Issue link: https://digital.copcomm.com/i/1547041
BITS & PIECES CHURCH EDIT OPENS NEW YORK OFFICE BROOKLYN, NY — In September, Church Edit (www.edit.church) celebrated the launch of its new DUMBO office with a party that brought together artists, col- laborators and creative talent. The opening in New York builds on the success of its Los Angeles office. "Opening in New York is incredibly close to my heart," says Church Edit co-founder Mah Ferraz. "New York is a huge part of who I am, and has shaped me as a person and creative. There's a drive and an energy to this city that has always inspired me, and in so many ways, it's the same spirit Church is built around: a strong sense of community, different cultures, and a constant push to create and move things forward." Located at 45 Main Street in Brooklyn's DUMBO neighborhood, the light- filled loft houses purpose-built editorial bays alongside flexible suites for color grading and finishing. There's also open, communal space for gathering, con- versation and collaboration. Since launching in 2024, Church has built an international and US-based roster of editors who work across commercials, music videos and narrative projects. The New York expansion grows out of the same philosophy that has shaped Church from the beginning: that creativity isn't bound by geography, and thrives when different ways of thinking collide. "I couldn't be more proud and excited," shares Church Edit co-founder James Drew. "New York has always felt like a natural next step for Church. The ambition was never just to open another office, but to create a real home for the creative community here. So much of what makes Church special comes from bringing different people, perspectives and disciplines together, and see- ing that energy fill the space on opening night felt like the clearest expression of what we want Church New York to be." HAYMAKER VFX ACQUIRES STOCKHOLM EFFECTS STUDIO SWISS GOTHENBURG, SWEDEN — Haymaker VFX (www.haymakerfx.com), which has operations in Gothenburg and Los Angeles, has acquired Swedish visual ef- fects studio Swiss (https://swiss.se), strengthening the company's creative and production presence in Stockholm. The acquisition forms part of Haymaker VFX's wider growth strategy, as the studio expands its capacity and interna- tional reach across advertising, entertainment and immersive experiences. Founded by Alex Hansson, Haymaker VFX has recorded three consecutive years of growth, with revenue increasing by approximately 57 percent between 2024 and 2025. Some of the studio's work includes Amazon Prime's Fallout — Season 2 and The Wizard of Oz at Sphere. Swiss was established in 2002 and has built a reputation in visual effects and animation. The studio, which will keep its brand name, is known for its work in high-end advertising, including its work on Volvo Trucks' The Epic Split, which won two Grand Prix awards at Cannes Lions. Their artists and creative talent now join Haymaker VFX, adding significant creative depth and capacity to its Stockholm operation. "Swiss has built an internationally-respected brand, body of work and team over more than 20 years," notes Hansson. "We share the same passion for craft, creative ambition and close collaboration, which makes this a very natural fit. "Bringing our strengths together gives Haymaker VFX greater creative depth and capacity at a time when we are ready to accelerate our international growth and take on more of the world's most demanding projects, while stay- ing true to the boutique model that defines us." "Swiss has always been about craft, creative ambition and the people behind the work," adds Swiss' Erik Holmedal. "Joining Haymaker VFX gives our team the opportunity to build on that heritage as part of a broader international platform with the same creative values." Director Danial J. Smith brought a wildly-ambitious vision to life for Dawn Fades' new Drugs music video, weaving five kaleidoscopic vi- gnettes and five surreal performance segments together into a true love letter to horror. A week of pre-production led to a 12-hour shoot with a crew of just three. Smith edited the project in Adobe Premiere, applying film emulations with Dehancer to craft each segment's distinctive look. For more "Music Video" coverage, turn to page 18. Co-founders (L-R) Jerad Anderson, Mah Ferraz and James Drew.