Post houses take root in lower Manhattan

Venue boasts telecine suites, quality-control bays, DRS

Post Logic and Outside Editorial are Gotham’s two post-production newbies — each boasting different amenities to attract the local creative community.

Brand-spanking new, the 5,000-square-foot Post Logic space in the West Village is located in post-production row, around the corner from competitors like Technicolor, and literally, across the hall from partner Outpost Digital. The New York satellite office of the Hollywood facility with the same name, the shop’s main selling point is to give L.A.-level workmanship in a local setting. A nest of rooms with state-of-the-art equipment includes two telecine suites, three quality-control bays and one DRS suite.

Specializing in mastering work, Post Logic is the only one of its kind in New York, and has already earned a three-year nonexclusive deal with Miramax. “We also wanted to have a space in New York City and use local talent,” adds CEO-prexy Barry Snyder. “Post-production is an incredibly challenging business, so it’s nice to be part of something that’s building and growing, rather than consolidating.”

Further south on SoHo’s Mercer Street, and in more colorful digs, is Outside Editorial. A 4,000-square-foot penthouse duplex with terraces, the space — filled with suspended and midcentury furniture — is meant to catalyze creativity as much as possible, in the most relaxing way. With design a priority, it’s not surprising to learn that the team has agency backgrounds, although the facility is prepared to handle features, musicvideos and more.

“What matters to me is that they can get the job done technically,” says Don Faller, a veteran producer who also runs Double Wide Media and Post. “And if I can get the job done at the same price, I’ll go where they have the nicest chair.”

Outside Editorial owner and editor Scott Gaillard says while the environment is an amenity, it is also a reflection of talent and work that his team can provide. “It’s not the reason to choose us — you choose us for the staff,” says Gaillard. “But putting a stellar staff in such a space helps.”

Like Faller, producer Anne Chaisson of Dirty Rice Films has some expectations when choosing a facility. “It’s important post houses understand the independent sensibility — the time crunch, little money and requisite hand-holding,” she says. “If they were willing to help out the independent filmmaker, I would love to work in a beautiful space.”

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