Prodigious, the content production arm of Publicis Groupe, has hired Steve Evans and Kevin Palmer as editors, and Andrew Granelli as sr. VFX artist.
The trio is the latest addition to the agency’s growing postproduction team, which recently moved into a state-of-the art campus in Brooklyn’s Industry City, where they’ll work on a wide array of projects for Publics Groupe clients, including P&G and Walmart.
Evans has extensive experience editing commercials, web content, presentation videos, short documentaries, promos, music videos and claymation. He has worked with top brands including Miller High Life, Samsung, ExxonMobil, Frye Boots, Folgers, Verizon Wireless, Old Navy, Jaguar, Microsoft and Intel.
Palmer has worked in both advertising and independent film, having cut two-time Academy Award nominee Bill Plympton’s animated features Cheatin’ and Idiots & Angels, as well as Zbigniew Bzymek’s debut feature Utopians. Recently, Palmer has collaborated with playwright, director and musician Young Jean Lee on her short films Here Come the Girls and A Meaning Full Life.
Granelli, who comes to Prodigious from Click 3X, brings 15 years of visual effects and set supervision experience with high-end brands and complex effects. His addition to the team has driven a seamless experience between production and post on all VFX work.
“The hiring of Steve, Kevin and Andrew is part of our continued investment in scaling our filmed content production capability,” said Phil DeZutter, CEO, Publics Communications North America Production Platform. “We have a world-class studios in New York and across North America, and we’re committed to bringing in the best talent in the industry to deliver the highest levels of craft for our clients.”
Rounding out the new in-house team are three experienced and highly-talented audio engineers who joined Prodigious in 2016: John Grant, Steve Perski and Mark Turrigiano.
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More