(New York City, New York--January 14, 2008) Multi-faceted Design and VFX house Manic proudly welcomes Executive Producer/Director of Operations Melissa Warhaftig into the fold. Melissa will be working with EP/Head of Sales James Braddock to develop and implement a growth strategy for the ever expanding company.|
Melissa comes to Manic by way of jumP Editorial, where she was brought in as Supervising Producer to handle all of their Maybelline work. She created and streamlined protocol for the multi-million dollar campaign in areas including editorial, design animation, and high-end visual effects. Melissa has consulted clients on efficient production procedures in these disciplines and has helped companies incorporate photo-realistic strategies to enhance or replace product photography.
Before working with jumP, Warhaftig was a Broadcast Producer with JWT. While there, she secured accounts for Ford, J&J, and Cadbury, and also produced seven figure campaigns for Dominoes Pizza and Pfizer. Melissa attended Boston University, where she received a degree in Visual Communications. EP/Head of Sales James Braddock comments on the hire, "Manic is ecstatic to snare Melissa, whose talent will contribute to our growing company. She is definitely high profile, high quality, and an asset to any company that she works within."
New York-based Manic delivers cutting-edge motion graphics, 2D and 3D VFX, design, animation, and high-end finishing services for clients working in commercials, feature films, television, music videos and broadcast. The company’s artists and principals have led campaigns for notable brands such as Nike, Virgin Mobile, Acura, Reebok, Verizon, Maybelline, and Apple from major agencies TBWA/Chiat/Day, Merkley+Partners, McCann Erickson, and JWT to name a few.
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After 25 years of working on other people's documentaries, commercials, feature films, filmmaker Michael Angelo's first original project is the inspirational story of the Treeman of Venice Beach, a singular creation of a singular man whose combination of costume, body paint, live foliage, and 10-foot stilts is gently beguiling and deeply inspirational. With over 1000 hours of footage in a crazy number of formats over a period of years, collaboration among a far-flung team of volunteers with varying degrees of expertise (including none at all), A DocumenTree seemed like the ideal project for Michael to jump into Final Cut Pro X. Michael's longtime experience in a variety of disciplines has nevertheless allowed him to come at the issues of media management, metadata, offline-online workflows, and a variety of complex technical issues in some unusual, and, dare we say it, organic ways.
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