Frederik Bokkenheuser

Ken Van Deest has over 20 years’ experience working on hit and acclaimed episodics such as The Flash, Reacher, DC’s Legends of Tomorrow, and It’s Always Sunny in Philadelphia. Prior to joining Picture Shop, Van Deest developed his craft at Riot, Encore, then most recently at Level 3 Post. Several of his projects have been nominated for the ASC Award for Outstanding Cinematography, including a win for Project Blue Book in 2020 (shot by cinematographer C. Kim Miles, ASC, CSC, MySC). Van Deest enjoys the creative collaboration in helping creators tell their stories visually.

Tony D’Amore is a FilmLight Award Winner an HPA Award nominee for Outstanding Color Grading, and Associate member of the American Society of Cinematographers who has worked on hit shows such as Fargo, Legion, Carnival Row, Mayans M.C., Power, Daredevil, and Jessica Jones. D’Amore has over 20 years’ experience as a colorist and has been at the forefront of developing workflows for new technologies like HDR and streamlining SDR. He enjoys creating efficient ways to work within the ever-evolving landscape of post-production technologies, while never losing sight of the core foundation of preserving the cinematographers’ work.

Mike is a Senior Colorist and an expert in color correction for feature films, television, animation, restoration and 35mm film. Mike started his journey at AME in 1981 after attending Pasadena City College and has worked with countless feature film directors and DPs throughout his career. Mike is experienced in digital restoration techniques, 4K workflows, and HDR color correction.

As Offline Editor, Chester’s role entails a little bit of writing, a little bit of producing, a little bit of coloring, a little bit of mixing, a little bit of GFX design, and a whole lot of editing! He holds a Bachelor of Arts in Communications and Media Studies from University of California San Diego and got his start in the industry by being a runner for Bruce Nash and Mike Fleiss at Sunset Gower Studios. His recent credits include The Kenny Center Mark Twain Prize honoring Dave Chapelle, Historical Roasts with Jeff Ross, Together at Home by Global Citizen, 2021 Presidential Inauguration of Joe Biden, The Billboard Music Awards, Dick Clark’s New Years Rockin’ Eve 2022, and Celebrating Betty White/America’s Golden Girl on NBC.

Timothy Schultz began editing at age 19, when he started cutting together animatics for Sony and Warner Bros. At that point he knew editing was for him. He has worked steadily ever since, editing on projects such as Spider-Man: The Animated Series, Beat Shazam, and The Oscars. Timothy credits his passion and success to the Universal Studios backlot tour, which he frequented as a child. “Not only did the backlot tour give me a love for the process of making television, but it also taught me French! Facade: a French word meaning false front.” Timothy currently works for Picture Shop, at their Los Angeles office.

Tim earned a Bachelor of Arts degree in mass communications from Quinnipiac College in Hamden, Connecticut and has over 20 years of experience working in post production.  Some of his credits include American Idol, Rock And Roll Hall Of Fame, The Oscars, Ellen’s Game of Games, Love Connection, So You Think You Can Dance, and Surviving The Cut.

Mike has edited numerous projects for a diverse group of directors and producers including Don Mischer, MRC, Casey Patterson, Louis J. Horvitz, Glenn Weiss, Michael Dempsey and Greg Sills. He received Primetime Emmy Awards in 1996, 1999 and 2005 for Kennedy Center Honors, in 2010 for The 25th Anniversary Rock and Roll Hall of Fame Concert and 2011 for Lady Gaga: The Monster Ball Tour Concert at Madison Square Garden in the Multi-Camera Picture Editing for a Miniseries or Special category. Mike has received 29 Emmy nominations along with 16 Directors Guild Award nominations for his work as an A.D. on several television specials. Recent highlights were his work on the Democratic National Convention, The Presidential Inauguration, Adele One Night Only, and several Large Global Citizen’s Broadcasts. As the founder of Chainsaw, Mike partnered with Bill DeRonde to bring creative editorial services to his clients. Chainsaw became part of Picture Shop and he continues to edit for his clients under the Picture Shop banner.

John Cox, Offline Editor, graduated from San Francisco State University with a BA in Broadcasting. John is credited on programs such as HBO’s Rock and Roll Hall of Fame, The Masked Dancer, Family Game Fight, The Wall, American Idol, So You Think You Can Dance, Academy Awards, Primetime Emmy Awards, The Billboard Awards, and Revenge Body with Khloe Kardashian.

John Davis, Offline Editor, is responsible for working creatively and efficiently with producers and clients to edit together shows that will blow people away with sound and images. After graduating the Art Center College of Design in 11989, he was hired by one of his instructors to co-edit some educational series for PBS. That opportunity gave him the creative freedom to put together shows as well as the experience of collaborating and learning from other editors and producers. Throughout the ’90s, he worked on three separate series that won the prestigious George Foster Peabody Awards. During the mid ’90’s, he learned a new editing technology known as “nonlinear” editing which opened up a whole new world. One of the early projects he had cut on the AVID editing system was Taxicab Confessions. Some credits that John T. is most proud of include, So You Think You Can Dance and American Idol, on which he overcame many creative challenges. Currently, John T. is working on Unicorn Hunters.

Brad Gilson, Offline Editor, is a key component in polishing off projects to produce the highest quality product available. Using raw footage shot in the field or studio, he combines it with music, sound effects, visual effects, and transforms it into what you see on screen. Brad believes that one of the most important components of editing is customer service and that you’re only as good as your last cut. After graduating with a BFA in Film and Television from New York’s Tisch School of the Arts, Brad began his career with an editing position on American Idol and So You Think You Can Dance, and then expanded his credits to include shows like Master Chef and Comedy Jam (Comedy Central), as well as many live music performances and comedy roast battles.

LeFranc has over 13 years’ experience and has worked on notable shows such as The Kominsky Method, The Mindy Project, 12 Monkeys, Community, You, On My Block , among others. LeFranc got her start in editorial at NBC Universal and enjoys developing strong relationships with clients that span multiple episodes and seasons. She also excels at finding creative solutions to meet each production’s specific workflow, beauty work, and final editorial needs.

As a Senior Finishing Editor at Picture Shop New York, Samantha Uber combines her love of art and technology.  Her education began at NYU when she was 16 in the Tisch School of the Arts for Experimental Film with a focus in editing, receiving a B.F.A. and the Founder’s Day Award for Academic Achievement. Having a strong technical background and a true interest in every aspect of the job, from computers to storage and workflows, Samantha is known for sorting out unique projects and taking them to the finish line.  Select projects throughout her 18 years in the industry include Martin Scorsese’ “Boardwalk Empire” and “Vinyl”, Steven Soderbergh’s “The Knick” and Wes Anderson’s “Moonrise Kingdom”.

Known for his ability to problem solve and meet tight deadlines, Online Editor Justin Allison is a true creative partner in his work.  He has a BS in Film and Video from Drexel University in Philadelphia and his experience providing support for remote Avids has given him invaluable insight into the day-to-day challenges faced by his clients.  Justin is a strong communicator, collaborating on such projects as “Emily in Paris”, “Love Life” and “Evil”.

With a track record of excellence, Supervising Online Editor Matthew Breitenbach has been contributing his editing skills to renowned projects for more than 15 years.  He began his career at Nice Shoes in New York, quickly being put forward for their internal post-production training program.  This created a solid foundation for him to build on and in 2013 he was entrusted with being the DI editor on Martin Scorsese’s “The Wolf of Wall Street”. Since then, he has worked on such notable projects as “The Queen’s Gambit”, “The Marvelous Mrs. Maisel” and “Emily in Paris”.

Alex Durie, Colorist at Picture Shop New York, has spent the last decade observing industry leading Directors and Cinematographers and how they approach the color grading process.  He has both a BFA in Filmmaking & Animation as well as BS in Motion Picture Science from RIT (Rochester Institute of Technology) giving him a creative and technical understanding of color.  His ability to communicate with clients and help them feel comfortable, heard and satisfied throughout the grading process is a skill that sets him apart from others. Durie’s credits include the docu-series Murder on Middle Beach for HBO and Salt Fat Acid Heat for Netflix as well as the feature film Detective Chinatown 2 for Warner Bros.

Frank Robinson, Colorist at Picture Shop Vancouver, has been working in the post-production industry for over 20 years. His role as colorist has taken him to facilities around the globe, including the US, Canada and Moscow. His ability to develop relationships with clients while creating their specific vision has earned him trust from numerous industry cinematographers. Robinson’s notable credits include final color for commercial campaigns for Ikea, Carlsberg and Honda and dailies color for Superman & Lois, Marvel’s Helstrom and the feature film Juno.

Picture Shop Senior Colorist Alex Gascoigne’s 15-year career in London encompasses a broad range of features, tv dramas, and documentary projects. He began working in post-production after having gained a Masters in Film Production, where his experiences shooting 16mm film projects, combined with his background in art and photography has informed his approach to color grading ever since. Gascoigne helps to build custom color pipelines during the early stages of productions and has played a significant role in the development of HDR workflows at Picture Shop, for which he has given presentations at Camerimage, IBC and the Media Production Show. Recent credits include Netflix’s Black Mirror, A Boy Called Christmas, The Mauritanian, Deceit and The Trip.

Lucie is passionate about color grading all formats and genres and brings expansive credits across features, episodic television and documentaries. Originally from France, Barbier-Dearnley studied at the Université Sorbonne Nouvelle and L’Ecole des Nouveaux Métiers de la Communication in Paris and at New York Institute of Technology. Her studies in fine arts and her passion for painting provided the perfect education for her move into color grading. She began her career in post-production at Company 3 in New York, as a Digital Restoration Specialist. After transferring to the company’s London facility in 2014, she advanced to Color Assistant, Junior Colorist and ultimately Colorist. As Senior Colorist, her credits include the television series Harlem for Amazon, Hulu’s Monsterland, and Netflix’s High Score. Her feature films credits include Roadrunner: A Film About Anthony Bourdain, and Universal’s You Should Have Left.

Darren Hinchy, Online Editor, has a meticulous attention to detail that is reflected in his work. After graduating with an MA in Film in his home country of Ireland in 2012, he soon moved to Toronto where he began his professional industry career in visual effects working on high profile film and television projects such as Guillermo del Toro’s The Shape of Water and the hit show Vikings. This deep knowledge of VFX makes him an asset in the Online world, where last minute picture fixes and clean ups are a necessity. He has also tried his hand at most roles in film during one production or another, and has an understanding of the pipeline from beginning to end that is next to none. Darren is a true creative partner in his work, offering up solutions to problems that may arise while being an honest and reliable sounding board.

Arlene Moelker, Senior Colourist at our Picture Shop Toronto (formerly Sim), has been in the colour suite for over 20 years. Her work has been seen in countless Documentaries, Scripted TV and Feature films. She began her career in film transfer as a Colour Assistant before transitioning to Dailies Colourist which was then followed quickly by the leap into the Digital World. Her favourite part of “the job” is collaborating with clients while helping make their vision come to life. Arlene’s most recent credits include Scarborough debuting at TIFF, Age of Samurai: Battle for Japan airing on Netflix and Last of the Right Whales.

As a colorist, Kim realizes that every production has its own challenges and signature. From matching footage shot at 10am and 6pm to all look like noon or whatever time of day or night it’s supposed to be. Other aspects include working closely with clients to ensure the end product is what they want. He started in the industry in the early 80s, working in film labs around town. His decision to become an editor led him to Laser Pacific, where he began hanging negative in telecine for dailies, and then coloring dailies. Countless miles of film later, he started final coloring for episodic television. Some of his favorite projects include Strong Medicine and The Division, as well as the seven years spent on Son of Anarchy. Recent projects include Scorpion, Pretty Little Liars, and Netflix’s Unsolved Mysteries. From the last 37 years of experience, his best advice is, know that “there are almost unlimited paths to the same destination, just find the one which suits you the most.”

Allin Nowenstein hails from Manhattan, and as such, is an avid Knicks fan. He spent several years working at Technicolor Postworks working as a Tech Assistant and Online Conform Editor. He also spent time as an Engineer for Duart Video. He joined the Post Factory NY team as an Online Editor and was promoted to Conform Artist with Picture Shop (formerly Sim). Allin loves running marathons and likes to keep things positive.

Tif Luckenbill has worn many hats during his years in post production. As senior conform editor at Picture Shop (formerly Sim), Tif’s work has included the conform and delivery of features such as American Made, Private Life, The Comedian and Humor Me as well as series such as Happy!, Master of None (S2) and The Good Fight (S2). He has also provided color grading on The Holdouts, Henry Fool – HD Remaster and video grade passes on The Comedian and the documentary Whose Streets. Before joining Picture Shop (formerly Sim), Tif was a conform editor at Technicolor Postworks where he conformed all 5 seasons of HBO’s The Wire for its HD remaster as well as features such as Rock the Kasbah, Don’t Think Twice and Dixieland. He also enjoyed making such varied contributions as DRS/restoration, vfx, titles and color to features and documentaries like Inside Llewyn Davis, Café Society, This Is Where I Leave You, Maggie’s Plan, Stray Dog and others. Tif began his post production career at Company 3 NY as Client Services manager before later helping design, implement and then manage their Commercial DI workflow as well as serving as DI Color Assist. And before all the post fun began, Tif enjoyed a career as an actor at regional theatres and on national tours throughout the US and UK including a year with the Royal Shakespeare Company’s production of John Barton and Sir Peter Hall’s Tantalus and, the US tour of Blood Brothers as Petula Clark’s son / David Cassidy’s twin brother. Who knew?!?

Since joining Picture Shop (formerly Sim) in 2015, Sam has transitioned from Client Services to Media Manager and most recently, to Finishing Assistant. Sam has a background in film production as well as videography and now focuses on conforming and color assisting. In her two and half years at Picture Shop (formerly SIM) she has gained extensive knowledge in all aspects of post production having worked on features, episodic and commercials handling pre-conforms, VFX Pulls, deliverables and data management. Sam hopes to continue her career in post production and excel as a conform artist and colorist in the future.

Todd Bochner is most widely known for his television work. Previous to his start at Picture Shop (formerly Sim) in 2015, he had more than 20 years of experience as a colorist and credits on more than 50 television series, as well as numerous features, commercials, and music videos throughout his career. Bochner handled the color for HBO’s Watchmen, The Leftovers, History Channel’s SIX, and the upcoming Apple TV show Invasion. His recent credits also include Madame Secretary for CBS, Sleepy Hollow for Fox, Legends for TNT, Jane the Virgin for CW, Tyrant for FX, and Desperate Housewives, amongst many others. An avid photographer, Todd brings an artistic eye to color grading along with a passionate interest in storytelling. He believes that coloring is a very creative activity and enjoys working with directors and DPs to create aesthetically pleasing images. Todd is extremely passionate about his work and that passion, coupled with his natural abilities for being a colorist, keeps clients coming back for more.

Jonathon Ragsdale is responsible for color correction, addressing legal notes, building text, graphic placement, building credits, and the final output of the show to tape or to file. He moved to Los Angeles directly after graduating from Texas Christian University and started working as a production assistant on commercials and music videos. His eye for color and attention to detail separate him from the rest. Some of Jonathon’s credits include “Little People Big World,” “The Comedy Jam,” “Kid’s Choice Awards,” “Academy Awards,” “American Idol,” “Pirates of the Caribbean” and many others.

John Persichetti is responsible for color corrections on scripted television shows, feature films, and movies of the week to all formats for domestic and international distribution. Before starting his career in the industry, John earned a BA from LaSalle University and a Master of Fine Arts degree from New York University. He then became a camera assistant in New York before moving to Los Angeles, where he trained as a telecine colorist at a post production facility. John’s experience as a camera assistant has helped his relationship with cinematographers over the years as he can relate to the pressures involved on set and the technical challenges facing the camera crew. His credits include 21 Jump Street, Step Brothers, Bad Teacher, Samsura,  Mamma Mia, Superbad, The Amazing Spiderman 3D,  Cloudy with a Chance of Meatballs, I Love You Man, Friends with Benefits and Forgetting Sarah Marshall.

Senior Colorist Andy Lichtstein began his career as an art department intern for Mr. Rogers Neighborhood at WQED/Pittsburgh. Since then he has developed a loyal following within the postproduction community grading for network television, cable and streaming services.  In 2012 he joined Picture Shop (formally Chainsaw) in introducing the first clip based grade and render workflows for episodic television in the US, bringing new efficiencies and flexibility to the workflow process.  His grading portfolio includes over 25 years of scripted comedy and drama series as well as unscripted and documentary series, features, live specials, and events. In 2020/21, he completed the multi-network special Graduate Together: America Honors with President Obama, Yearly Departed and Rihanna’s Savage Fenty X for Amazon. For Netflix, Ben Platt:Live at Radio City, and Morgan Neville’s Ugly Delicious.  Continuing his passion and commitment to documentary and independent film, Andy’s credits include Sundance award winning documentaries: Inequality for All with Robert Reich, Robert Kenner’s Merchants of Doubt, Stacy Peralta’s Dogtown and Zboys, Riding Giants, and Made in America:Cribs and Bloods. Recent series credits include The Last OG, Mad About You, The Big Show Show, Just Add Magic, and Buried By the Bernards. He loves his work, but treasures time spent outside the dark room and in the LA sunshine with his wife Kari and daughter Talia.

Anthony Raffaele, whose work includes Café Society, Mapplethorpe  & Fahrenheit 11/9, brings versatility and experience to Picture Shop, along with established relationships with top filmmakers and cinematographers. Prior to joining Picture Shop (formerly Sim), he spent five years at Technicolor PostWorks, New York. He was a Senior Colorist at Deluxe, New York, from 2009 to 2013. He began his career at Nice Shoes. Raffaele has collaborated with legendary cinematographer Vittorio Storaro on three Woody Allen films, A Rainy Day in New York, Wonder Wheel and Café Society (the director’s first digital film). He also worked with cinematographer Javier Aguirresarobe on Allen’s earlier film Blue Jasmine. His television credits include Blue Bloods for CBS, Younger for JAX Media, Los Espookys for HBO, The Get Down for Netflix and The Helpsters for Apple TV. In the documentary realm, his work includes Springsteen on Broadway for Netflix and Years of Living Dangerously for Showtime. His most recent credits include The Jesus Rolls for director John Turturro and cinematographer Frederick Elmes, and the BET series The First Wives Club.

Nelson Mah, has been in the industry for almost 30 years, spending more than 20 of those devoted as a colorist. His coloring career began with the the remastering of theatrical and television titles for major studios such as Universal, Paramount, Fox, MGM, and Miramax. In 2011, transitioning from film to digital, Nelson joined Picture Shop (formerly Chainsaw) and expanded his scope to include concerts, documentaries, scripted and non-scripted television, including U2 Innocence + Experience Paris, Alicia Keys Time Square New York, Shark Tank for ABC, Alaska The Last Frontier for Discovery, Trevor Noah’s Afraid of the Dark for Netflix, and the Victoria Secret Swim Specials. Additionally, Nelson remastered Blood Simple with directors Joel and Ethan Coen. He also remastered Leaving Las Vegas, from scanning the original film to coloring the DI. Nelson is committed to delivering a quality product and enjoys evoking emotions through his color.

Allan joined the Picture Shop (formerly Finale) team in 1989, and his passion for editing and dedication to his craft continues.

Allan leverages his experience, award winning creative talent and technical expertise to expand the look and feel of each project he delves into. He has a rich credit list of documentaries, features and dramatic television finishing work, delivering projects to all US, Canadian and worldwide networks and distributors.

When he isn’t busy editing and finishing projects (or helping us design our suites), he sings soul music, sails, plays his ukulele and hangs out with his friends and family.

With 20 years’ of industry experience Dan’s early career was spent at Pepper, where as a founding member he learnt his craft from some of the best broadcast Colourists in London. Whilst there he gained rich experience grading both features and tv productions. Dan has spent the last 10 years’ working for Picture Shop (formerly Technicolor Post), helping to establish and grow the Broadcast department, whilst continuing to work on theatrical projects. During this time he won his second RTS Award for his work on The Eichmann Show. Dan loves the creativity and challenge of grading and creating a look, and makes up for all that time in a darkened room with lots of outdoor activity.

Known for his ability to create robust and adaptable workflows, clients often call on Scott to simplify even the most complex production requirements. Recent experience prior to Picture Shop includes his work at Technicolor Post, PostPro Media and Umedia in Vancouver. Scott has worked on such noteworthy projects as Super Dinosaur (Season 1, 2018-2019), his first animated TV series as colourist, and the multiple-award winning film Prospect (2018), featured at SXSW and the Fargo Film Festival. As finishing artist, Scott delivered the VFX-heavy latter project in 4K.

Known for his ability to perform under pressure and meet tight deadlines, Trevor Risbridger has helped ensure the artistic and technical success on numerous feature and episodic projects Trevor joined Picture Shop (formerly Technicolor Post) in 1999, following four years’ as an Editor at Video Excellence. He was named Online Editor Assistant in 2002 and became Online Editor five years’ later. He has also been working as a VFX Artist since 2013. Trevor’s interest in photography, which he studied in college, helps in his approach to TV, deepening his understanding of how scenes are shot, camera operation and lighting.

Building on thirty years’ of experience, Allan O’Hara’s rigorous attention to detail helps ensure the specific nuances of each editing project. Six years’ after his debut as a junior tape operator with Magnetic North in 1987, Allan moved into the edit chair while at Dome Productions. He became a Senior Editor with Picture Shop (formerly Technicolor Post) in 2003.

With a track record of excellence for more than 30 years’, Ed Ham has contributed his editing and VFX skills to dozens of world-renowned projects. Since his debut as a tape operator/edit assistant at VTR Video in Toronto in 1982, Ed has honed his ability to connect with clients on both the creative and personal level. He was named Editor at VTR in 1987 and joined Picture Shop (formerly Technicolor Post) in 1991. A professional musician since the age of 15 and an avid photographer, Ed has a deep understanding of how creativity, timing, rhythm and image treatment can interact and combine to help bring a client’s vision to life.

With a track record for meeting even the most challenging deadlines, Paul Deakin puts more than 25 years’ post-production experience at the service of clients. He focused on editing commercials for both VTR and PFA in Toronto before moving on to Tattersall Casablanca as Toronto Senior Online Editor in 2001. He joined Picture Shop (formerly Technicolor Post) as Senior Online Editor in 2012. In addition to his work on commercials and both long- and short-form TV series, Paul has edited documentaries and MOWs.

Known for his attention to detail, organizational skills and cool demeanor, clients often call on Frank for their most demanding projects. After starting off as a tape operator for Magnetic North in 1987, Frank was quickly named Junior Editor, before moving on to Eyes Post Group as Senior Editor in 1996. He joined Picture Shop (formerly Technicolor Post) as Senior Editor in 2008 and has worked on the feature films Possessor and Scary Stories to Tell in the Dark and the documentary feature Once Were Brothers: Robbie Robertson and the Band.

A veteran Colorist in Toronto for more than two decades, Mark is widely reputed for his creativity and ability to enhance a Director’s vision. After joining Picture Shop (formerly Technicolor Post) in 1994, Mark began working as a Colorist three years’ later. In recent years, he has worked on such notable TV projects as American Gods and Fargo and the feature Scary Stories to tell in the Dark.

With a penchant towards building lasting relationships with clients, Cinematographers and Producers, Rob has been bringing his personal touch to color finishing for almost 25 years’. After starting his career in 1990 with Motion Picture Video in Toronto, Rob moved on to Picture Shop (formerly Technicolor Post) where he worked on film dailies color correction. He also served as a camera assistant and video replay technician for major sporting events before moving into postproduction.

Steven Bodner is a three-time HPA Award nominee for Outstanding Color Grading who has worked on acclaimed shows and films such as True Detective ‘S1’, The Marvelous Ms. Maisel, The Queen’s Gambit, and Beasts of No Nation. Bodner has over 15 years’ of color finishing experience. He enjoys working with clients and delivering their desired look.

Richard Wells has over 5 years’ experience and has already compiled an impressive resume of credits on projects such as Fargo, Preacher, Mayans M.C., and The CW’s Stargirl. Wells started out as an IO Supervisor, where he learned to be adaptive and help deliver projects on tight deadlines. He is an Avid and Flame artist, and enjoys learning new software and adjusting his approach to fit seamlessly into each client’s unique workflow.

David Schneider has over 15 years’ finishing experience and has worked on hit shows such as Westworld, The Walking Dead, Fear the Walking Dead, TWD: World Beyond, Supergirl, Fargo, Gotham, and The X-Files, among others. He is a Flame and Avid artist, and takes pride in collaborating with creative teams behind some of the most acclaimed shows on television.

Ray Miller has over 30 years’ experience working on some of the most acclaimed and watched episodics, features, sports, commercials and trailers. Miller won 4 Primetime Emmys for this Editorial work and received 8 total nominations. His credits include hit shows True Blood, Dexter, Young Sheldon, Scandal, and Banshee, among others. Over the course of his career, Miller has worked as a producer, offline editor, and online editor and is a member of the Director’s Guild of America.

Zachary Dych is an Editor and Flame Artist who has worked across commercials and episodics for over 13 years’. He has worked on Cannes Lion and Clio award winning Ad Campaigns. Most recently, he was editor on the Netflix smash-hit Shadow and Bone. Zac enjoys contributing technical ingenuity and workflow solutions to each project, and primarily utilizes Flame to deliver top-tier editorial, beauty work, compositing, and clean-up.

Mark Dennison is an Emmy-winning Senior Finishing Editor/VFX Artist with over 25 years’ experience working on television’s most acclaimed shows. His editorial credits include Carnival Row, Doom Patrol, Daredevil, Luke Cage, Jessica Jones, and The Pacific. Among his numerous visual effects credits are Amazing Stories and Orange Is the New Black. Additionally, Dennison has received 2 Emmy nominations and an AICP Award for Visa’s Kangaroo Dreams. He enjoys developing workflow efficiencies and thrives on creative problem-solving to deliver clients’ projects to audiences exactly as they envision.

David-Aaron knew he wanted to work in special effects the moment he saw Jurassic Park. His passion quickly grew, inspiring his ultimate life goal to move to Weta to work on Lord of the Rings. He started learning about scanning film as a teenager, then worked his way up through dust busting, visual effects, and editorial. Around eight years’ ago, he began coloring dailies, allowing him the opportunity to work with John Wells on the series Shameless. Now as a colorist for film and television, David-Aaron is working with creatives, both venerable and new, helping to make the on-screen magic that left him in wonder and awe all those years’ ago.

Michael Hatzer is among some of the most accomplished DI colorists in Hollywood and has been color timing and Digital grading motion picture images for over 25 years’. Long before Digital intermediate grading, Hatzer photo-chemically timed over 125 features, hundreds of trailers, and hundreds of thousands of feet of dailies at Deluxe Film Laboratories in Hollywood. Joining Efilm in 2005, Michael transitioned seamlessly into the early days of DI. Today, Michael works at Picture Shop (formerly Technicolor Post), as a Supervising Digital Colorist where he heads up his color design team digitally grading dailies, trailers, broadcast TV and feature films. Hatzer has worked alongside many of the top Academy Award winning directors and cinematographers of our time such as Steven Spielberg, Alejando Gonzalez Inarritu, Joel and Ethan Coen, Sam Mendes, Janusz Kaminski, Emmauel Lubezki, Roger Deakins, John Toll and Dion Beebe. He is also an associate member of the ASC.

Tom Forletta grew up in an environment surrounded by photography. His father was a photographer in the United States Navy and later for KNBC in Burbank, CA. At age 16, Tom began working in a photo lab processing color negative and color prints while continuing to develop his own shooting style. Professionally, becoming a colorist was a very natural transition for Tom. His lifetime of being surrounded by creative people in the field of photography made his career path simple. Tom brings all of that early experience plus over 25 years’ of colorist experience to every job and project that he works on. His ability to look at images and bring them to life has led him to color some of TVs top rated show such as This Is Us. He has also worked directly in the theatrical world with some of the best cinematographers including Academy Award winners Emmanuel Lubezki and Claudio Miranda. Tom appreciates the opportunity to work with creative people who are passionate about their art. He is continually learning new techniques and fine-tuning old ones for the purpose of bringing their creative vision to the screen.

Post-production runs in the Flynn family, with Travis starting his career as an optical line-up technician at Pacific Title, where his father worked as a traditional color timer. During that experience, Travis shadowed his father to learn the art of color-timing on a Hazeltine, and shortly thereafter, he broke into digital intermediate. After Pacific Title closed, Travis moved to Company 3, where he spent nine years’ learning the skills needed to become a digital colorist. In that time, he transitioned from color assist to colorist, then joined Picture Shop Post (formerly Technicolor Post), as a digital intermediate colorist in 2018.

At eight years’ old, while riding his bike around LA, Jason stumbled onto a film shoot near his house and was immediately hooked. He went on to receive a B.A. in Film Production from Loyola Marymount University, and after a short stint in production, transitioned into post. He quickly worked his way into a position as a colorist, and has now worked in the industry for 24 years’. Jason enjoys working on diverse projects — big or low budget, 3D or 2D, theatrical or broadcast – he finds inspiration in every project. Some of his credits include the Apple series Servant, Fox’s The Simpsons and Netflix’s Making a Murderer, as well as films The SpongeBob Movie: Sponge on the Run and Over the Moon.

Lorne was born on the east coast, but grew up on the west. Entering college to study radio, he quickly discovered his passion for television, changed his career path, and never looked back. He worked in television production in British Columbia, Manitoba and Toronto, before settling down in Vancouver at Picture Shop (formerly Finale), first as a finishing editor, and then as a colorist. He enjoys the creative process of color grading and achieving the artistic vision of the creative team. Recent credits include the features Phil, Buckley’s Chance, Daughter, and In God I Trust; for television and streaming Julie and the Phantoms, Descendants 3, The Murders, and the Mystery 101 movies. In addition, his television credits include movies for Disney, Hallmark, the NFB, and Lifetime.
When he’s not working, he likes music, travel and photography. Lorne believes that the journey is the destination, and loves the spicy kick of Wasabi peas.

Finishing editor Chris Boettcher got his start in the business by shooting TV spots and music videos. He now gets to polish other DP’s work in the DI room before they’re released to cinemas or broadcast. Chris is a skilled Smoke, Lustre and Symphony artist, and has worked at a variety of Vancouver post facilities doing compositing and finishing.

Exciting finishing credits of this talented and dedicated editor are documentary series Sports on Fire for HBO, Netflix series Julie and The Phantoms, and the Lego Star Wars Christmas Special. Chris appreciates a good cup of cappuccino, and pursues photography in his spare time. He’s also a caring and devoted dad of two bright and beautiful kids. With any rare time off, he enjoys driving to Whistler with his family.

Paul Westerbeck is a two-time winner and three-time nominee of the HPA Award for Outstanding Color Grading. He has over 25 years’ experience working on acclaimed and hit shows like CSI: Crime Scene Investigation, Gotham, Doom Patrol, and Supergirl. Westerbeck uses a traditional approach to color grading, working mostly in primaries, and enjoys delivering the desired look of the director and cinematographer.

Growing up in Los Angeles some of Roy’s earliest memories are of escaping the summer heat to go watch Bruce Lee movies and Westerns with his father. Now, decades later, it’s a dream come true for Roy to be working in the industry. He points to Eastbound & Down as a special moment in his career – he was originally a fan of the show then was brought on board to handle dailies and it eventually became the first project he worked on as a finishing colorist. Roy has been nominated for two HPA Awards for his work on The Man in the High Castle.

Of work, art, and work that is art, Tim believes you should always, “strive to develop the very best skills you can to support the task you are trying to achieve.” A seasoned colorist with a portfolio of award-winning projects, including the series Mad Men, Tim approaches every project with a spirit of curiosity he learned from his creative upbringing. The son of a painter and photographer, Tim’s cites Ansel Adams and Frank Lloyd Wright as artistic influences. Tim sees Picture Shop as an environment filled with the creative energy of thriving artists and he loves to work with other creatives and clients who just want to be there, working on their shows with incredibly talented people.

Originating from Vancouver, Jodie joined Picture Shop (formerly Technicolor Post), in 2009 and has worked on a variety of studio films, indies and tv series. Her first DI feature was the Wachowski’s blockbuster Jupiter Ascending, where she worked with double Oscar winner John Toll on the dailies and DI grade. Jodie has developed a strong understanding of colour pipelines for dailies and DI colour grading, and has built close working relationships with some of the biggest names in cinematography, including Emmanuel Lubezki on the multi- BAFTA and Oscar winner The Revenant. Jodie has also worked with Cinematographer’s such as Dion Beebe, Phedon Papamichael , Paul Thomas Anderson, and most recently David Raedeker on The Souvenir 2.

Kris has over 23 years’ experience in post production. He started his career has a colorist at Point.360 focusing on feature film mastering. Eager to expand his knowledge, Kris joined the Post Logic team for 8 years’ and colored several scripted series and documentary films. Wanting to diversify even more, Kris spent two years’ at EFILM coloring theatrical feature films working with studios and independent filmmakers. His vast experience with digital intermediate, scripted and reality television, as well as documentaries, allows him to bring valuable knowledge and experience to any project. Over the years’, Kris has colored with Pandora, DaVinci and Filmlight. Kris’ approach to finishing is quintessentially, “Do whatever it takes to get it done!” He possesses the ability to adjust to the rapid changes of the finishing process. Keenly aware that no two shows are alike, he takes an active roll with the client to either create, or tweak an existing workflow with the goal of maximizing productivity. For seven years’, Kris has been working at Picture Shop (formerly Sim’s Chainsaw), where he enjoy the process of collaborating closely with cinematographers and directors to understand their vision.

Sparkle has been the anchor of our commercial, music and broadcast projects for almost three decades. He continues to work with many of the most respected Directors and DPs in Hollywood.

Matt’s artistic ability and technical acumen give him a unique approach to both the art of color grading, and to the wholistic approach to color he employs in the projects he works on. Rather than simply focusing on the ‘final’ grade, Matt views the entire pipeline from pre-production, through dailies and VFX, into finishing, and finally delivery, as the area of focus for today’s colorist. Matt’s unique talents have seen him finish and deliver projects for outstanding cinematographers such as Bob Richardson and Michael Seresin, while also designing color pipelines and look development for major studio features including those by Marvel and Disney. Matt’s highlights include Marvel Studios’ Guardians of the Galaxy Vol.2, Quentin Tarantino’s The Hateful Eight, Andy Serkis’ Mowgli, and James Gray’s The Lost City of Z. Matt recently completed supervising Marvel’s new streaming shows for Disney+ including WandaVision and Loki.

Rob Sciarratta has been widely recognized for his work over the last 30 years. Now an award-winning colorist, Rob began his career as a colorist working primarily on short form content coloring everything from Michael Jackson music videos to Budweiser commercials. Rob’s episodic work includes HBO’s The Night Of, SyFy’s Happy!, and most recently Epix’s Godfather of Harlem. His recent features credits include Netflix’s Someone Great and Universal Picture’s American Made. Outside of his time as a colorist at Picture Shop, Rob serves as an adjunct professor at the School of Visual arts, teaching the next generation of young colorists. Keep an eye out for the upcoming ESPN Michael Jordan documentary, The Last Dance, to check out some of Rob’s most recent work!

Tony Smith is an award-winning colorist with over 25 years’ experience who has worked on acclaimed shows like Orange is the New Black, The X-Files, The Crossing, Las Vegas, and Bones. He won the HPA Award for Outstanding Color Grading for his work on the hit show Castle and has received three HPA Award nominations and won two International Monitor Awards for his color grading artistry. Tony strives to make his work an extension of the directors and cinematographer’s vision. One of his favorite aspects of creative collaboration is developing an organic, effective short-hand with clients, like musicians sitting down and jamming together, perfectly in-sync.

George Manno has over 20 years’ experience and has worked on hit shows such as The West Wing, Fringe, The Komsinky Method, and Arrow, among others. Manno enjoys helping creators tell their stories visually and is a member of the Motion Picture Editors Guild.

Elodie Ichter started her career in France at Eclair Laboratoire where she learnt the art of color grading in a traditional film environment. From color timing to digital color grading, Elodie has developed a repertoire of creative skills that are widely respected across the film and tv industry. With a network of creative influences spanning Europe and America, Elodie brings a distinctly collaborative and personable approach to color grading and enjoys crafting unique looks that enhances the creative vision set by her clients. Recent highlights include working with Cinematographer Joshua James Richardson on Feature Film Nomadland for Searchlight Pictures and working with Cinematographer Robert Richardon on Venom: Let There Be Carnage, having previously worked with him as an Associate Colorist on Quentin Tarantino’s Once Upon A Time In Hollywood.

Kevin has guided the look of hundreds of hours of TV drama and features. His work has been honoured with many awards, including a BAFTA for Troy and three RTS Television Awards for Picture Enhancement. This follows commendations for Sherlock, Persuasion and A Midsummer Night’s Dream. Learning from his father who was a photographer, Kevin spent time taking and processing his own black and white photographs, learning darkroom techniques like dodging and burning and exploring how they changed the mood and look of his pictures. It was this experience that sparked his interest in storytelling and led him on an exciting journey to the world of colour grading.

Shane Harris has over 20 years’ experience working on acclaimed shows and movies, including Westworld, Shadow and Bone, Preacher, Rogue One: A Star Wars Story, and War for the Planet of the Apes. Several of his projects have been nominated for the ASC Award for Outstanding Cinematography. Harris values his relationships with clients above all else and enjoys long-standing creative partnerships with some of the best directors and cinematographers working today.

Maxine Gervais has worked on over 50 blockbusters and critically-acclaimed feature films, receiving three Hollywood Professional Association (HPA) nominations for Outstanding Color Grading – Feature Film: one for her work on The Hughes Brothers’ The Book of Eli; another for her work on Guillermo del Toro’s Pacific Rim; and winning for her work on Albert Hughes’ Alpha — for which she made Hollywood history as the first woman to win this award. She has always been passionate about creative expression with technology and color. Coming from a classical arts background, earning a B.A. in visual art from Laval University, and understanding that there can be applications in the digital world, she later received a post-graduate certificate in computer technology for cinema and television, Gervais has established an impressive career as a finishing artist.

As colorist on Game of Thrones, Joe is highly sought after for his work. He came to Picture Shop (formerly Sim’s Chainsaw) with over 20 years of experience in features and episodic television. Joe started working on the show while at his last job at Modern Videofilm. Joe’s career began at Laser Pacific, and was a senior colorist at Modern for almost two decades. His credits there comprise over 100 feature films, including The Descendants, 3:10 to Yuma and Walk the Line. A four-time HPA Award nominee, he won the HPA Award for Color Grading in the TV category in 2012 for the Game of Thrones episode The Prince of Winterfell. Joe sees an opportunity to help grow scripted television at Sim, and would like to seek out more high-end scripted television shows. Saying that the best part of his job is “collaborating with other creative people,” Joe knows that there has never been a better time to work in scripted television. “Creative people enjoy more freedom in television today,” he concludes. “A lot of great cinematographers and directors are moving to TV today because they want that freedom.”

Paul is an internationally respected Colourist with experience spanning decades, dating back to his formative years as a 35mm trainee feature grader. As film and photochemical timing gave way to digital intermediate workflows, Paul has enjoyed the additional creative avenues which technology enables, while harkening to his initial training within the film laboratory. Paul has experience working with legendary Directors such as Ridley Scott, Jane Campion, Ken Russell, Neil Jordan, Bill Forsyth and Stephen Frears.  Paul’s notable credits include Lady in the Van with Cinematographer Andrew Dunn, BSC, Allegiant with Cinematographer Florian Ballhaus, ASC, Johnny English Strikes Again with Cinematographer Florian Hoffmeister, BSC, Mary Queen of Scots with Cinematographer John Mathieson, BSC and mini series Quiz for ITV directed by Stephen Frears.

George Delaney has over 20 years’ experience as a colorist on some of television’s longest-running and most acclaimed shows such as NCIS, NCIS: New Orleans, and Person of Interest. Delaney started color timing from film at The Post Group. He then worked as a colorist at Hollywood Digital and Encore, before joining Picture Shop in 2016. Delaney has worked on films, animation, and television series, and feels that even though technology has changed, the focus is still the same — to help the client reach their best vision of their story.

Sam is a highly respected Colourist who specialises in feature films and animation projects. He began his career in Sydney learning his craft working as a Post Services Technician, before becoming a Colourist. During his time in Sydney, Sam began grading animation projects, eventually becoming one of the most prominent Colourists in the genre globally, working on The Lego Movie, the animation/live action hybrid Peter Rabbit and The Lego Batman Movie. In 2018, Sam’s work on The Lego Batman Movie won a Lumiere Award for Best Use of HDR in an Animated Movie. Sam is an avid photographer and enjoys taking landscape and black & white photography when he is not in the grading suite.

Frederik Bokkenheuser grew up in Copenhagen, Denmark where he started his career in post production. He has over 25 years’ experience as a colorist on hit tv shows and acclaimed films that have made their mark on the festival circuit. Bokkenheuser’s credits include the upcoming Netflix series Black Summer ‘S2’, the Hulu series Light as a Feather, and the award-winning documentary Can’t Stop Won’t Stop. Regardless of the type of project, feature or episodic, he always strives to push a cinematic feel and maintain the filmmakers’ vision for the look.

Pankaj Bajpai is a veteran colorist with a long list of credits including House of Cards, Sex and the City, True Detective, and Fear the Walking Dead. In 2018, he joined Picture Shop (formerly Technicolor Post), as VP, finishing artist and business development, bringing with him a background in both film cinematography and digital post.

As an accomplished entrepreneur in the post production industry, Marc has founded four Toronto based media related companies over the last 16 years. Pioneering new ways to facilitate production and post has been a driving force behind his success. Marc’s most recent venture includes joining the Picture Shop (formerly Sim) in 2014 as a partner (Pixel Underground) and has also led him back to his creative roots as a colorist working on commercials and feature length content. Marc’s tenure as a Director of Photography gives him insight into the the workings on set and he often consults on camera choice, lighting, color science, and post delivery. His credits include the 2017 feature It Stains the Sand Red and commercials for brands such as Mazda, Tim Horton’s, Jolly Rancher, Cineplex, Spinmaster and Budweiser.

Paul Allia has over 18 years’ experience and has been nominated for an HPA Award for Outstanding Color Grading for his work on Damnation, shot by Thomas Yatsko, ASC. Throughout his career he has worked on acclaimed and hit shows such as Dustin Lance Black’s When We Rise, Big Sky, Star Girl, and Netflix’s On My Block, which was Picture Shop’s first project to be graded in HDR. Allia enjoys getting to know his clients and what their vision is for the look of their project, then strives to deliver it exactly as they intended to the audience.

Chris Boyer has over 20 years’ experience working on several of the most acclaimed and watched projects on television. Boyer’s recent credits include The Walking Dead, Fear the Walking Dead, Shameless, Blindspot, and the hit CW show Kung Fu. He started in the industry as a camera technician at Clairmont Camera. From there went out into the field as a 1st AC on major commercials and music videos. After attending a color grading session, Boyer realized his passion for color and made a transition to post-production. Today, Boyer enjoys creative relationships with some of the industry’s most skilled directors and cinematographers.

Colorist Ross Cole leverages some three decades of experience to ensure that TV and film clients get the support they need to realize their creative goals. Working at Motion Picture Video Corp. in Toronto during the 1980s and 90s, Ross helped clients successfully complete thousands of TV commercials and long format projects. He joined Picture Shop (formerly Technicolor Post) in 1995 and has contributed to several projects that have won or been nominated for Emmy, ASC, BSC and CSC awards.

Extremely flexible and always tuned to client requirements, Mike Dobroski prides himself on consistently meeting client deadlines, regardless how tight. Mike began his career in 1991 in TV standards conversions and QC at International Image. He moved to Magnetic North as a tape operator/telecine assistant and to Eyes Post as an JR Colorist before joining Picture Shop (formerly Technicolor Post) as a Colorist in 1997.

With an established track record for understanding client desires and teaming up with others involved in post-production, Brett also offers exceptional know-how in 3D workflow and technology. Since joining Picture Shop (formerly Technicolor Post) as a media services technician in 2001, Brett was named Dailies Colorist in 2003, Colorist in 2005 and Senior Colorist in 2014.

An artist in her own right, Anne Boyle has forged an international career that has taken her from Dublin to Amsterdam and Bangkok to Vancouver. Over her career she has collaborated with acclaimed Cinematographers Jean-Marie Dreujou and Hayk Kirakosyan and directing legend Jean-Jacques Annaud. Coming from a photography background, Anne started her education in the camera department and began to shoot short films and documentaries. Inspired by new developments in technology, she changed course and won a placement at the UK’s National Film and Television School (NFTS) seeking to become a Colorist. Anne had early hands-on experience with Film Light platforms and is considered a “Power-user” on a Baselight X.

Rob Gyorgy has been working in postproduction since 1990, consistently growing his skills and honing his talent as techniques and technologies have developed. By the time he joined Picture Shop (formerly Technicolor Post) in 2004 , Rob had advanced from Shipper to Tape Op to VFX artist. He was named DI Editor shortly thereafter. Rob’s role as VFX Supervisor/Artist for Jason X, the first fully digital feature film, in 1999, confirmed his prowess in digital. Since then, he has worked with such notable Directors as Ruba Nadda, Sarah Polley and George Romero.

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Mark’s post-production career spans over thirty years. In 2006, Picture Shop (formely Chainsaw) hired him to become the online editor for their expansion from Santa Monica into Hollywood. Grateful for the opportunity to work at a premiere facility, he has the good fortune to work with very talented people on a number of quality projects. Mark’s accomplishments include the file-based workflows that he helped develop with colorist Kris Santa Cruz on the Baselight color grading system. Consistently delivering high quality work is his first priority, apparent in his Symphony color grading skills and effects editing expertise, while building long lasting relationships is the reward. Mark’s credits include the 100th episode of MTV’s scripted series Teen Wolf, as well as the docu-series Road to Race Day for Hearst. He also provides finishing on other documentary, reality and live to tape award shows.

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Jose Favela, Online Editor and Baselight Conformist, handles shows that are being colored by Baselight colorists. His responsibilities encompass taking projects from clients and editorial and conforming them so that the colorist has all the range the camera has to offer without losing any quality. By doing so, Jose deals with many frame rates and aspect rations. Additionally he also online edits many shows, which includes making the final details of the program. Jose found his passion for editing while he was young through a program called Youth Opportunity, where he took a video production class and eventually became the assistant instructor. After earning his AA in Media Productions from Collins College, he moved back home and started working at the local CBS News as a news photographer and editor. He joined Picture Shop (formerly Sim) in 2003 and has been working his way up ever since. Some of his credits include “Scream,” “Last Dance,” “Bajillion Dollar Properties,” “Comedy Get Down,” the “Emmys,” “Teen Wolf,” “50 Shades of Black” and many others.

John Zimmer is the final stop before the show goes on television. He is the last stop for final color correction, credit changes, and final screening before it airs. John started his editing career at Daniels Cablevision in Del Mar, California while attending UCSD. After graduating in 1995, he worked at Team One Advertising as an audio video intern making dubs and promotional tapes to solicit new clients. In 1997, he began specializing on Avid Symphony finishing. He was a freelance online editor in Hollywood untill 2004, when he joined Picture Shop (formerly Chainsaw). Nominated for seven Primetime Emmy Awards, he and the editing team have won for “The Kennedy Center Honors” (2007), “The 25th Anniversary Rock and Roll Hall of Fame Concert” (2009) and “Rock and Roll Hall of Fame Induction Ceremony” (2012). During John’s career he has had the opportunity to work on television’s biggest shows with directors and producers who trust in him to make sure their shows look great. John’s other concert credits include Barbra Streisand, George Straight, Carrie Underwood, Yanni, Tim McGraw, Storytellers: Dixie Chicks, A Salute to our Troops, and Live Earth. He is very proud to have worked on fund-raising broadcasts such as “Stand Up to Cancer,” “Idol Gives Back,” and “An Evening of Stars Tribute.” These shows have raised hundreds of millions of dollars during their broadcasts to help fight cancer, and provide college scholarships.

John’s work as an Online Finishing Editor entails everything from color correction, visual effects and titling to delivering final product. His role also encompasses listening to a client’s vision and translating that to the screen. Starting in the vault at Pacific Video, John moved up the ranks utilizing his own time to learn the skills necessary for the next position. He joined Picture Shop (formerly Chainsaw) as an assistant editor, working his way up to an Online Editor over the years. Some of his favorite projects include “America’s Got Talent,” “The Academy Awards,” “American Music Awards” and many more. He credits his exceptional listening skills and empathetic nature with the success of his career. During long shifts of editing, he feels people need a calm and patient sounding board as the pressure intensifies. With a long list of credits to his name and two Emmy nominations, he admits to being a fan of the high speed pace of an impending deadline.

Jeff Winston, Flame Artist and Editor, uses the Flame platform to conform client projects to full resolution and performs miscellaneous VFX works. His main goal is to ensure that the client’s vision is translated into the highest quality. He started his career in post production in the early eighties at Premore, one of the early post houses in Los Angeles. There he filled a number of positions, but it wasn’t until the mid-eighties that he started pursuing online editing. While he did graduate from the University of Washington as well as UCLA, Jeff believes that his time at Premore is akin to a Masters Degree in post production. His credits include “The O.C.,” “The Walking Dead,” “Modern Family” and more.

Jay Robinson, Flame Online Editor, is a 25 year veteran of post production. Starting as an assistant editor, he soon thereafter had the opportunity to work in visual effects, theatrical films, and commercial work, though his love for working on television shows brought him back to editing. As a Flame Online Editor, Jay does the conforming of television series by making sure that the show is prepared for color corrections, before moving it on to titles and VFX. Jay is credited with television shows such as “The Son,” “Suits,” “Sons of Anarchy,” many of Tyler Perry’s series, and “The Witches of East End,” among many other titles. Additionally, he has worked on music videos for artists such as Eminem, J-Lo, Ricky Martin, Marilyn Manson, Nine Inch Nails, Offspring, Dido, Faith Hill, Stained, Missy Elliot, and Jay-Z. His credits don’t stop there. Jay is also holds credits on films such as “Fantastic Four,” “Pearl Harbour,” “Moulin Rouge,” “This Means War” and many others.

Chad Cole is responsible for conforming, titling and finishing shows. He started out in the industry working for a small post facility that specializes in music videos, for which his educational background in all things music-related came in handy. Today, he brings his music background and experience to picture editing. His recent credits include “The Leftovers,” “Scorpion,” “Pretty Little Liars,” “Six,” “Famous in Love” and “The Family”. His favourite projects include “Chuck”, a techno-sci-fi comedy where he got to do a lot of visual effects and worked, on occasion, with the legendary Dan Curry from Star Trek; “Avatar”, where he conformed and titled in 3D and “How I Met Your Mother”, where he got to create visual effects on the Avid DS on many of their funny gags! Something he learned early on in his career, after working a 24 hour shift where he felt he was too busy to eat, was to always make sure there is food available!

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Ben Folts, Emmy Award-winning Finishing Editor, ensures the moving pictures and sounds made by the creative forces of the world come together in the way clients intended. He describes his role as “a spiritual guide through the often complicated jungle of post production,” making sure the productions look as good as they can. Ben attended Full Sail University as well as a small college in his home town of Jackson, Michigan, but credits most of his education from working in Los Angeles with the talented artists and producers who were generous enough to allow him to learn from them. After college, Ben moved to Los Angeles, where he worked as a waiter for six months before a customer gave him his big break. Because he started his editing career offline and worked on a variety of projects, Ben understands the creative intent of a project which he brings to many of the shows that he works on, including “Colony,” “America’s Got Talent,” “Shark Tank,” “Academy Awards,” “Billboard Music Awards,” “Rock and Roll Hall of Fame Induction Ceremony” and “Game of Thrones” (HBO). Ben enjoys bringing a fresh perspective to the creative process while consistently adapting to new technologies and storytelling methods.

Anthony began his Post Production career in 2007 after he graduated from The College of New Jersey. He holds a degree in Communication Studies, with a focus on radio, film and television. After graduating, he worked at Broadway Video for over 10 years. In 2018, he freelanced with several Manhattan facilities including Sim NY, before joining the Picture Shop (formerly Sim) team full time in 2019. His favorite projects include “Fred Armisen: Standup for Drummers” on Netflix, the PBS series “Live at 9:30,” and Arcade Fire’s special “Here Comes the Night Time,” which aired after SNL on NBC.​

Shortly after moving to Los Angeles in 1995, Doug started his post production career, learning the art and science of film imaging for visual effects. In the process, he worked with and learned from top film timers, VFX supervisors, and color scientists, which helped contribute to his deep knowledge and understanding today. When digital intermediate entered feature post production, Delaney was well-positioned to leverage his knowledge and experience to dive into the field head-first. Since 2003, he’s worked on dozens of renowned projects.