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www.postmagazine.com 34 POST MAR/APR 2026 PEOPLE MATT CARTER Church Edit, which has an office in Los Angeles, has opened a new location in New York's Dumbo neigh- borhood, as well as welcomed editor Matt Carter to their roster. Carter's editorial style is noted for its pacing, rhythm and emotional precision. He's worked across both commercial and narrative projects for client that include Adidas, Nike, Meta, Marc Jacobs, Cash App, Don Julio, Meta, Heinz, Ray-Ban, Walmart and The Whitney. Carter was born in Memphis and is now based in Brooklyn. His career began with a summer internship at Smuggler that ignited his passion for editing. Shortly after earning his degree in media arts & entertainment from Elon University, he joined The Mill. Most recently, he was a rostered editor at Final Cut for seven years. ALEX DILWORTH Independent VFX/creative studio Lux Aeterna in London has appointed Alex Dilworth design creative director. Based in the South West of the UK, he brings over 20 years in the industry, having worked on film, television and large-scale visual experiences. Prior to joining Lux Aeterna, Dilworth held senior creative roles at Moonraker VFX, where he collaborat- ed closely with directors, editors and VFX teams on a wide range of premium television and film projects. Some of his recent credits include creative direc- tion and graphic design for the Netflix documentary Chimp Empire and Ocean with David Attenborough for NatGeo/Disney+. In his new role, he will work across Lux Aeterna's slate to help shape direction, from early development through post production. MAX KANE Los Angeles' Cloud Forest, which specializes in live action, animation, mixed media and VR, recently wel- comed producer/director Max Kane to the creative operation. He brings a background in business affairs, physical production and independent filmmaking to the company, which continues to scale its work across brand, commercial and corporate projects. His new role at Cloud Forest will see him work across creative develop- ment, production & post, writing scripts and directing fast-turn branded films, as well as running shoots; coordinating editors, VFX artists and animators; and overseeing multiple projects undergoing post production. Prior to joining Cloud Forest, Kane spent several years at Anonymous Content, working across business affairs and production, where he developed a deep understanding of how projects are developed, financed and executed. SHANE HARRIS Shane Harris has returned to Company 3's Los Angeles studio as a senior colorist. He originally spent 18 years with the studio before pursuing other cre- ative opportunities for the past seven-plus years. Throughout his career, Harris has collaborated with filmmakers that include Matt Reeves, Lisa Joy, Jonathan Nolan and DJ Caruso. His project high- lights include War for the Planet of the Apes and Dawn of the Planet of the Apes, as well as Star Wars: Rogue One. His relationship with director/DP Paul Cameron led to landing the HBO hit series Westworld, which boosted his TV career. His most recent TV titles include the Netflix series You; the adapta- tion of Neil Gaiman's award-winning DC comic, The Sandman; Shadow and Bone; the award-winning The Spiderwick Chronicles; and the long-running Superman & Lois. MEREDITH WEISS, KRYSIA JOHNSTONE Creative production company Boomshot in New York City has announced leadership updates, with man- aging director Meredith Weiss (top) becoming the company's sole owner and principal, and former head of production Krysia Johnstone (bottom) receiving a promotion to executive producer. The company's next chapter will continue its focus on long-term partnerships, embedded collaboration and creative excellence. Johnstone's promotion comes after nearly eight years at Boomshot. In her new role, she will focus on growing the studio's network of directors and strengthening its reputation for high-level creative execution across a range of content formats. The com- pany specializes in sports and entertainment content, from live events and branded content to long-form storytelling, with clients that include Prime Sports, Fox, SEC Network, NASCAR, ESPN, USTA and FanDuel. ADAM WATSON Harbor Picture Company in Los Angeles recently named Adam Watson executive creative director, VFX, further strengthening the company's creative leadership across cinematic, experiential and brand- led storytelling. He brings more than 20 years of experience across feature films, episodic television and global brand work, having held senior creative leadership roles at Animal Logic, The Mill, Electric Theatre Collective, Method Studios and Company 3. Most recently, he led Company 3's special projects group, overseeing complex, high-volume visual effects work. Watson has partnered directly with brands to deliver visually ambitious work. Recently, he expanded into directing, leading keynote films for PayPal and developing a vehicle efficiency film for Ford Motor Company. RYAN DUGGAN Creative studio Lvly recently named Ryan Duggan its new executive creative director. A motion designer and visual effects artist by trade, Duggan joined New York City's Ntropic in 2015, where he spent more than nine years as their creative director. There, he led high-pro- file experiential and immersive projects, including large-scale installations at The Sphere in Las Vegas. In 2024, he joined Silver Spoon Animation, further expanding his expertise in mixed reality, experiential and character-driven entertainment storytelling, as well as considerably honing his AI skills. He was working as a freelancer when Lvly president Cara Cutrone asked him to work on a new project. ALLIE MOSKOVITS Custom music house The Patron Saints of Music has appointed Allie Moskovits head of sync & business development. The Los Angeles-based company is the custom music house behind numerous unscripted series, including Bravo's Below Deck franchise. Moskovits takes on a newly-created role in which she will lead sync strategy for Patron Saints' expand- ing catalog to drive new business opportunities across TV, film, ads, gaming and emerging media platforms. She will also develop new artists and songs to fulfill more commercial needs, and diversify the catalog by working to expand Patron Saints' footprint beyond unscripted television. She brings 11 years of experience from various roles in entertainment, most recently running the TV & film department for production music at BMG.