Issue link: https://digital.copcomm.com/i/1547041
BITS & PIECES www.postmagazine.com 8 POST SEPT/OCT 2026 EDITING DUO LAUNCH PARALLEL POST LOS ANGELES, & AUSTIN, TX — Editors Hanna Sturwold and James K. Crouch have joined forces as co-founders of the new, full-service post facility Parallel Post (https://www.parallelpost.co). The company will offer editorial, color, sound, VFX and finishing across teams in Los Angeles and Austin. Parallel Post brings together the duo's backgrounds in narrative filmmaking and advertising. The name reflects their individual paths, as well as the belief that advertising, film and television don't need to exist in separate creative boxes. Crouch is based in Austin, while Sturwold is located in Los Angeles. The company will operate across both markets, maintaining roots in the West Coast advertising community, while building its presence within Texas' growing production landscape. "I moved to LA completely focused on film, but I arrived at a really challeng- ing time for the industry," shares Crouch. "When Hanna suggested starting a company together, I didn't hesitate. It was honestly a gut feeling. I knew she was talented, smart, and had a real business acumen and way of working with clients that really complemented me. We had a really natural balance from the beginning, and starting Parallel just made sense." "My career has always crossed advertising and narrative, and one thing I kept noticing was how divided those worlds could feel, even though so much of the craft is the same," adds Sturwold. "James and I were experiencing that divide from different perspectives, and that became a big part of the idea be- hind Parallel. We wanted to build a company where great storytellers aren't put into one box — where artists can move between advertising, film and televi- sion — bring those disciplines into conversation with one another and continue growing creatively." Sturwold's editorial work includes campaigns for Nike, Infiniti, Snickers, Adidas, Google, Disney, Intel and Bottega Veneta. She has also worked on narrative film and TV projects for the likes of Apple TV+, NBC and Amazon Studios. Crouch brings more than a decade of narrative experience, with lead editor credits on more than 12 feature films. His work includes Sony Pictures' 12 Mighty Orphans and The Long Game. Crouch also worked alongside Terrence Malick's editorial team on the director's upcoming feature, The Way of the Wind. Parallel Post's early work includes campaigns for Malibu Sandals, Siete, The New York Times, AG1 featuring Hugh Jackman, and Marmot. They also contrib- uted to the feature film Rooster. MAVIS CAMERA ADDS SUPPORT FOR IPHONE 18 PRO & MAX BRIGHTON, UK — Mavis Camera 8.2 (www.mavis.cloud/camera) is the latest re- lease of the professional camera app for iPhones and iPads. The update brings support for iPhone 18 Pro and iPhone 18 Pro Max, including control of the new variable aperture, alongside ProRes Raw recording, professional HDMI output and a new API for integrating Mavis Camera into custom workflows. On iPhone 18 Pro and Pro Max, Mavis Camera gives users direct access to the variable aperture through its Camera Control Wheel or on-screen thumb rails. The aperture can be adjusted while recording and works as part of both manu- al and automatic exposure, giving filmmakers another practical way to manage exposure and depth of field directly within the Mavis interface. Mavis Camera 8.2 also introduces ProRes Raw recording. Users can capture ProRes Raw in 4K or Open Gate to an external SSD, retaining greater flexibility to adjust expo- sure, white balance and other image parameters in post production. For external monitoring, Mavis Camera provides a low-latency HDMI feed with a choice of clean video or a professional info display. The info display brings key camera, recording and output details to a connected monitor, in- cluding exposure settings, focal length, recording state, timecode, capture for- mat, audio levels and device status. Users can also carry monitoring tools and overlays, such as tallies, guides, aspect-ratio masks, focus peaking, zebras and false color onto the HDMI display. The app can also match the HDMI output re- fresh rate to the camera's capture frame rate, helping the output fit predictably into professional monitoring and production workflows. The API lets external applications, devices and production systems connect to the camera over a local network. Through a WebSocket connection, they can control recording, exposure, focus, white balance, zoom, lens selection, tally and color shading while receiving live updates when camera settings or status change. A built-in, browser-based API Playground lets users explore these controls without writing code. This two-way communication makes it possible for developers, broadcasters and production technology companies to build Mavis Camera into custom remote controllers, hardware control surfac- es, multi-camera systems, studio automation, bespoke applications and wider production infrastructure. Mavis Camera remains a free download. A new, annual subscription costs $29.99 per year and unlocks all features included in Pro Pack, Film Kit, NDI and the API. Variable aperture control, ProRes Raw recording and professional HDMI output are included free of charge. Hanna Sturwold James K. Crouch