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PEOPLE www.postmagazine.com 27 POST SEPT/OCT 2026 ALBAN ORLHIAC The Yard VFX, an independent French studio special- izing in visual effects for feature films and episodic content, has expanded its senior creative team with the recent addition of Alban Orlhiac, who joins the studio as VFX supervisor. With over 25 years of ex- perience in the VFX industry, Orlhiac brings exper- tise in artistic leadership and complex visual effects supervision. He spent two decades in London, working at studios that include Dneg, MPC and Framestore, where he evolved from lead texture artist to head of department before returning to France as CG supervisor and VFX supervisor at One of Us. His filmography spans numerous award-winning productions across diverse genres, including entries in the Avengers and Harry Potter fran- chises, Alita: Battle Angel, Paddington 2, Star Trek Beyond, The Tree of Life and Batman Begins. HAYLEY LIVINGSTON Audio post company Mr. Bronx in New York City has added Hayley Livingston to its roster of sound mixers. She comes to the studio with a background that spans music, sound design and mixing for advertising, trailers, television and feature films. Livingston's path through audio post began early. While studying at NYU, she started in the industry at Trailer Park in Los Angeles and Flavorlab in New York, gaining experience across the full post process. After graduating, she worked as a freelance mixer and dialogue editor, developing a deeper feel for Foley, backgrounds and the small, often invisible choices that make a soundtrack feel alive. That range eventually led her to One Thousand Birds, and over seven years, she worked her way up from freelancer to full-time sound designer and mixer. JENNIFER LAME Parallax, the bicoastal editorial studio, has signed Academy Award-winning editor Jennifer Lame to its roster of talent. Lame won the 2023 BAFTA and Academy Award for Best Film Editing for her work on Christopher Nolan's Oppenheimer. She most recently edited Nolan's The Odyssey, continuing a long-run- ning partnership with the director that dates back the 2020 film Tenet. In addition to Nolan, Lame also works closely with director Ari Aster, having cut Midsommar and Hereditary, as well as Noah Baumbach, editing Frances Ha, While We're Young, Mistress America, The Meyerowitz Stories and Marriage Story. Additional credits include Ryan Coogler's Black Panther: Wakanda Forever and Kenneth Lonergan's Manchester by the Sea. She was the lead editor for The Sphere's immersive screening of The Wizard of Oz, wherein the classic film plays out on a 270-degree wraparound canvas. KALVIN JOHNSON Colornation, the remote color grading company, has expanded its roster with the addition of colorist Kalvin Johnson, whose commercial portfolio includes work for Apple, Nike and numerous other global brands. Johnson recently completed color grading a new campaign for Bissell, produced by Tessa Films, Chicago, marking his first project with Colornation. The addition of Johnson continues Colornation's mission to provide agencies, brands, production companies and filmmakers with seamless access to top colorists working entirely remotely. Prior to joining Colornation, Johnson held senior colorist positions at Picture Shop, Company 3 and Optimus. KEITH FRAASE No Sushi, the bi-coastal post house, has signed Keith Fraase to its editorial roster for commercial work. Fraase's credits include numerous films and TV shows, such as Past Lives, Severance, Shōgun and Materialists. His signing marks the first individual edi- tor announcement from No Sushi following the launch of its new website and wider editorial roster. Fraase did not set out to become an editor. Instead, his first creative am- bition was acting. However, film studies pulled him behind the camera, which then led to a fascination with editing. He landed his first post job almost by accident, stepping into an apprentice editor role with Sandra Adair, Richard Linklater's longtime editor. Adair let him sit in on sessions, watch her solve problems in the cut and see how creative decisions could reshape a film from the inside. That opportunity eventually led Fraase to the post team on Terrence Malick's The Tree of Life. This led to a professional relationship that would span seven years and five films. JOSÉ JULIÁN ACOSTA Lerma in Dallas has appointed José Julián Acosta head of production, in charge of leading the full-ser- vice agency's integrated production practice Originally from San Juan, Puerto Rico, Acosta studied music production & engineering at Berklee College of Music before beginning his career in advertising. His career has included roles at Monks, FCB Chicago, Mono and Publicis Sapient. Acosta joins the agency from Monks, formerly Media.Monks, where he served as AI solutions director and executive producer, partnering with global clients to explore how emerging technology could transform creative produc- tion. Previously, he was SVP, director of production at FCB Chicago. BEN CORFIELD Los Angeles' Papercut has signed editor Ben Corfield to its roster for US representation. He was most recently the editor behind Coca-Cola's No Better Feeling, the brand's kickoff spot for the 2026 FIFA World Cup and one of the most-seen commercials on television this year. Corfield grew up in Lancaster, UK, before moving to London and working his way up through post houses to become a sought-af- ter editor. His work has earned him three awards outright: a Silver Creative Circle, a Bronze Kinsale Shark and a Bronze LIA for The Journey, a Merck film on the effects of microplastics. Some of Corfield's brand work includes projects for Nike, Virgin, PlayStation, ICC, Samsung, Apple, Tuborg, Volt and Leica. He also cut the cinematic promo Everything or Nothing for the Crawford vs. Madrimov fight, as well as Depeche Mode's People Are Good music video, which won Best Alternative Video, UK, at the 2024 UKMVAs. HEIDI BLACK Heidi Black has joined Cut+Run as an editorial partner, expanding the company's leadership team. She comes to the studio following a 28-year career at Whitehouse Post, where she started as a runner and eventually worked her way up to partner. Black edited Google's Clio and AICP award-win- ning "It Gets Better" campaign, which was built from real voices and real stories. Additional credits include Hyundai's First Date and Ryantown Super Bowl spots, as well as work for Adidas, GEICO, Mercedes, United Airlines, AT&T, Google, Amazon, Toyota, Buick, Walmart and Intel. Cut+Run has locations in Los Angeles, New York and London.