and a sound studio, as well as production office space for both long and short-form projects. The additional space more than doubles PostWorks' capacity and allows PostWorks to expand its range of services. The all-new digital post production facilities now boast nine non-linear editing suites, three Symphony on-line editing suites, two digital audio studios, and over 25 mobile systems available for on-site installations. PostWorks regularly aides in the development of new technologies, acting as an alpha and beta test facility for major software and hardware developers in the post production industry.  "This is a very exciting time for the company," says Baldwin. "We now have the management and resources in place to expand and pursue new technologies for our clients."  "PostWorks has always been a unique facility," adds DeMartin. "We are totally different from every other editorial house in the city. Our technology and equipment is cutting edge, and our engineers and technical support are unrivaled. We're going to continue to build on that reputation. We can't wait."  DeMartin and Rosen replace co-founder Larry Blume who sold his share to become president of Tashmoo Productions.

SHOOT, June 2, 2000
SPECIAL REPORT: NEW YORK PRODUCTION_ Launch Pad: Two British editing companies find a second home in New York
Armed with the outsiders perspective and a desire for expansion, two British editing companies are making inroads into the U.S. spot market via New York footholds.  Final Cut, a five-year-old, London-based commercial editing company, opened the doors of its New York office in May. The New York operationawhich is based for the interim at PostWorks Manhattan facility until permanent quarters are foundais headed by former J. Walter Thompson, New York, head of production Stephanie Apt (SHOOT, 4/7).

SHOOT, April 7, 2000
Final Cut To Launch In U.S.
NEW YORK - Final Cut, a five-year-old London-based commercial editing company, is expanding to the U.S. with the launch of a New York branch. Set to open by the beginning of May, Final Cut will initially operate out of New York-based PostWorks' office while seeking permanent quarters.

Business Wire, Aug. 23, 1999
Peace, Mosh Pits and Avid Unity MediaNet at Woodstock '99; Metropolitan Entertainment Takes Avid Unity MediaNet on the Road to Woodstock '99 for Three Day Pay Per View Event and Two Hour Fox Woodstock Special
Avid Technology, Inc. (NASDAQ:AVID) today announced that Metropolitan Entertainment Group recently completed post-production work on the three day Woodstock '99 pay per view event, Fox Network special and three highlight programs for the international market place using the new Avid Unity(TM) MediaNet media network....  "There is no way that we could have done three days of a live production, followed by a week turn-around of a two hour network special, without Avid Unity MediaNet. Avid Unity MediaNet is the first media network to be powerful enough to let us really share high-bandwidth media among our editors. At Woodstock we were pumping high resolution media across six systems at the same time, and Avid Unity MediaNet is the only system I know of that could handle this workload," said Billy Baldwin, president and co-owner of PostWorks, a New York-based post-production facility that worked in conjunction with All Mobile Video in the Woodstock production.