Issue link: http://digital.copcomm.com/i/94072
work was via an H1B visa, which is essentially a work permit, and this meant finding someone not only willing to pay her salary, but also to take care of the cost of the Visa, about $12,000. Hinsen gave herself a week in New Zealander Katie Hinsen now calls NYC and Goldcrest home. The doc Brooklyn Boheme is just one of the projects she has worked on since her move to the US. working on major feature films at Park Road, she was willing to take a step back if it meant finding work in New York. "I want- ed an overseas adventure," she says. "New York was somewhere I thought would be cool to live, but I knew it was difficult for people from New Zealand to come to the states — we have heavy restrictions on trade and immigration to the US." The only way she could make her dream New York to meet with as many post people and facilities as she could. "I got in touch with sales reps from Quantel, Avid and others, and they provided contacts for me. I went to all sorts of places, big and small." Hinsen's talents and resume got her some offers. Since Hinsen's move was to further her- self personally, not her career, choosing a post house came down to picking a com- pany that felt good to her. Equally as impor- tant was not working at the same pace she was when at Park Road. "I wanted to enjoy New York, and if I was going to be here, I didn't want to be work- ing 24/7. I wanted to be at a facility that would allow me to do a lot of different things. That's very much like the New Zea- land culture I am used to; everybody chip- ping in and doing a little bit of everything." It's exactly that philosophy that led her to Goldcrest New York, where while her title is editor, her job involves much more, including online, offline, color correction, visual effects and 3D. "Goldcrest is a big company that feels small," describes Hinsen, adding that Goldcrest has an office in London as well. "It is fun and very loose, with a real family atmo- sphere. And, importantly, you could tell everyone got a chance to do a bit of every- thing. It was a good fit for me." With that one huge part of the puzzle in place, Hinsen then had to take on the visa process, which she likens to a full-time job. Initially, she was supposed to come over in November. That turned into December, and after her first application got turned down on a technicality, it became January. "I had VANCOUVER — Andrew Orloff, co-partner/visual effects supervisor at LA-based Zoic Studios, recently migrated north to the VFX house's Vancouver office. The move comes on the heels of a recent expansion that nearly dou- bled the size and capacity of that office. That build-out and Orloff's move have a lot to do with the fact that two of Zoic's most effects-heavy episodic series, Once Upon a Time and Falling Skies — on which he serves as VFX supervisor — shoot in Vancouver. This move affords him more direct access to the sets and the entire creative team, as well as the chance to expand upon Zoic's already diverse body of visual effects work in film, commercials, gaming and television. In order to ease the transition for Orloff's wife and three children, they decided to keep their permanent res- idence in the US. Choosing an area in Washington State, they were able to keep their children in the US school system while still granting easy access to the Zoic Vancouver office. Orloff's one hour and 15-minute commute is aided by his Nexus pass, which allows him to expedite the border control clearance process. With the more flexible immigration policies of the Canadian government for skilled workers, Zoic's Vancouver office houses a highly international force of VFX talent. Numerous cultures are represented, with employees from India, China, Australia, Singapore, England and New Zealand. "It's exciting to get a wide array of perspectives from those coming from different production systems. It's really nice to get that wealth of ideas," notes Orloff. Zoic's HR team helps international recruits in the immigration process, assisting them with Labor Market Opinions through the HRSDC and work permit papers. Additionally, the studio will occasionally assist with mov- ing expenses and provide temporary housing for the newly relocated staff members. With Orloff's new home located near both Vancouver and Seattle, he finds that he is not only able to take advantage of a vast array of outdoor experiences, but also take in the cultural nightlife that the nearby metro areas offer. "Life here is a much slower pace than Los Angeles. The kids can do more 'kid stuff' and be outdoors more. It's great to have access to natural beauty all around us and be able to go hiking, biking, boating and skiing on the weekends and still enjoy a nice dinner out nearby." 28 Post•November2012 www.postmagazine.com