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.”
Utah Leaders and Locals Rally To Keep Sundance Film Festival In The State
With the 2025 Sundance Film Festival underway, Utah leaders, locals and longtime attendees are making a final push — one that could include paying millions of dollars — to keep the world-renowned film festival as its directors consider uprooting.
Thousands of festivalgoers affixed bright yellow stickers to their winter coats that read "Keep Sundance in Utah" in a last-ditch effort to convince festival leadership and state officials to keep it in Park City, its home of 41 years.
Gov. Spencer Cox said previously that Utah would not throw as much money at the festival as other states hoping to lure it away. Now his office is urging the Legislature to carve out $3 million for Sundance in the state budget, weeks before the independent film festival is expected to pick a home for the next decade.
It could retain a small presence in picturesque Park City and center itself in nearby Salt Lake City, or move to another finalist — Cincinnati, Ohio, or Boulder, Colorado — beginning in 2027.
"Sundance is Utah, and Utah is Sundance. You can't really separate those two," Cox said. "This is your home, and we desperately hope it will be your home forever."
Last year's festival generated about $132 million for the state of Utah, according to Sundance's 2024 economic impact report.
Festival Director Eugene Hernandez told reporters last week that they had not made a final decision. An announcement is expected this year by early spring.
Colorado is trying to further sweeten its offer. The state is considering legislation giving up to $34 million in tax incentives to film festivals like Sundance through 2036 — on top of the $1.5 million in funds already approved to lure the Utah festival to its neighboring... Read More