Post Magazine

44 Post • May 2009 www.postmagazine.com N Y C N E W S KELLER RUBINO ENG MISE JANE KELLER Editor Jane Keller has joined 89 Edit. Her career in- cludes time with V2,The Now Corporation and Company X. Keller has cut spots and numerous music videos as well as long- and shor t-form films. Her commercial credits in- clude work for Nextel, NASCAR, Kodak, Royal Caribbean and Reebok. Her television programming credits include episodes of Dallas SWAT, A&E's The First 48 and a National Geographic special. JIM RUBINO Editor Jim Rubino has joined the staff at Fluid. His experience includes time with a number of New York stu- dios, including Chemistr y, Madhouse and Bender. Rubino enjoys the challenge of telling a short story and developing characters in just 30 seconds. His commercial credits in- clude work on spots for Maybelline, Speed Stick, eTrade, Olay and Fidelity. He has also edited two feature films: LBS and Slingshot. At Fluid, Rubino completed his first project, a job for ML Rogers and client Checkers. RICHARD ENG Design/production studio Blind beefed up its New York roster with the addition of creative director Richard Eng, who comes to the studio from Charlex, where he served as CD/VP. Eng has 10 years of experience, having worked on projects for JC Penney, Verizon, Charles Schwab and Toshiba Regza. Earlier in the year, Eng fostered the design and completion of the will.i.am/Al Gore music video, Take Our Planet Back, which debuted at Gore's Green Inaugural Ball in January. TETSURO MISE Creative studio Resident has named Tetsuro Mise art director. He is an emerging talent in motion design and will work with the studio's creative director in overseeing commercial, music video, cinema and online projects. Mise is a self-taught animator/designer who comes to the studio from Trollbäck & Company.There, he worked on rebrands for A&E and ESPN HD. His credits also include numerous spots and promos for MetLife, Time Warner Cable, The Histor y Channel and Nickelodeon. According to Mise, music is his biggest inspiration: "It conveys a lot to me, and when I create, music is the beginning." ERIC ALVARADO Full ser vice post facility Creative Group has ap- pointed Eric Alvarado senior colorist. He brings with him a diverse background in color correction for film, tele- vision, music videos and commercials, and has already helped fine tune imager y for Major League Baseball that was shot on film and transferred to HD. Prior to joining Creative Group, Alvarado worked as a colorist at Post Per- fect, Post Works, Post Logic and Moving Images (MI Post). He taught himself colorist skills early on by studying manu- als on the weekends and practicing on a da Vinci system during down time. Bionic (www.bionic.tv) editors Amanda Hughes and Rich Jack were chosen by Food Network to create up front presentations as well as a package for parent com- pany Scripps Networks. In addition, Bionic's design group, led by cre- ative director Micha Riss, executed a package of new graphics for Scripps and created branded Food Network elements derived from an existing on-air package. Bionic's JD McMillin handled sound design and mixing for the five videos. The project was cut using Avid Adrenaline systems and color cor- rected in Symphony Nitris. Audio post house Sonic Union (www.sonicunion.com) re- cently completed construction of a multi-functional finishing room. The Flex Room will be manned by compositor Matthew K. Esolda and mixer David Papa, and includes 5.1 mix, relay and full online fin- ishing and VFX capabilities. The room's picture capabilities are based around a Quantel eQFX and a Mac Pro VFX workstation with After Ef- fects, a Kona 3 and Final Cut. On the sound side, the Flex Room offers Pro Tools, Blue Sky 5.1 speakers and a Grace Monitoring controller. Tom Poole at Co3 handled color correction on a new spot promoting the Wilkinson Sword Quatro for Women razor. Conceived by JWT/New York, the commercial hints at female grooming through the use well-manicured flowers and landscaping. Poole uses a da Vinci 2K for the color work. Mike Maguire of The Directors Bureau directed the spot, which was edited by Melissa Culligan of Blue Rock Editorial. The commercial includes animation by Buck, post by Sponta- neous and music by Beacon Street Studios' composers Andrew Fel- tendstein and John Nau.

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