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Rooftop Edit Launches NYC BoutiqueResponds to ad agency needs with talent and technology (January 26, 2005)
When it comes to editing and finishing spots, New York Citys skyline is now more dazzling then ever -- thanks to the recent opening of Rooftop Edit. This full-service ?creative editorial boutique responds to the needs of todays ad agencies with world-class talent and cutting-edge technology, supported by strong client services in a creative and collaborative atmosphere.
Located at 104 West 29th Street in the heart of Chelsea, Rooftops state-of-the-art technology, comfortable space and stunning views of the city make it a haven for agency creatives and talent alike. Veteran editors Ed Kisberg and Geno Tulchin, Smoke Artist Anthony Forte, mixer/sound designer Chris Russomanno and assistant editor Jeremy Ambers share a dedication to their craft and a commitment to making each spot the best it can be.
?Rooftop has created a great, collaborative atmosphere where agencies can count on every stage of the post-production process exceeding their expectations, says Kisberg. ?Our clients know all the editors here. They feel comfortable with our collective expertise and enjoy the fact that there are no egos to get in the way.
?Being boutique-sized and offering complete postproduction capabilities means we can service clients exceptionally well, adds vice president/operations manager and Smoke artist, Anthony Forte. ?Our team at Rooftop has a very strong work ethic. We make sure every project gets the time and attention it deserves.
?Having these comprehensive services under one roof gives us an enormous edge, adds Kisberg. ?It provides Rooftop with great creative and scheduling flexibility, as well as the opportunity to follow projects through, from room to room and deal with last-minute revisions. In addition, clients can take advantage of our ability to conveniently package post services for them: They dont have to chase all over New York City to put together the various components of spot post.
Editor Ed Kisberg comes to Rooftop after a 14 year stint at New Yorks Refinery, where he most recently held the position of senior editor. He began his career in film at New Yorks Stylianou Productions, in 1982 as assistant editor, and came up through the ranks to become a senior cutter. ?I did everything there, Kisberg recalls. ?I started in film, graduated to linear online editing then moved to Avid when Stylianou was one of the first companies to embrace it.
In 1990 he came onboard at Refinery where he again took advantage of an edit shops tendency to jump on the technological bandwagon. Kisberg notes. ?I became very adept at sitting down with a new program and just diving in.
Impossible to pigeonhole, Kisberg is equally adept with comedy, drama and quick-paced contemporary styling. He especially enjoys graphics-intensive commercials with multi-layering and compositing. Most recently Kisberg has cut spots for Nikon, Aetna, 1-800-Flowers, The New York Times, the Discovery Store and Marvel Comics.
Editor Geno Tulchin provides the perfect complement to Kisberg. Production and post are part of Tulchins genetic makeup. By the age of 12 he was serving as PA on shoots with his father Hal Tulchin, the celebrated director and TV pioneer. He joined Tulchin Studios/Metro Studios, in 1981 and remained there for 15 years. Tulchin moved to Editel/Digital Universe in 1996 where he was vice president of editorial, served as senior editor at Empire Video from 1997 to 2000, then joined Betelgeuse to head up their commercial division, Sky Rocket Post. In 2002 Tulchin signed on at Refinery, where he met Ed Kisberg.
Tulchin is probably best known for cutting comedy, beauty, dialogue and music-driven spots for clients such as Comcast, Maaco, Estee Lauder, and BMW. He also has strong television programming credits, which include the Monitor Award-winning two-hour special, ?Stephen King: World of Horrors, as well as numerous ESPN shows.
Advocates of editorial on-set supervision and on-set cutting, Kisberg and Tulchin use laptops running Avid Xpress, Discreet Combustion, Apples Shake and Live Type, and Adobe After Effects for optimum location capabilities.
Up-and-coming junior editor Jeremy Ambers, formerly with Fort Productions in New Jersey, is honing his editing and graphics skills at the new company. His fresh, edgy style rounds out Rooftops editorial offerings.
As Rooftops Smoke artist, the multi-talented Anthony Forte exhibits his editorial finishing, design and visual-effects skills. An editor with Fort Productions for 10 of the 12 years he spent with the company, Forte maintained a national spot client roster, which included Sentry Hardware, Marvin Windows and Doors and Thumanns Deli Meats. During his last six years with Fort, he also performed After Effects compositing, which made for an easy transition to Smoke.
Rooftops talent has the latest versions of cutting-edge editing, graphics, 2D visual effects and audio gear at their fingertips: Avid Media Composers with full DVEs and 1:1 capabilities plus the most recent Adobe After Effects, Illustrator and Photoshop software. An Avid Adrenaline, running on a Mac G5 and loaded with Boris effects packages, provides fast renders and conforms. A Discreet Smoke 6.5 on Tezro, with powerful primary and secondary integrated color-correction tools, is Rooftops high-end compositing and finishing platform. It is supplemented by Mac graphics with the Adobe suite of products. A full-blown Digidesign Pro Tools TDM system for complete audio post rounds out the offerings. Apple Xserve enables file sharing throughout the entire facility.
Forte created color-based visual effects for one of Rooftops first jobs, a spot for 1-800-Flowers. He also conformed and color corrected a recent spot for Empire Plan (Blue Cross & Blue Shield), conformed a Palmers Cocoa Butter skin cream spot, and finished an Aetna campaign cut by Ed Kisberg.
?Anthonys strong design sense makes him a natural Smoke artist, says Kisberg.
Mixer/sound designer Chris Russomanno mans Rooftops Pro Tools suite. A drummer whos now producing, recording and mixing his own album, Russomanno ?lives and breathes audio, he says. His Pro Tools room is fully equipped and features a large, server-based sound library. The rooms voiceover booth can accommodate up to three people.
?Having Chris running audio here is a huge plus for us, says Kisberg. ?I can still be cutting while hes starting to mix, or he can show me sound effects while Im working on a spot. He can provide a scratch voiceover to edit with as well as the finished voice recording.
Russomanno began his career as creative services director of WSOU-FM in South Orange, New Jersey. Four years later he joined New Yorks Planet V as a post audio engineer where his credits included numerous TV commercials, video games, DVDs and independent films; he remained at that company until coming onboard at Rooftop.
While Rooftop opens its doors with a strong talent roster, the company plans to add both fresh, young talent, as well as established editors with their own client followings.
?I wanted to work within a small-scale boutique that could give each project its undivided attention and respond on the spot, and instinctively, to the needs of agency creatives as they arise, notes Forte. ?Rooftop does just that. It has the ability to turn on a dime in order to meet our clients needs.
The individual expertise of Rooftops editorial, finishing and audio talent is impressive, but its their ability to meld their considerable skills and unite as a team that sets them apart from the crowd. ?Rooftop isn't just about the talent of particular individuals, notes Tulchin. ?Its about the creative synergy that can only happen when people really enjoy working together and are dedicated to their craft."
For further information about Rooftop Edit, or to request a reel, call 212.244.0744 or visit www.rooftopedit.com.
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