What began as a single spot assignment expanded not only into a multiple platform project but a multiple screen adventure for editor Eric Argiro of bicoastal Union Editorial, whose work for Covergirl and GREY Advertising is currently running on the American Eagle building in Times Square and at LA Live. Argiro cut the initial commercial, a :30 beauty spot cross-promoting THE HUNGER GAMES: CATCHING FIRE that premiered on the MTV VMA’s. That was followed by a theatrical version to run in theaters during showings of the highly anticipated second film of the HUNGER GAMES franchise. Argiro next devised an editorial plan for a host of additional elements that had to be incorporated into separate pieces for Times Square and LA Live. Those installations went live November 1. The projects were directed by Daniel Jackson of The Bees and Honey.nn”It was a lot of fun to push ourselves to think out of the 16×9 box and I’m grateful that GREY gave me the opportunity,” said Argiro. “As a native New Yorker, the chance to see my work up on the big screens in Times Square really has special meaning for me.” For both Times Square and LA Live, Argiro relished the challenge of bringing another dimension of editing into play in terms of concept as well as movement and composition. “Conceptually, we wanted to feature different ‘district looks’ throughout the piece,” he explained. “We wanted them to have a cohesion and not just come up randomly with no story.” The challenge was to have the elements be aesthetically pleasing independently and in concert. The undertaking is something Union Partner/Executive Producer Caryn Maclean described as “a feat of choreography and timing”.n nBoth the Times Square and LA Live installations presented new and unique technical challenges for Argiro and After Effects artist Chris Bialkowski. “We had to think of LA Live as an installation/interactive piece,” Argiro said. “Using 3D models, we took into account the spatial area that the viewer is in. With well over two dozen screens of different shapes and sizes throughout the LA Live area, we needed to set a mood and create a feeling of harmony.” For Times Square, the team plugged edits into their 3D models. This helped not only the editor but the client, allowing them to visualize the end product. To accommodate the unique screen shapes of both buildings, Argiro and Bialkowski created the project in Avid, constructing the edits from mattes and models, timing the sequences before bringing them into After Effects.n nOf the final results, now being seen onsite by thousands daily, Argiro concluded, “My parents are MUCH more impressed with seeing something I’ve made in Times Square than all the national commercials I’ve worked on combined. I think maybe I am, too.” nn Caryn Maclean
Partner/Executive Producer
Union Editorial
Contact Caryn via email
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Hesh Rephun
Contact Hesh via email The New York Times recently wrote that the just-released Season Two of Severance will “blow your mind”—and we couldn’t agree more. Created by Dan Erickson and Ben Stiller, the Apple TV+ drama is smart, spellbinding, distinctly original and packed with surprises.
For those who aren’t already devoted fans, the show centers on Mark Scout (Adam Scott), leader of a team at Lumon Industries, whose employees have undergone a “severance” procedure that surgically divides their memories between their work and personal lives.
Goldcrest Post provided post services for both seasons of the show, including picture editorial support, sound editorial, ADR and sound mixing. Editorial for Season One began in 2020. Due to the restrictions imposed by the pandemic, Goldcrest supplied both onsite production offices and edit suites, and remote editing systems for individual editors, with everything linked to a central server.
"Mixing at Goldcrest with our team has been a great experience,” says Stiller. “Bob and Jacob are in sync with our creative process and so good at what they do that the experience is always one where it's about how we can enhance the creative vision, with a baseline of knowing everyone is totally committed to making something as good as it can be."
Diana Dekajlo, the show’s co-producer, says that the arrangement worked so well, they chose to continue the hybrid approach for Season Two. “We’re a remote friendly show,” she explains. “Whether we’re at Goldcrest, our studio in the Bronx or at home, our workflow is seamless. I conduct remote daily meetings with my immediate staff, and weekly meetings with editorial and VFX, and we talk to each other as if we were just down the hall. It makes for great staff... Read More
n nProject CreditsnClient: P & GnBrand: CovergirlnnAgency: GREYnExecutive Creative Director: Mark FinanExecutive Creative Director: Alice EricssonnArt Director: Lindsey KatonnCopywriter: Nicole HandlernExecutive Producer: Stacy TowlenProducer: Jimmy WadenSVP Account Director: Seema PatelnVP Account Director: Ernesto JamesnAccount Supervisor: Lindsey KantariannAccount Executive: Courtney CorneliusnnProduction Co: The Bees and HoneynDirector: Daniel JacksonnnPost Production: Union EditorialnEditor: Eric ArgironExecutive Producer: Caryn MacleannProducer: Susan MotamednAfter Effects: Chris Bialkowski nnBeauty Clean Up & Typography: Box StudiosnnAbout
Goldcrest Post Speeds Delivery of “Severance” Season Two
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Goldcrest Post provided post services for both seasons of Severance, including picture editorial support, sound editorial, ADR and sound mixing
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