Light Iron–a Hollywood-based postproduction house specializing in on-site dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras–has expanded into the New York market, acquiring all post facilities and resources of OFFHOLLYWOOD, located in the Soho district of Manhattan. Terms of the transaction were not disclosed.
Light Iron CEO Michael Cioni noted that OFFHOLLYWOOD’s reputation in NY is akin to that of Light Iron’s in Los Angeles, namely a leading player in “emerging technologies and expert workflows that are changing everything about motion pictures.” He credited OFFHOLLYWOOD’s founders Mark Pederson and Aldey Sanchez with building a company that fully understands and embraces file-based workflow across production and post. Cioni related, “As Light Iron absorbs OFFHOLLYWOOD’s postproduction operations, we will push capabilities even further by bringing new talent and new technologies that the New York television, feature, and fashion markets haven’t yet experienced.”
Light Iron NY is open for business immediately, featuring a DI grading theater, DI grading suites, a digital lab, and archive center. Cioni is relocating to New York to oversee the new operations.
OFFHOLLYWOOD will continue as a production service company, expanding its camera rental and support operations on a different floor of the same building. In addition, OFFHOLLYWOOD will be the New York region’s exclusive provider of Light Iron’s award-winning OUTPOST Mobile Systems.
“We have reached a new era in production, where no camera package is complete without a tested post workflow,” said OFFHOLLYWOOD’s CEO Pederson. “With this transaction, OFFHOLLYWOOD has access to both Light Iron’s Mobile Systems and their expert team, so we can equip our clients with the most advanced technologies and resources available anywhere.”
Light Iron and OFFHOLLYWOOD have intersected numerous times, as the principals of both companies were among the earliest adopters of file-based workflows when many in the post industry were highly critical of tapeless acquisition. Most recently, both companies supported the feature Texas Chainsaw 3D, which led the weekend box office upon its release on January 4. OFFHOLLYWOOD provided cameras and stereoscopic 3D acquisition equipment and support, while Light Iron provided on-set data management, digital intermediate, and digital cinema mastering.
Even though Light Iron is only three years old, high profile projects (recent credits include Hitchcock, Flight, the TV series Veep, and commercial campaigns for Mattel and Skechers) have contributed to strong and rapid growth. The company just opened a second Hollywood facility in September 2012 that is dedicated to its popular on-set OUTPOST services. Expanding to New York was an inevitable next step for Light Iron.
Cioni noted, “I personally look forward to relocating to New York and bringing with me Light Iron’s unique blend of creativity and technology. Our mission is to enhance the creative process for the television, feature, and fashion markets by continuing to be the leading architect of modern production and postproduction strategies.”
As the director of Saturday Night Live‘s Film Unit, client Rhys Thomas–who gained inclusion into SHOOT‘s 2012 New Director Showcase and is on the spot/branded content roster of Skunk–is looking forward to Light Iron’s move to his city. “I’ve traveled to Light Iron LA to pick their brain and experienced the talent they have to offer. Having the resources and ideas of Light Iron at home is going to be very exciting for the New York market.”
Directing and Editing “Conclave”; Insights From Edward Berger and Nick Emerson
It’s been a bruising election year but this time we’re referring to a ballot box struggle that’s more adult than the one you’d typically first think of in 2024. Rather, on the industry awards front, the election being cited is that of the Pope which takes front and center stage in director Edward Berger’s Conclave (Focus Features), based on the 2016 novel of the same title by Robert Harris. Adapted by screenwriter Peter Straugham, Conclave stars Ralph Fiennes as the cardinal leading the conclave that has convened to select the next Pope. While part political thriller, full of backstabbing and behind-closed-door machinations, Conclave also registers as a thoughtful adult drama dealing with themes such as a crisis of faith, weighing the greater good, and engaging in a struggle that’s as much about spirituality as the attainment of power.
Conclave is Berger’s first feature after his heralded All Quiet on the Western Front, winner of four Oscars in 2023, including for Best International Feature Film. And while Conclave would on the surface seem to be quite a departure from that World War I drama, there’s a shared bond of humanity which courses through both films.
For Berger, the heightened awareness of humanity hit home for him by virtue of where he was--in Rome, primarily at the famed Cinecittà studio--to shoot Conclave, sans any involvement from the Vatican. He recalled waking up in Rome to “soak up” the city. While having his morning espresso, Berger recollected looking out a window and seeing a priest walking about with a cigarette in his mouth, a nun having a cup of coffee, an archbishop carrying a briefcase. It dawned on Berger that these were just people going to... Read More