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December 2015

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www.postmagazine.com 12 POST DECEMBER 2015 BITS & PIECES MIXTAPE CLUB EXPANDS NY SPACE NEW YORK — Integrated creative studio Mixtape Club (www.mixtapeclub. com) has undergone a significant expansion that includes enlarged facilities and a newly-forged partnership with sister company Huma-Huma (www. huma-huma.com). The announcement comes on the heels of what the studio is considering a "benchmark year," including a slew of work with Google and collaborations with ESPN, MoMA and a music video for They Might Be Giants Under the new business arrangement, Mixtape Club will manage all Hu- ma-Huma operations; conjointly, Huma-Huma will function as Mixtape Club's in-house original music and licensing boutique. "We built a flexible, multimedia workspace to not only support our strengths as artists, but also to adapt and customize workflows for our vari- ous clients," says Jesse Casey, Mixtape Club partner/creative director. "Each room has a different sensibility and purpose," says partner/executive creative director Chris Lenox Smith. "The buzz of diverse activities that take place here every day make it an inspiring place to work." The upgraded space boasts all the latest design and animation technolo- gy and software, and is equipped for greenscreen and tabletop shoots. The music and audio department features a full recording studio, as well as a 5.1 surround mixing room for client sessions. AUTODESK RELEASES 3DS MAX 2016 EXTENSION 2 SAN FRANCISCO — Au- todesk (www.autodesk. com) has launched 3DS Max 2016 Extension 2 for 3D modeling, animation and rendering. The new release builds on the Extension 1 release, which was unveiled earlier this year and expands the soft- ware's capabilities with new tools and workflow improvements that simplify and accelerate the creation of 3D assets. Extension 2 features a number of improvements. Max creation graph enhancements allow users to create, manipulate and use shapes and splines with new nodes. Pros can also import bitmaps and simulation data like CSV or Open VDB files. Print Studio allows users to export 3DS Max files for 3D print- ing in one swift click. And animators can now import and animate accurate simulation data to visualize how it changes over time. New text and shape map tools allow animators to use objects as a mask to create custom decals, graffiti and other text-based graphics on the fly without leaving 3DS Max. The text tool also sees improvements: font names are now displayed in the font type, making it faster to find fonts when using the text tool to apply textures, animations and effects to text. Also new is the ability to easily and accurately create, place and animate multiple materials, and use any shape to control the application of materials to an object. UPPERCUT OPENS IN NYC NEW YORK — Editor Micah Scarpelli has opened Uppercut (www.uppercutnyc.com), a new full-service, editorial/post pro- duction company in New York City's Union Square. Scarpelli has worked with brands that include Mercedes-Benz, Subway, Reebok, Gillette and Volvo. His new space features several editorial and Flame suites. Joe Wenkoff comes on board as partner and creative director of visual ef- fects, including finishing and color correction. He brings over 20 years' worth of VFX/post experience and has worked as a Flame artist, compositor and VFX supervisor. His credit list includes projects for Volvo, Nike, AT&T, Budweis- er and M&M's. In addition to Scarpelli and Wenkoff, Uppercut has also added more edito- rial firepower with the hiring of Alvaro del Val, who arrives in New York City after spending the last three years as a senior editor at Madrid/Dubai-based production studio, Serena. During his time there, del Val cut campaigns for an assortment of global clients, including McDonald's, Nestle, Toyota, Nissan and Mercedes-Benz. Scarpelli, who spent a majority of his career at large post houses, says Uppercut allows him and his team to work in a more intimate, boutique-style environment, built around a grassroots mindset. "A small, independent shop has huge advantages — we have the freedom to care for our clients and proj- ects," he explains. "I'm very selective about the people on my team, so we can offer the best client experience." ZERO VFX EXPANDS WITH NEW WEST-COAST STUDIO LOS ANGELES — Bos- ton-based VFX/creative studio Zero VFX (www. zerovfx.com) has opened a new West-Coast opera- tion in Venice Beach, CA. The 5,000-square-foot office further strengthens the studio's film opera- tions and helps expand its commercial business. Staffing doubles with the opening of the new location, with the team grow- ing from 40 to more than 80 employees. "This is a really exciting time of growth for us, and we are looking forward to offering our clients even greater service with the opening of our second location in LA," says Zero co-founder/head of production, Brian Drewes. "This expansion is part of our continued, organic growth, diversifying our team and allowing a large pool of artists and producers to be cast for each show and commercial project as it comes through," adds Zero co-founder/CD Sean Devereaux." Zero has had success in the feature film, television and commercial mar- kets. The studio recently executed three projects with Netflix Originals, and delivered work on film projects that include The Equalizer, Southpaw and Black Mass. Several more high-profile projects are currently in the works. On the commercial side, Zero's credits include work for Toyota, Jack Daniel's and New Balance, among others. PHOTOS BY JAMES CHOROROS (L-R) Smith and Casey

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