Postnewyork

Located in the West Village, Goldcrest Post New York opened it’s doors to the New York film community in 2000.  Goldcrest quickly became known for offering a filmaker friendly environment with an ever growing roster of top notch talent and services. In the last two years Goldcrest has expanded its range of Post-Production finishing services to build a sterling reputation for high profile feature and television picture and audio finishing from On-Set Dailies through delivery. Goldcrest operates as a one-stop creative boutique offering it’s filmaker and television content creator clients every service needed to create world-class theatrical and broadcast deliverables.

Picture

Offline: For creative editorial we provide 16 offline remote storage based editorial suites with either Avid, Final Cut or Adobe Premiere.  

Finishing Services: Our DI Theater and Television Grading rooms provide 4K/UHD/2K/HD finishing services and color grading with Quantel Pablo or DaVinci Resolve to DCI compliant projection or 4K monitoring.  For delivery, Goldcrest provides full DCP creation services as well as broadcast file or video based delivery.  

Restoration:Goldcrest also provides 35mm and S16mm Film Restoration Services with Arriscan film scanning (with Kodak’s Digital ICE technology automated dust-busting) and subsequent DVR, color grading, grain management and LTO 5 and LTO 6 data archiving.

Audio

Our Audio services include Sound Editorial and Design, ADR Recording, and Theatrical and Television mixing.  Goldcrest’s third floor is devoted to Sound Editorial services. Theater Q and Theater A, our two largest 5.1 Mix Theaters, are located on the Main floor.  Theater Q is powered by both a Euphonix Fusion 5 and Ikon console output through Meyer Sound Speakers.

Theater A is powered by an Icon console. Both Theaters are Dolby certified for Print Mastering.  Theater B  a smaller Television 5.1 Mix Suite, and the ADR Stage serves top quality recording to the New York marketplace. ISDN and Source Connect in the ADR stage allows our clients to work with our London facility or other geographically remote talent. 

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Gretchen is currently producing a slate of 3-4 films each year as Head of Production for Goldcrest Features. Recent releases include The Art Of Getting By, The Girl, Dark Horse and Which Way Is The Front Line From Here. Gretchen also oversees films financed by Goldcrest including Bill Monahan’s Mojave, Todd Haynes’ Carol and the upcoming Autopsy of Jane Doe. 


Gretchen produced Jim Jarmusch’s The Limits Of Control in Spain and prior to that she oversaw and produced over 25 films as Head of Production for HDNet Fillms, Open City Films, Blow Up Pictures and as an independent producer.

T: +1 212 897 3935 E: gmcgowan@goldcrestfilms.com

Nat Jencks, has over 15 years of experience in post production. His past projects range from studio features to indies and documentaries and include work for directors Steven Soderbergh, Michel Gondry, Spike Jonze, Todd Haynes, Barry Levinson, and many others.  In addition to feature films he enjoys working on music videos and has worked on videos for bands such as Sigur Ros, The Dirty Projectors, Phantogram, MGMT, The Polyphonic Spree, King Krule, Jenny Lewis, and many more. 


 Nat has been on the frontline of many emerging technologies, from DV to DI, working on some of the first films to use FCP for 35mm film workflow, and designing and implementing the digital workflow for Steven Soderbergh’s CHE, the first large feature film shot on the RED camera.


He has a longstanding background in photography, art, and computer science with a degree in Technology and Art from Oberlin College.  He has taught classes on Color and VFX, has guest lectured at SVA, Columbia, Local 700 Editors Guild, SMPTE as well as other institutions, and is a member of the Editors Guild and the Visual Effects Society (VES).


 

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David is a sound editor whose Supervising Sound Editor credits include the television series Divorce (HBO), Hap and Leonard (Sundance TV), The Red Road (Sundance TV), The Detour (TBS),and the films 3 Backyards, Coming Through the Rye, Bottled Up, My Best Day, Teeth, Diminished Capacity, and the documentaries Do I Sound Gay?, Hunting in Wartime, Where in the World is Osama Bin Laden, and Kate Bornstein is a Queer and Pleasant Danger.  


Other sound editing credits include Moonrise Kingdom (Golden Reel nominee), Long Strange Trip, Carrie Pilby, Chris Rock's Top Five, Me and Earl and The Dying Girl, Roger Waters' The Wall, The Last Patrol, Concussion, We Are What We Are, The Wire, Bachelorette, Friends with Kids, Cadillac Records, and New York, I Love You. He has sound designed numerous award-winning short films as well, including the 2014 Cannes Film Festival award-winning Oh Lucy! and the 2013 Canadian Genie Award winner Throat Song. He was a Professor of sound design in the Graduate film program of City College of New York for 9 years, and for 4 years was guest instructor of sound editing at New York University Tisch Asia’s Singapore campus. He is a member of the Motion Picture Editors Guild and holds an MFA in Film from New York University. 

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Mary Ellen Porto has been a member of the New York sound editing community for over 30 years. She began her career in 1986 as part of the sound editing crew for the film “Working Girls” by Lizzie Borden whichpremiered at the Cannes Film Festival and went on to win "Best Feature" at the 1987 Sundance Film Festival. Since then she has worked on numerous films both large and small. Amongst the directors for whom she has supervised sound are Mira Nair (Hysterical Blindness), Karyn Kusama (“Girlfight”), Tim Blake Nelson (“Eye of God”), Steve Buscemi (“Interview”), Stanley Tucci (“Blind Date”), Sebastian Junger (“Hell on Earth”), James Mangold (“Heavy”), Todd Haynes (“Poison”) and Amir Naderi (“Avenue ABC Manhattan”).


As a dialog/adr supervisor and a sound effects editor she has had the privilege to work with such luminaries as Sidney Lumet (“Before the Devil KnowsYou’re Dead”), Ang Lee (“Sense and Sensibility”), Jon Stewart(“Rosewater”), David Simon (“Treme”), JC Chandor (“Margin Call”), Ric Rubin (“Tougher than Leather”), Theodore Melfi (“St. Vincent”), Dee Rees (“Bessie”) and many others. She has been fortunate in that she is equally comfortable working on features, documentaries and on television series.


In 2016 Mary Ellen and her fellow sound crew members won the Golden Reel award for their sound on Dee Reese’s film “Bessie”. After more than 30 years in the film business Mary Ellen feels incredibly fortunate in that she still finds great joy and adventure in sound editing.


 


 


 

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Originally from Western Massachusetts, Gregg Swiatlowski is a Supervising Sound Editor that has been working in between New York and Los Angeles as part of the Motion Picture Editors Guild for over the past 10 years. He's worked with many talented filmmakers including Taylor Hackford ("The Comedian"), Oliver Stone ("Snowden"), M. Night Shyamalan ("The Visit"), John Cameron Mitchell ("How To Talk To Girls At Parties", "Rabbit Hole", "Shortbus"), Edward Burns ("Fitzgerald Family Christmas", "Newlyweds", "Nice Guy Johnny", "Purple Violets", "The Groomsmen"), Todd Graff ("Joyful Noise", "Bandslam"), John Turturro ("Fading Gigolo"), Ben Stiller ("The Secret Life Of Walter Mitty"), Johnathan Demme ("The Master Builder"), David Schwimmer ("Trust") among many others.


Gregg's recent television projects include "Impulse" (Doug Liman), "Billions" (Brian Koppelman and David Levien), "Public Morals" (Edward Burns), "BrainDead" (Michelle King and Robert King) and "True Detective" (Nic Pizzolatto).


Gregg has a Communications degree from Fitchburg State University in Massachusetts with a minor in Music. He also likes to play soccer, ride his bike and hike.

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From an early age Kris has been fascinated by sound, going to studios with his father.  


 He studied at the Full Sail Real World Education program, getting his Associate of Science degree in recording arts in 2000. After graduation Kris began his career at Sound One, working his way up from intern to ADR recordist and ADR mixer in his first six years.  He then transitioned to machine room operator and re recording mixer, and has spent the last few years working as sound editor for various shorts, independent, and feature films including 


Darren Aronofsky’s Black Swan, David Fincher’s The Curious Case of Benjamin Button,  Nicolas Winding Refn’s Drive andAkiva Goldsman Winter's Tale.

T: +1 212 243 4700 E: kchevannes@goldcrestfilms.com

Mike studied at the Full Sail Real World Education program, getting his Associate of Science degree in recording arts in 2003. In 2004 Mike started as an intern at Goldcrest. Eight years and hundreds of sound edits and mixes later, Mike has worked his way up to be the Head Audio Engineer.

T: +1 212 243 4700 E: msuarez@goldcrestfilms.com

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