Tim Belcher has been named managing director of Light Iron, the postproduction creative-services division of Panavision. Belcher’s appointment coincides with former managing director Seth Hallen departing to pursue new opportunities around his passion for workflow innovations and AI.
Belcher arrives at Light Iron from ITV America, where he served as head of finishing operations and technology. Previously, he was sr. VP of West Coast picture operations at Picture Shop, and prior to that, he spent more than 19 years with Technicolor, including seven years as sr. VP of West Coast picture operations, overseeing all episodic and theatrical work. Before joining Technicolor, he held various roles at Rainmaker Digital, Digital Domain and Disney’s The Secret Lab. A graduate of California State University, Northridge, Belcher began his career at The Post Group.
Panavision president and CEO Kim Snyder said. “Light Iron’s services are a cornerstone of Panavision’s commitment to supporting filmmakers throughout production and post, and Tim brings extensive experience and knowledge that will further bolster the company’s expertise. He joins Light Iron at an exciting time, as the company continues to advance its proprietary software development, which is pioneering new workflow developments to unlock even more creative opportunities for clients.”
“I’m honored and thrilled to lead the team here at Light Iron,” said Belcher. “This company is synonymous with innovation and collaboration. It’s always been Light Iron’s mission to push the bounds of what’s possible in post and provide filmmakers with tailored, streamlined workflows that fully empower their creative vision. As the company has grown, the team has remained nimble and maintains its innovative spirit. As a result, Light Iron is home to top industry talent, including our outstanding artists, software developers and entire operations team. I’m excited to work with everyone here at Light Iron and with the Panavision team to embrace the opportunities ahead of us.”
Belcher is based out of Light Iron’s Los Angeles headquarters, where the company’s leadership team includes Andy Kaplan, sr. VP of operations; Liam Ford, sr. VP of engineering and technical operations; Megan Marquis, VP of business development operations; and Peter Lin, director of finance. Light Iron also operates facilities in New York, Albuquerque, Atlanta, Chicago, New Orleans, Toronto and Vancouver and can quickly deploy dailies operations in any Panavision facility worldwide. Additionally, Light Iron’s comprehensive remote capabilities enable seamless collaboration with clients around the globe.
Light Iron’s roster of artists includes supervising colorists Ian Vertovec and Corinne Bogdanowicz, sr. colorists Charles Bunnag, Élodie Ichter, Katie Jordan and Ethan Schwartz, and colorists Pat Fitzgerald and Keith Jenson. The company’s full suite of creative services also includes VFX, dailies, offline editorial rentals, mastering and archive.
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More