Light Iron–a post house specializing in on-site dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras–has acquired an additional facility in Hollywood to support its growing OUTPOSTmobile postproduction services. The new facility on Cole Avenue is just a few blocks away from Light Iron’s headquarters on De Longpre Ave.
The expansion reflects the company’s commitment to advance it on-set and near-set post services, according to Peter Cioni, CFO of Light Iron which is celebrating its third year anniversary. Light Iron’s mobile systems include the flagship OUTPOST Cart, which supports assorted post services for all major file-based cameras; the LILY PAD Cart, an on-set creative suite used to save and set color looks; and the new LILY PAD Case, a lightweight version ideal for remote locations or processing secondary cameras.
The company recently launched a distribution channel for these systems. Called OUTPOST Enterprise,this new program puts mobile systems in the hands of companies or individuals providing services to the production industry. Rental houses, stages, production companies, post facilities, and DITs can take possession of a mobile system for minimal upfront costs and only pay for the days they use it. Light Iron bills a predetermined rate to OUTPOST Enterprise members, who can set their own rates to clients in order to create and grow new revenue opportunities.
Light Iron will handle all of its OUTPOST activities at the Cole Ave. property, including R&D, fabrication, shipping, repairs, training, and support. In addition, the facility will enable Light Iron to expand its popular OUTPOST University program. “The building is meant to be a resource for industry professionals who want to adopt progressive post production techniques. We’re moving our classroom to Cole, and we’re increasing space for hands-on training,” said Cioni.
Members of the postproduction community will recognize this building as the executive offices of the former Laser Pacific, which occupied the property from 2003 to 2011. Remodeling of the 6,000 sq. ft. facility began this week.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More