Soon after New York’s Tape House Editorial opened its doors in 1979, co-founders Mark Polyocan and Arthur Williams were quick to recognize the growing need for transfer services from negative to two-inch. They committed to the emerging technology, dedicated a talented staff to mastering it, and began a long tradition of being the first in the city to offer ground breaking technology, and distinguished their company as a high-end film to tape house before the competition could say ‘telecine!’
"In the early days, " recalls Polyocan, "we had creative editorial, but we jump started our full post services business by identifying a need and offering what no one else was offering at that time: the transfer of negative to video." He says, "That area of expertise carried us through a long period of growth and laid the foundation for building The Tape House Companies."
Today, Polyocan’s talent for predicting industry needs, and his steadfast commitment to new technology, have positioned his company at the forefront of the post production business/Hi-Def revolution, while facilitating its growth into a comprehensive family of full service post production companies.
This month The Tape House Companies, which include Tape House Editorial, Tape House Advanced Imaging Center, Black Logic, Tape House Digital Film and Tape House Toons, celebrate 20 years of providing the industry with pioneering post-production technology, top-notch talent, and an unwavering commitment to quality and innovation. The companies are already planning their evolution into the 21st Century.
Currently, Tape House is expanding south to 12th Street & Broadway. The Annex, presently under construction, will offer two telecine rooms including the Spirit, a Quantel Henry and a digital audio suite in association with Photomag. The Annex is set to open in September.
Tape House Editorial
Headed up by VP/general manager Michelle Brunwasser, Tape House Editorial offers a comprehensive mix of postproduction services that includes all formats of creative editorial, including the world’s first HD digital online editorial suite, nonlinear offline and online, image compositing, standard and HD film-to-tape transfers and fiber optic transmission, closed captioning, data transfers and duplication.
"Our commitment to pioneering new equipment, participating in the development and design of software for the industry, working with manufacturers on new technology are what really sets Tape House apart from the crowd." says Brunwasser. "At some point in time, any number of facilities will jump on the band wagon and purchase a new piece of equipment. But Tape House’s experience and expertise cannot be matched. Clients know this and have come to rely on it."
With the expertise of John Dowdell III, the Tape House acquired the first Rank MkIIIB nearly 20 years ago. Dowdell has supervised the Tape House’s expansion & commitment to new technology from the first innovations with the Rank & Sync Smart to the latest HD technology. Three years ago Dowdell was invited to Germany by Philips to see the Spirit prototypes. "It’s the most important advance in film to tape transfers. It’s everything I’d hoped it would be. " were his words upon returning from his visit. It was soon after that the Tape House acquired its first Spirit.
From its inception, Tape House Editorial has a history of being the first in the country, and even the world, to offer such ground breaking technology. Beginning with the Rank MkIIIB, Tape House Editorial continues at the forefront. Recently, it was the beta-site for Philips Spirit Datacine and has continued to expand its data division at The Advanced Imaging Center.
"We’re never static," notes Polyocan. "Maintaining the quality of existing services and technology while integrating the newest cutting-edge equipment into the facility keeps us in a constant state of change. But it’s the constant process of evolving that gives our clients confidence that we’re going to provide the best the industry has to offer."
Brunwasser adds, "New York is a highly competitive market and to remain viable you can’t stand still. You have to be willing to take chances, but at the same time remain true to what you do best."
Tape House’s longevity can, in part, be credited to its responsiveness to a broad range of clients. While the commercial arena constitutes the majority of the company’s business, Tape House has also distinguished itself as a provider of high-end transfer services for various markets, including feature films, broadcast, documentaries, music videos and the corporate marketplace.
Tape House Editorial, located at 216 East 45th Street, has maintained a prominent position as the pioneering parent company. With its introduction to total HD, Tape House has positioned itself as an innovative, technically aggressive company actively committed to the future of postproduction.
Recent long form projects include: Woody Allen’s Celebrity; Living Out Loud with Holly Hunter and Danny DeVito; Sony Pictures Classics’ Central Station; and John Turturro’s Illuminata. Long time clients Merchant Ivory and Miramax are frequently in the facility. Miramax recently completed Shakespeare in Love and Good Will Hunting. Tape House has also worked with Ken Burns on such projects as Frank Lloyd Wright and a documentary for which he currently serves as director and a producer-Not for Ourselves Alone: The Story of Elizabeth Cady Stanton and Susan B. Anthony.
"We work with all the agencies, including Ogilvy and Mather, Ammirati, Gotham, Hill Holiday, McCann, J. Walter Thompson, Arnold, Messner Vetere Berger MacNamee & Schmetterer, Cliff Freeman, JMCT, Kirschenbaum Bond & Partners, Deutsch and Arnell," says Bryan Fitzpatrick, director of marketing for Tape House Editorial. "We also work with the networks and cable markets, including A&E’s Rat Pack produced and directed by Carole Langer, as well as The Howard Stern Radio Show for CBS and Comedy Central’s Stranger With Candy.
Brunwasser adds,"We have long and valued relationships with many editors including Blue Rock, Bug, Earth to Mars, Mad House, Billy Williams, Chinagraph, Mad River, Editing Concepts, and we’ve partnered with Empire Video on transfer to HD-not to mention production companies like Curious Pictures, Five Union Square, Giraldi Suarez, R/GA, RSA, Fahrenheit, Phil Marco, Lovinger, MacGuffin, OneSuch Films, Open Frame and more."
Active as well with PSA projects, Tape House Editorial recently completed work with director Joel Schumacher on MTV’s PSA for "Anti Violence campaign.
Recent music video projects include Harry Connick Jr’s "Come By Me" produced by Notorious Pictures, Satellite’s rock video for Luscious Jackson, and a remake of Steppenwolf’s "Born to be Wild" for the feature Go. The Tape House delighted in the relationship with Big Dogs director Hype Williams, posting many of his popular videos including "Get Jiggy" till he went off to do his feature Belly.
Recently Tape House added closed captioning to satisfy the burgeoning industry requests for this service. Another noted service Tape House offers for mastering is digital film restoration. Tape House utilizes both hardware- and software- based solutions to eliminate film dirt, scratches and watermarks to allow the delivery of pristine top quality standard and high definition video masters.
Video transmission services are also offered by Tape House Editorial and its affiliated company Black Logic. With Vyvx, The Tape House provides broadcast quality video transmission services, in both digital and analog signals in real time from all formats via both satellite and fiber optics for domestic and international transmission. "It’s an enormous convenience for clients when there’s a need for rapid approvals," says Veronica Lax, Tape House Editorial’s Vyvx manager. "Spots can have a quick turn around to meet an air date. Frequently the editor is in another city and client approval is needed to make their deadlines".
The balance of cutting-edge technologies and creature comforts is another facet that sets Tape House Editorial apart from the crowd. The beautifully designed triplex facility, serves up daily gourmet fare along with post production services. Executive chef Anthony Rabara, prepares daily meals for the clients and staff. The food is as "high-end" as the equipment.
Tape House Advanced Imaging Center
The Advanced Imaging Center (AIC) is committed to helping clients deliver their vision in electronic, film and print media. Director of HD & Data Services, Tim Spitzer says, "Our creative talent pool of colorists and editors, groundbreaking technology, and technical expertise combine to provide the industry standard for service and innovation."
VP and Spirit Datacine director Dowdell has been with Tape House since its inception. Long recognized as one of the most talented professionals in his field, Dowdell is often called upon by manufacturers and clients alike for his expertise in the field of standard and HD mastering. Dowdell has been involved in pioneering new technology. "AIC builds on Tape House’s strengths in film-to-tape, and our acquisition of two Spirits and our Hi-Def post suite have created a comprehensive Hi-Definition production environment," Dowdell says "The recent acquisition of Pandora’s Megadef gives us full secondary color correct as part of AIC’s growth in HD."
AIC transferred and edited many hours of program content to launch the High Definition Unity Motion satellite broadcast channels currently airing across North America. These include features, documentaries, sports, and original programming.
In other Spirit Datacine transfer work, AIC has transferred film not only to video, but also to color corrected computer data files for use in print campaigns and for transfer to 35mm by Tape House Digital Film for theatrical projection.
Special anamorphic HD transfers were done for Texas Instruments for demonstration of its digital mirror projectors used for electronic cinema.
Currently S-16mm and 35mm is being transferred to HD and data for Archipelago Films’ "Congo" project, a permanent special venue theatrical installation for the Wildlife Conservation Society/The Bronx Zoo. From this data, Black Logic will create a 12-second HD graphic montage of images for the program open, as well as designing the composited animation of the program close.
In 1997, Tape House installed the first completely digital HD suite in the world. The suite was created with Panasonic, Sony and Accom equipment. "We have now taken delivery of Jaleo Tempest, a resolution independent non-linear HD (and beyond) editing and compositing software, which runs on our Onyx2," adds Spitzer. "This, with Interactive Effects Piranha compositing software, serves as a welcome complement to our HD editorial services."
In HD editorial, AIC completed packaging for the PBS Digital Week, and is continuing a series of HD co-productions for NHK and WNET. Other projects in the wings include the finishing of a six-hour PBS special on Abraham Lincoln produced by David Grubin Productions and DP’d by James Callanan.
Among editor Peter Heady’s recent projects are four long format, high profile, music documentaries for PBS’ Great Performances, including the recent broadcast Swinging With Duke. Heady edited many of the first HD spots for Procter & Gamble. "It’s always a thrill to work with people breaking new ground," says Heady. "P&G afforded us the opportunity to post some of the first commercial programming in HD."
Bruce Nadel of OneSuch is one of the directors eager to experiment in the HD mode and has expanded his own directorial palette, completing his recent commercial for Sprint in HD as well as SD.
AIC’s manager of data services Ari Zohar Klingman is enthusiastic about the enhanced image quality provided by film to data transfers. "The Spirit gives an enormously superior product. We can now stay in data for our transfers, with full secondary color correct."
"Also, data transfers give our clients the advantage of a single film resolution transfer from which all output formats can be made," Klingman adds."We can gather multiple resolutions, graphics, manipulate them and distribute it in any format. (film, print, HD video, NTSC and PAL) Our clients can sit in our sessions and watch the work in real time as if it were a normal film transfer session. It’s a great service to our clients."
Black Logic
Having distinguished itself as a leader in the field of on- line editorial film-to-tape services, The Tape House recognized the growing need to provide the industry with the same high-end, boutique styled services in the area of visual effects and computer animation. With the formation of Black Logic (formerly Tape House Digital) in 1992, the concept of The Tape House Companies was forged: a series of integrated companies that would specialize in diverse aspects of production and post-production, offering the highest level of service, talent, and technology.
The advantage of the dynamics of the "family concept" was that clients could come to rely on the quality that had become synonymous with the Tape House, while knowing that every aspect of the post-production process would be centrally coordinated, with one company taking full responsibility for the final outcome.
Black Logic, located just a block away from Tape House on two floors at 305 East 46th Street, is a full service production company providing high-end computer animation, compositing, visual effects, live action and digital editing for television and hi-resolution effects for motion pictures or high definition projects. In addition to creating 3D computer graphics and animation, the company also offers title design and animation plus image processing. "I think people know that when they work here, they will end up with a superior product", says VP marketing Alfie Schloss, a founding member of the Black Logic team. "Our reputation is based on the quality of our work and attention to the finest detail is something we demand of every project in the house."
Schloss comments on the unique advantage of being part of The Tape House family. "Our strength is in our differences, but our growth is based on a common vision and sense of purpose."
Michel Suissa, VP/creative director, also a founding member of the Black Logic team, is credited with helping to set the mark for Black Logic’s stand of excellence. "We want to be perceived as creative partners, where our technical expertise and design sense can provide our clients with an overall creative direction leadership," he says. "In order to accomplish this goal successfully, we need a talented and passionate professional staff, which we are fortunate to have-one that enjoys the challenge of creating the highest quality final product."
VP/executive producer Karen Stewart manages Black Logic’s production arm. Stewart, also a founding member of the company, heads a team of effects producers who ensure that work flows smoothly through the shop. "All of our producers are creative as well as technical," says Stewart. " The production department is set up to be a creative entity that works very intimately with the artist and clients and can act as a translation medium between the two."
During the past year, Black Logic has expanded its roster with the addition of senior animator Gavin Guerra, animators Patricia Heard Greene and Jennifer Fogelstrom. Concurrently it has expanded on its six- year creative partnership with Floyd Gillis whose CGI company, AFCG, is also represented by and housed within Black Logic. "Having two separate CGI entities under our banner strengthens our ability to respond to clients needs," says Stewart. "With the two entities, we offer a broad range of styles and use a wide variety of software solutions allowing us to tailor our creative staff to best serve each project."
Recent Black Logic projects have included production of a new live action/CGI open for the PBS series Reading Rainbow for Lancit Media (designed and directed by Suissa), "Showtime in the 20th Century," a promotional spot for the Showtime Cable Network, Snickers "Bald Guy" for BBDO through MacKenzie Cutler Editorial and an on-air graphics package for AMC through PMcD Design.
Black Logic utilizes Discreet Logic’s Inferno software (Four systems, eight visual effects artists) as the backbone of its compositing capability. Additionally, Black Logic uses Softimage, Maya, and Shake software running on SGI and NT platforms for CGI.
Black Logic clients include PMcD Design, Young & Rubicam, Grey Advertising, BBDO, Tarlow, Bates USA, J. Walter Thompson, Jordan McGrath Case & Partners, Lowe and Partners/SMS, Calvin Klein, RSA USA, Atherton, MacKenzie Cutler Editorial, Homestead Editorial, Ohio Edit, Billy Williams Editorial, Editing Concepts, 2000 Strong and Pyburn Films to name a few.
Tape House Digital Film
Recognizing the growing demand for digital film recording services, Tape House Digital Film (THDF), was formed in 1993. Housed in the offices of Black Logic, THDF specializes in both motion picture and still photography services. For cinema, THDF offers negative scanning and film recording from digital video. For stills, THDF creates slides, transparencies and computer files from either digital video or motion picture negative.
Headed up by Schloss and David Kuttner, the company is a synergistic element of the Tape House Companies. In addition, the company has found a niche by providing the highest quality tape-to-film transfers available for the burgeoning in-cinema commercial market. THDF is now branching out into long form motion picture work with the imminent delivery of a laser film recorder, which will dramatically expand its capacity.
"We saw an opportunity to develop a unique service here in New York and we have seen that business explode in the past three years." says Schloss. "We are doing much of the high end work in New York for clients like AT&T, American Express, Calvin Klein, Sony and MasterCard to name a few. We also service many clients in Europe and South America, which have very robust in-cinema advertising traditions."
The key to THDF’s success is Kuttner, VP, director of digital film. Kuttner developed the proprietary software that is the basis of the company’s quality and has also invented and built some of the hardware being used. "We are blessed to have excellent tools, but the key to our success is the dedication and hard work of our production staff, Charles Kouzoujian and Christian Zak, plus the knowledge and service provided to our customers by Alfie Schloss and client services representative Chris Hauser" said Kuttner.
Kuttner is currently in the final development stage of a revolutionary new motion picture scanner that will dramatically speed up the high-end motion picture scanning process with unsurpassed quality and resolution.
Tape House Toons
Headed by executive producer Rob Issen, Tape House Toons (formerly Tape House Ink & Paint), housed at 222 East 44th Street, addresses the industry’s need for cost-effective, quality animation services. "The company has evolved into a truly state-of-the-art, full-service animation company," explains Issen, "and we felt it deserved a new identity, and a name which doesn’t set limits on it scope."
Tape House Toons has historically provided the broadcast, feature film and commercial markets with top-of-the-line electronic ink and paint via its Pentium-based workstations, including a broad range of technical services for animators. By offering advanced technology specifically to traditional animators, Tape House Toons has been able to team with major animation studios who chose the digital route for reasons of production efficiency and control.
Tape House Toons is currently completing its third season of work on the Saturday Night Live animated series "TV Funhouse," created by Robert Smigel and animated by J.J. Sedelmaier Productions. "A series like this just couldn’t be accomplished without a strong technical partner," says director J.J. Sedelmaier. "Tape House has been an integral part of our team on this series from the beginning."
The opening title sequence for Doug’s First Movie animated by Jumbo Pictures, and MTV’s animation hallucination sequence from Beavis and Butt-head Do America were painted and composited digitally by Tape House Toons. THDF generated the film portion of the project.
Tape House Toons has expanded the services it offers in recent collaborations with Ilium Productions. Tape House Toons provided full animation production for Ilium’s "Museum Boogie," the third in a series Ilium has created for CTW’s Sesame Street. Ilium has also named Tape House as the production company for a fully funded 11-minute television pilot, written and directed by John Moynihan.
"A full service animation house needs to offer the right balance of talent and technology," notes Issen, " It’s a diverse clientele. Some people need creative solutions, which we provide. Other clients are creative themselves; they want technical service and depth. We understand their needs, and know how to expand their capabilities."
Big Picture Perspective
In the big picture, Polyocan observes:"Creative and technical exploration has always been a key element of The Tape House Companies. We’ve always provided our talent with room for growth, both personally and in terms of developing new aspects of the company. As amazing as technology is, glimpses into the future of the industry are constantly renewing our enthusiasm for our work. At The Tape House Companies, we try to look to the near future, and based on what we see, we begin making plans for the future just beyond. Our clients have come to appreciate the unique mix of top talent and cutting edge technology they find at The Tape House Companies. It’s what sets us apart from the crowd."
Check our web site at www.tapehouse.com
