Coffee & TV hires VFX Supervisor Steve Cokonis from Uppercut

We’re excited to share that ed koenig has joined NOISE VFX as Executive Producer. Ed joins us from Final Cut, where he led new business for the past three years, and before that spent six years at MPC developing partnerships with some of the industry’s leading directors, agencies, and brands. At NOISE, Koenig will focus on expanding the studio’s commercial footprint, working closely with Founder Michael Gregory and Executive Producer Karen Anderson to further strengthen the company’s position in high-end visual effects and design. “Ed is one of the best in the business — sharp, trusted, and incredibly well-connected,” said Michael Gregory, Founder of NOISE. “He shares our passion for craft and collaboration, and his experience across production and post makes him a perfect fit as we continue to grow. Many on the team have worked with Ed over the years, so it already feels like a natural fit.” Founded in 2022, NOISE has quickly become a creative force in visual effects and design. Its award-winning 2025 Pinterest campaign, music videos for Kendrick Lamar and The Rolling Stones, and commercial work for brands including Coca-Cola, NBA, Apple, PlayStation, and Visa showcase the studio’s commitment to craft and creative collaboration. Alongside its commercial work, NOISE recently completed its first feature project with filmmaker Alex Prager and delivered large-scale content for The Sphere in Las Vegas.

Post Producer’s Take: Why On-Set Lighting Matters More Than Ever in VFX In VFX-heavy productions, people often assume we can “fix it in post.” But as someone who lives in the Post every day, I can say this with confidence: nothing saves more time, budget, and quality than good lighting on the set. Accurate HDRI captures + proper lighting references = realistic CG integration. Consistent exposure + shadow detail = less cleanup, fewer surprises in DI. Practical lighting choices on set = less reliance on digital fixes later. I’ve seen projects where a few minutes spent aligning on-set lighting references saved days of compositing down the line. Conversely, when references are skipped, we end up in endless rounds of “matching the look.” As a Post Producer, I always remind directors and DPs: Light for storytelling, but also light for VFX continuity. Treat chrome/gray balls, Macbeth charts, and HDRIs not as technical chores, but as creative allies. The closer the set lighting matches the intended final look, the more seamless and cinematic the VFX outcome. Good lighting is not just an on-set responsibility — it’s the first step in the post pipeline. And in my experience, the projects that respect this truth always stand out on screen. #princeonpost #RaVe_Production #Lovecinema #Cinema_Speaks_24_Times_Per_Second

“The Sound of FLOW”: Gurwal Coïc-Gallas at FMX 2025   🌊 In his Oscar-winning animation feature “Flow”, Latvian filmmaker Gints Zilbalodis wanted the audience to feel immersed in the story of a group of animals trying to save themselves from a devastating flood.   🐱 The protagonists don’t speak, they only use their natural sounds. At FMX 2025, Sound Designer and Supervising Sound Editor Gurwal Coïc-Gallas explained, how he strived to connect with the audience and create emotional and surprising experiences through sound design – and how he found the voices of the cat, the lemur, the secretarybird and the capybara.   🔊 After graduating from the Louis Lumière film school in Paris, Gurwal became the assistant of Jean Goudie, one of France's most respected sound designers. As a supervisor sound editor, he was able to collaborate with directors like Luc Besson, Philippe Lioret and Albert Dupontel. Gurwals work has won a number of awards in France and all around the world including a special mention for best sound design at the last Cannes Film Festival.   Enjoy listening!   FMX has shared Gurwal's complete session at FMX 2025 on YouTube - link in comments! #FMX2025 #conference #animation #vfx #ai #stuttgart

🎥 Camera Angles & Shot Types: How Framing Shapes Storytelling Every frame tells a story — but how you frame it changes everything. From low angles that show power to close-ups that reveal emotion, camera shots define the rhythm, mood, and meaning of every scene. Here are a few key insights from the latest Cinema8 guide: 🎯 A low-angle shot empowers your subject. 🎯 A high-angle shot conveys vulnerability. 🎯 A close-up builds emotional connection. 🎯 A wide shot sets context and scale. 🎯 A detail shot draws attention to meaning. Mastering these angles isn’t just for filmmakers — it’s for anyone who wants to tell stories that feel cinematic. And when it comes to hosting, analysing, and adding interactivity, Cinema8 helps you transform great visuals into powerful, data-driven video experiences. 💡 Explore how shot choice and interactive storytelling can elevate your next production #Filmmaking #VideoProduction #Storytelling #InteractiveVideo #Cinema8 Cinema8 https://lnkd.in/dcTzBAaR

A lot of editors focus so much on visuals, color grading, transitions, and fancy effects to the extent that they forget one key ingredient: SOUND. Here’s the truth: viewers will forgive average visuals, but they won’t forgive bad audio. If your sound is noisy, muffled, or inconsistent, your message loses its power no matter how great your shots look. In Premiere Pro, improving your audio doesn’t have to be complicated. Here are a few quick ways to make your audio sound better instantly: 1. Normalize your levels by Keep your dialogue between -6dB to -3dB so it’s loud enough without peaking. 2. Use the DeNoise effect to Clean out unwanted background noise for a clearer voice. 3. Add some EQ to Boost mid frequencies to make voices stand out. 4. Apply light compression which helps even out loud and quiet parts for a balanced sound. Good sound gives your video emotion, clarity, and connection. Because when your audience can hear you clearly, they can feel your message deeply. #videoeditors #videographers #cinematography #contentmarketting #contentcreation #contentcreators

Animation is dominating the box office—and UTA is right at the center of it, with Strawn Dixon (Agent, MP Lit) helping lead the way. Dixon represents some of the top creators, writers, and directors in the field, including Maggie Kang (“KPop Demon Hunters,” Netflix’s biggest film ever), David Derrick Jr. (“Moana 2,” which earned over $1 billion at the global box office), Adam Elliott (“Memoir of a Snail,” an animated feature Oscar nominee), and Pierre Perifel and JP Sans (directors of “Bad Guys 2”). Dixon spoke to The Ankler about the boom in a genre that was once seen as “kids’ content” but has now become a mighty cultural force. “Nearly a third of the global box office was animated, which is just incredible,” he says. This moment is also one of talent mobility, with top filmmakers and animators moving freely between studios—leading to more diverse storytelling, stronger deal terms, and more competitive contracts. “Iʼm in the middle of several negotiations right now, both for animation directors or screenwriters working in animated films, and every single one of those instances is an improvement on the previous deal,” Dixon says. https://lnkd.in/eYXttCPD

🌐 Digital Movie Cameras Market on the Rise The global digital movie cameras market is projected to grow from USD 1.17 billion in 2025 to USD 1.94 billion by 2033, at a CAGR of 6.5%. 🔹 Key Growth Drivers ✔ Rising demand for high-resolution content in filmmaking, advertising, and OTT platforms ✔ Increasing adoption of 4K, 6K, and 8K digital movie cameras for professional cinematography ✔ Growing investments in entertainment, broadcasting, and independent filmmaking projects ✔ Expanding use of AI-driven image processing and real-time editing tools ✔ Rising popularity of digital streaming platforms fueling content creation demand 🌍 Regional Highlights 🌎 North America leads due to the presence of Hollywood, strong adoption of advanced camera technologies, and rising OTT production. 🇪🇺 Europe shows steady growth driven by demand for high-quality content in the UK, Germany, and France, along with supportive government incentives for film production. 🌏 Asia-Pacific is the fastest-growing region, fueled by the booming film industries in India, China, and South Korea, rising digital content creation, and growing adoption by independent creators. 🏢 Leading Players ARRI, Canon, Sony, Panasonic, RED Digital Cinema, and Blackmagic Design dominate the landscape with advanced digital cinematography solutions. Strategic collaborations with filmmakers, focus on lightweight and modular designs, and innovations in AI-powered features are reshaping the competitive dynamics. 💡 The future of digital movie cameras lies in AI-driven image enhancement, cloud-based editing, portable and modular cameras, and deeper integration into OTT, advertising, and independent filmmaking sectors. 📍 Explore full insights: https://lnkd.in/dvHefFqg hashtag#DigitalMovieCamerasMarket hashtag#FilmMaking hashtag#ContentCreation hashtag#MarketGrowth hashtag#Cinematography

We had a chat with VFX Producer Anthony Chiarantano about the fast-paced, detail-driven world of production and what it takes to keep projects on track. Anthony shared an inside look at the challenges and rewards of producing visual effects at scale on the blog: https://lnkd.in/eNFzMKWF

People keep asking me for sample work or reels as an assistant editor. Anyone have any tips on how to respond to these requests? If I haven’t done the editorial work, why would I have work to show for any creative editing samples? The whole point of my position is to make the editors workload so much easier and let their creative brain flow on out. A reel doesn’t show the amount of footage I’ve managed, the amount of Adobe apps I’ve juggled, or the countless hours I’ve spent organizing, syncing, and troubleshooting to make sure the editor has a clean canvas to work from. My value is in streamlining the workflow, problem-solving, and supporting the editor’s creative process…not in flashy cuts or demo reels.

TV production: 1. Scriptwriting: Developing engaging storylines, dialogue, and characters. 2. Storyboarding: Visualizing the sequence of events and shots. 3. Directing: Bringing the script to life, working with actors, and guiding the crew. 4. Cinematography: Capturing high-quality footage, lighting, and camera work. 5. Editing: Assembling the final product, ensuring pacing, continuity, and narrative flow. 6. Sound design: Creating and mixing audio elements, such as music, effects, and dialogue. 7. Production design: Creating and managing sets, props, and costumes. 8. Camera operation: Operating camera equipment to capture desired shots. 9. Lighting: Designing and executing lighting plans to enhance the visual aesthetic. 10. Sound recording: Capturing high-quality audio on set. These skills are essential for creating engaging and professional TV content.