Issue link: https://digital.copcomm.com/i/1496872
PEOPLE www.postmagazine.com 35 POST MAR/APR 2023 BECCA FALBORN Assembly in New York City, which launched in 2021 to offer dailies, editorial, VFX, color grading and finishing for commercial and long-form work, has added Becca Falborn to its executive team. As executive producer of business development, Falborn will be responsible for developing Assembly's client base, as well as identifying new commercial growth opportunities and services, working in collaboration with Assembly's VP of commercial growth, Tara Holmes. Falborn has a seasoned history in both audio and visual post production, with previous work at Nice Shoes, Hogarth and Sound Lounge. She current- ly works as EP of business development for both Assembly and LA-based full-service audio post company, Lime Studios. KATIE WALKER Rodeo Show in Venice, CA, recently welcomed exec- utive producer Katie Walker to the content develop- ment and production company. An innovative produc- er who specializes in integrated brand storytelling and content production, Walker has spent years working on commercials and campaigns for top global brands, including Stella Artois, AT&T, Samsung, GE, Kellogg's, ESPN and Starbucks. Walker most recently served as SVP, executive producer/head of integrated television production for Edelman. There, she oversaw the Kellogg's account, which often had a dozen projects in the works at any given time. Prior to that, Walker brought her producing talents to Chicago's Tris3ct, where she was head of production for the independent ad agency. Previous experiences saw Walker managing the Midwest region as production director for Razorfish, which in- cluded creating content to launch AT&T's flagship store, managing their motion team and producing an interactive event around the "Use Me, Leave Me" fleet of shareable bikes at SXSW. Walker also served as executive producer for Mekanism in New York, and before that, as producer for Believe Media's LA team. CLAIRELLEN WALLIN, MIKE PULLAN Creative and technology studio Preymaker in New York City recently welcomed the talents of Clairellen Wallin and Mike Pullan to its production team. Wallin is a senior executive producer with over 15 years of experience. She brings a vast understanding of VFX and production pipelines, having spent much of her career working closely with award-winning agencies and directors. Originally from London, Wallin rose up the VFX ranks at The Mill and MPC. She's led teams on award-winning work with many top directors, and in 2021, led VFX teams on seven Super Bowl spots. At Preymaker, she will ensure directors enjoy strong relationships with the creative team, continue her role as a resource for clients and be a problem solver, offering creative solutions to ensure projects run smoothly. Pullan has held senior producer and senior VFX producer roles in Chicago and New York, most recently at Lvly Studios and Leviathan, along with The Mill Chicago. He's delivered campaigns for Samsung, T-Mobile, Maybelline, Xfinity, Blue Cross Blue Shield and many other brands. Over the last decade, he's be- come versatile producing commercials, experientials and short films, working in AR, VR, Unreal Engine and TouchDesigner, and with teams using Flame and Houdini. On the production team at Preymaker, Pullan will manage day-to-day projects and plan for upcoming work. Both Wallin and Pullan are based in New York and appreciate the benefits of Preymaker's 100 percent cloud-based work model. BRIAN BATTERSBY, NIGEL SQUIBBS, JAMES GREGORY Commercial sound mixer Brian Battersby (left) is relocating from New York City to Harbor's Chicago studio. His career includes work for Pantene, Facebook Messenger, Nintendo, Citi, Olay, Oral B, Lancôme, Comcast, Pepsi, American Airlines, Red Lobster and Garnier, among others. Battersby's creative approach places an emphasis on bespoke sound design. He received a Best Sound Editing nomination at the LA Indie Short Fest for his work on War Peace. Prior to joining Harbor, he worked with Sonic Park Recording Studio and ACIEM Studios. Harbor has also added to its sound team in London with the recent ap- pointments of re-recording mixer Nigel Squibbs (center) and senior ADR mixer James Gregory (right). Harbor's new Turnmills studio boasts three mix stages and two ADR stages. The newly-launched sound department is nestled in the three-story studio in Farringdon, London, amongst Harbor's dailies, offline edi- torial, picture finishing, and mastering & distribution capabilities. PHIL BARRENGER Rising Sun Pictures in Adelaide, South Australia, has appointed Phil Barrenger head of operations, a new position that will oversee the artist and technolog- ical aspects of the business while reporting to RSP president, Jennie Zeiher. Barrenger's appointment comes following nearly 13 years at Weta Digital (now WetaFX), where he held titles that included CG su- pervisor, head of department (lighting) and senior head of department (shots). Most recently, Barrenger contributed work to Avatar: The Way of Water. He will be located at RSP headquarters in Adelaide. This is Barrenger's second stint with RSP, having first started in 2005 as a pre-visualization artist on Superman Returns before working as CG supervisor on projects that included Charlotte's Web and Harry Potter and the Half-Blood Prince. PHILLIPPA BEASLEY-SWANSON Virtual Post in Brighton, UK, has appointed senior finishing artist Phillippa Beasley-Swanson to the newly-created role of head of picture. The an- nouncement comes as the post production compa- ny positions itself to take on larger creative projects, particularly those requiring high dynamic range (HDR) deliveries. Beasley-Swanson joins Virtual Post from London's The Finish Line, where she worked for six years as a senior colorist and online editor on a range of productions, including Behind Closed Doors for Knickerbockerglory TV, Madeleine McCann: The Case Against Christian B for ScreenDog Productions, Deadliest Mums and Dads for Crackit Productions, and The Football Academy for Zigzag Productions. Her career also includes stints with Tinopolis Post, Lion Television, Editworks and Directors Cut Films. In her new role, Beasley-Swanson will head up Virtual Post's picture-fin- ishing team. In addition to overseeing grading and online editing, she will spearhead the company's push into servicing premium HDR productions for both legacy broadcasters and streamers. Beasley Swanson is a Dolby Vision Certified Professional. The studio recently invested in new audio technology and facilities, which saw its main studio upgraded to Dolby Atmos 7.4.1 HE, with Dynaudio monitoring and UHD projection.