Ed Koenig has rejoined the global visual effects and postproduction studio MPC as an executive producer. Earlier in his career he was EP, color, in MPC’s Los Angeles office, and was one of the first hires the company made when it opened there in 2008. He brings a broad range of postproduction experience to his new position, where he’s tasked with continuing to grow the studio’s network of official partner facilities and expand its palette of remote services beyond color grading.
In addition to Koenig’s appointment, MPC announced two new additions to its official partner facility roster: 11 Dollar Bill in Chicago and Hero Post in Atlanta. They join charlieuniformtango in Austin and Dallas, The Work in Detroit and Ditch in Minneapolis as the studio’s list of partner facilities.
“Having Ed focused on finding new ways for clients to work with us beyond the confines of our New York and L.A. studio locations represents an incredibly exciting opportunity for MPC,” said Graham Bird, global managing director for MPC Advertising. “Ed’s knowledge of the industry, combined with the technology to remotely connect clients with our creative talent, is incredibly powerful”
Koenig’s first tour of duty at MPC lasted six years. During that initial tenure Koenig helped colorist Mark Gethin, now creative director for color in the U.S., set up the studio’s color department. Koenig left in 2014 to join Nice Shoes as an EP. He later was a founding partner and head of new business for Smith Design Office.
Koenig’s return to MPC reflects more than just picking up where he left off. “We’re not merely looking to connect with top performers in major markets around the country,” he explained, “but to redefine how these independent companies work with a studio as multifaceted as ours. I’ll also be functioning as a kind of roving advance scout for MPC, finding ways clients anywhere can take full advantage of what we have to offer in a way that works best for them.”
Koenig cited as an example the work they’ve done with Ditch since adding that shop to the partner roster last year. MPC has provided several of the boutique’s clients with not only high-end color grading, performed by colorists in both its L.A. and New York offices, but also compositing, finishing, Flame work and a range of other VFX services, all performed by artists based many miles from the Twin Cities. “In these instances, we just point our signal toward Minneapolis and we’re collaborating with Ditch owner and editor Brody Howard and his entire team,” Koenig noted.
“A big part of what I’m doing is bringing wide-ranging projects into MPC through our remote partners,” he continued. “While remote color has become an accepted part of the postproduction mix, our push to expand into a broader roster of visual effects capabilities puts us out in front.”
Del Feltz, EP at 11 Dollar Bill, said the studio, which recently opened an office in Boulder, met Koenig through its newly-named Boulder managing director, Lisa Effress, who’d worked with him when she was an executive producer at agency CP+B. “Everyone here is really excited about it, both in the areas of VFX and color,” said Feltz of their new relationship. “To have access to a resource like MPC opens up lots of opportunities for us in Chicago, and brings a lot of experience to our market.”
11 Dollar Bill sr. colorist Clark Jackson noted the efficiency this will provide typically time-challenged agency clients: “They can finish off a color session here, check in on their graphics and effects work and handle their edit – all of which is being done at a very high level.”
Hero Post partner and EP Molly Baroco in Atlanta also sees the value of offering MPC’s talent to her agency clients. “Having access to their colorists is a great option for our market,” she said, noting that Hero’s relationship with MPC will focus on grading. “They’re super talented, and we and our clients are excited to have this resource available here in Atlanta.”
Koenig sees his job as marshalling the studio’s capabilities in ways that make it easier and more efficient for clients to tap into them. To this end, he’s working closely with Meghan Lang, EP color in Los Angeles, and Dani Zeitlin, EP color in New York, as well as with other producers in both offices, to ensure that the studio is assembling the best teams to meet the needs of each project.
“A big part of our growth will come from truly working with our remote facilities as partners,” Koenig added. “Between my history with MPC, my work with color grading and effects and my time spent at other studios, I think I can serve as a valuable resource for clients.”
“Sonic the Hedgehog 3” Tops Weekend Box Office
In the holiday season battle of big-budget family movies, Paramount Pictures' "Sonic the Hedgehog 3" sped past the Walt Disney Co.'s "Mufasa: The Lion King" to take the top spot at the box office ahead of the lucrative Christmas corridor in theaters.
"Sonic the Hedgehog 3" debuted with $62 million in ticket sales over the weekend, according to studio estimates. With strong reviews (86% fresh on Rotten Tomatoes) and a high score from audiences (an "A" on CinemaScore), "Sonic 3" is well positioned to be the top choice in cinemas during the busiest moviegoing period of the year.
It was telling of some wider trends that "Sonic 3" — made for $122 million — bested one of Disney's top properties. Videogame adaptations, once among the most derided movie genres, have emerged as one of the most dependable box office forces in recent years. The two previous "Sonic" movies together grossed more $700 million worldwide and the third installment appears likely to do better than both of them. A fourth "Sonic" movie is already in development.
"Mufasa," however, was humbled in its opening weekend, with its $35 million in domestic ticket sales coming in notably shy of expectations . The photorealistic "Lion King" prequel even opened wider than "Sonic 3," launching on 4,100 theaters and gobbling up most IMAX screens, compared with 3,761 locations for "Sonic 3."
Though "Mufasa's" reviews were poor (56% fresh on Rotten Tomatoes), audiences gave it an "A-" CinemaScore.
"Sonic 3" nearly doubled the haul for "Mufasa," which cost more than $200 million to make. Disney could look to $87.2 million in international sales to help make up the difference. The third "Sonic" will rollout in most overseas markets in the coming weeks.
In director Jeff... Read More