With a background in art history and engineering, Will is known for his breadth of knowledge, both aesthetic and technical.

Will started his career at Tekserve in 1995 where he founded the video department. On the side he edited underground video features as part of nuBright Solutions, a collective of artist/filmmakers populating the young internet with indie films. After teaching editing for the Ford Foundation in Africa, he worked at Oxygen Media as the Senior Engineer. Will co-founded Final Frame in 2001.

Will has been color grading independent films for the past 13 years. His credits include the 2010 and 2011 Oscar winning documentaries The Cove and Inside Job, as well as a number of Oscar nominees and festival award winners such as Obvious Child (Sundance 2014), Cutie and the Boxer (Academy Award Nominee 2014), Sleepwalk With Me(Best of Next!, Sundance 2013), Dinosaur 13 (Sundance 2014) and It Felt Like Love (Sundance 2013).

For a full list of credits, see Will’s IMDB page here.

Alan’s editing credits include Welcome to the Dollhouse (Grand Jury Prize, Sundance Film Festival), Happiness (International Critic’s Award, Cannes Film Festival), Storytelling(Cannes Film Festival), and Two Girls and a Guy. He was also the supervising editor and co-producer on the acclaimed documentary Control Room (Sundance Film Festival) and the co-editor of Unzipped (Audience Award, Sundance Film Festival), which won the A.C.E. Award for Best Documentary Editing.

Alan co-produced Assisted Living, winner of the 2002 Slamdance Film Festival, and Children Underground, which won the Special Jury Prize at the Sundance Film Festival and Best Documentary at the IFP Gotham Awards. He has won two Emmy Awards for Outstanding Documentary Editing on the PBS series City Life. Alan is also the owner of The Edit Center, an Apple-certified Training Facility and school, that teaches the art of editing to students who learn by cutting a real feature film.

For a full list of credits, see Alan’s IMDB page here.

Caitlin Tartaro was born and raised in Queens, New York where she still resides. She attended Stony Brook University where she earned her bachelor’s degree in Sociology. Upon graduating, Caitlin was offered an administrative assistant position at Final Frame where she went on to use her affinity for all things coordinated and found her love of moving parts, working efficiently together, for a bigger purpose. Caitlin is now the Director of Operations at Final Frame and is credited as the Digital Intermediate Producer on many projects that Final Frame has finished over the last four years.

For a full list of credits, see Caitlin’s IMDB page here.

With over 20 years experience in the post and lab services, specializing in digital restoration and archive preservation, Simon has worked on and managed projects as diverse as the World at War to Queen Live in Budapest to Lion in Winter 1968. He has well managed the digitization of several prestigious archives.

Simon started his career at the Machine Room where he got a good grounding in the fundamentals of video and film, a frustrated VT op who fell into restoration and is much happier fixing faults rather than just pointing them out. He has also previously worked at Telecine Ltd, Dubbs-Eyeframe, Premier and Cinelab London before joining Final Frame Post this year.

Justin is a skilled media professional who specialises in bridging the gap between the Directors creative vision and the Producers budget. With a wide array of skills and experience in Picture, Sound and Visual Effects, Justin brings great support to a production by assisting with a holistic approach to workflow. From production through to post, and then through to distribution, workflow is key to the success and smooth flow of a project. Right from the script stage, it is all about understanding the creative, technical requirements of the story which need to be optimised to fit the budget.

Justin has consulted on many features over the last 14 years (advising not just post production, but on elements outside of post such as; Finance, Sales and Distribution, budgets etc…) and has kept up to date with all the latest technologies, deliveries and creative tools. If you have any questions or need advice with your project, just get in touch.

For a full list of credits, see Justin’s IMDB page here.

Originally from Maryland, Sandy began his career working on independent films in New York. After a few years of editing, Sandy joined the Final Frame team in 2005, where he graded festival-bound films and television series. In 2009 he moved to California and worked at Company 3 in Santa Monica, where he headed the company’s digital lab, wrote all of the department’s custom software and developed 3D workflows for films such as Pirates of the Caribbean, Transformers and Fright Night.

In 2012 his short documentary El Último Hielero (The Last Ice Merchant) premiered at the Tribeca Film Festival and has since won numerous awards including Best Documentary Short at the Woodstock Film Festival, Woods Hole Film Festival and the Boston Independent Film Festival.

Sandy returned to Final Frame in 2011 where he now leads the engineering team.

For a full list of credits, see Sandy’s IMDB page here.

Stewart has been working in the business since 1995, first as an Assistant Director, then as a dailies colorist at PostWorks, before moving to Final Frame in 2008.

As senior colorist he has graded scores of film and television projects including the Oscar-nominated documentary Hell and Back Again, the 5 features by filmmakers Ricki Stern and Annie Sundberg including Knuckleball! and Joan Rivers: A Piece of Work, as well as Jim: The James Foley Story, Happy Valley, We Could Be King and Ivory Tower. He has finished television projects for HBO, OWN, ESPN, Discovery and many others, including A Crime to Remember, This is Life with Lisa Ling, The West and Homicide.

For a full list of credits, see Stewart’s IMDB page here.

Since 2008, Sean has been working in the New York City post production community. The University of Kansas graduate had begun his career a year before as an editor and motion graphics artist with CBS News. At Technicolor-PostWorks (2008-2017), Smith expanded his skill set to encompass editorial finishing, color grading and visual effects, and he has applied his talents to projects ranging from Netflix shows, documentaries, independent features and commercials. Notably, he has worked on long format projects such as The Big Sick, The Americans, God Knows Where I am, The Jinx, and 306 Hollywood. A student of the latest post technologies, he enjoys both the variety of his work and the opportunity to use post-production tools in creative and innovative ways to help bring a director’s vision to life.

For a full list of credits, see Sean’s IMDB page here.

Peter is a respected colourist with over 30 years experience. Originally BBC trained, he has subsequently freelanced at nearly all of the UK’s most prestigious post houses and is highly sought after. His specialities include television, features and concerts . Peter will get the very best out of your source material whether it is film, tape or digital.
To look at Pete’s CV just turn on the television, as Pete’s work is on every night of the week. From the BBC to Sky Arts, The Rolling Stones to Top Gear, The World at War to The Lion In Winter (1968).

For a full list of credits, see Peter’s IMDB page here.

Susumu graduated from National Film and Television School in London with a postgraduate degree in Post Production. He started out as a creative editor at SJW and advanced his career in becoming a product manager and colorist at Digital Vision. He has developed his skillset and been working in the post industry for 10 years.

Susumu has worked as a freelance colorist for various established London companies including Matador Pictures, Pepper and Recipe. His job involves him travelling extensively around the world, grading projects in numerous countries such as China, India and Germany. Susumu has graded commercials for prestigious labels such as Armani, Levi’s and Samsung. He has demonstrated his talent in music videos for music artists including Snoop Dogg and Plan B. His work has been notably selected for festivals around the globe including Berlin, Edinburgh Film Festival and Raindance. He most recently graded a feature for the Istanbul Film Festival. He has a broad scope and creative artistry of his craft and has an ethnically diversified portfolio with clients of all different cultures.

For a full list of credits, see Susumu’s IMDB page here.

Having spent his early career in audio production, Drew made the switch to video post production in 2011, joining Final Frame as an Online Editor. He has since overseen the conform and completion of a wide variety of films and television series, including Life Animated, Mavis!, Weiner, Obvious Child, and Ke$ha: My Crazy Beautiful Life. In 2016, Drew began working as a colorist, most recently grading Bravo’s Southern Charm. Currently, Drew also manages the online team and post production process at Final Frame, New York.

For a full list of credits, see Drew’s IMDB page here.

Kevin graduated from Columbia College Chicago with a degree in Film and Video Production with a focus in Cinematography. While in school Kevin completed a post production internship with Emmy Award winning Journalist Bill Kurtis at Kurtis Productions. Kevin spent time in Chicago shooting and editing independent films and documentaries where he was credited as additional camera for the official Sundance Film Festival entry “We’re Not Broke.” Kevin Moved to New York in 2012 where he started working as a camera assistant for fashion video shoots and worked at a local camera rental house. Kevin turned his attention back to post production when he joined the Final Frame team in 2015 as an online editor.

For a full list of credits, see Kevin’s IMDB page here.

Originally from Monroe, New York, Ben graduated from the School of Visual Arts in 2011 with a BFA in Film, with concentrations in screenwriting and editing. In his senior year, he was offered a position at Prime Focus as a Data Operator where he worked for the next five years. There, he was able to hone his skills as a technician and editor, doing QC work for IFC Films, A&E, and Criterion.

Ben is also a self-taught 2D Compositor, specializing particularly in beauty work, object removal, and rotoscoping. Since 2012, he has freelanced for major clients such as Beats by Dre and Lego.

Ben came to Final Frame in 2016, combining these technical and creative skills as a graphics and online editor. He was recently credited for his work on Do Not Resist, which won Best Documentary Feature at the Tribeca Film Festival.

Steve earned his BFA from Ithaca College’s Park School of Communications in 2006 and moved to NYC to work as an editor for The NewsMarket. He moved to Austin, TX in 2010 to produce video content for the SXSW Film Festival and worked as a freelance editor and colorist. In 2014 he earned a Film/Video MFA from MassArt, studying under avant-garde-master Saul Levine, and projecting for him at Boston Film Society. He worked as a film technician for Light Industry and DiJiFi in Brooklyn before being joining Final Frame in 2018. His found-footage films have screened all over the US, as well as Canada, Chile, Germany and Russia.

After graduating from Ravensbourne London in 2016 with a First Class Honours in Editing and Post Production, Lauren joined Final Frame as a runner and junior assistant. Whilst shadowing Head of Restoration and Managing Director, Simon Marbrook; she immediately began cutting her restoration teeth on the 4K restoration of Alan Parker’s “Bugsy Malone”. Since then, Lauren has worked across a multitude of restorations: from the likes of beloved Raymond Briggs animation “Father Christmas”, 1977’s cult classic “The Amityville Horror”, to feature-length concert material from Foreigner; The Bee Gees; The Rolling Stones; and Paul McCartney, as well as providing a clean up service for archival Blu-Ray feature film distributors. She can freely adapt between mixed film and video formats, assessing each asset with a keen technical eye to master the best fixes possible. Lauren also assists with the scanning of film old and new, as well as providing online edit assistance. If not in the office, you’ll find her shooting 35mm stills or attending moody concerts.

Mike Frank graduated from Columbia film school in Chicago in 1996 and in 2001 moved to New York to pursue his post audio career.

After spending several years working as both a production and post audio mixer, in 2008 he began working in the studio full time. He’s been working as a sound designer and engineer for over 15 years. After a history of long hours he has proven his creative and practical abilities to a wide variety of clients. His work has grown to include titles like sound engineer, designer, foley artist, ADR, re-­recording mixer and supervising sound editor.

Some of his film credits include First Look Pictures, Panamax and Michael Mailer Films. His television network credits include Discovery, A&E, PBS, Channel One, VH1, MTV, Sundance Channel and Starz/Encore. His commercial credits include work for Nike, Walmart, Nokia, Pepsi, J&J and others.

For a full list of credits, see Mike’s IMDB page here.

Annie Medlin is a sound mixer with an ecletic body of work in both the studio and the field. Originally from Raleigh, North Carolina, she is a BFA graduate of NYU’s Tisch School of the Arts.

After several years working on the sets of independent films, Annie made the switch to full-time post production audio mixing. With experience in the full workflow of audio recording and mixing, she brings a unique perspective to her mixes, both creatively and technically.

Her work has screened at festivals around the world, including Sundance, Tribeca, and SXSW. Her TV credits include work for HGTV, AMC, Showtime, and the History Channel.

For a full list of credits, see Annie’s IMDB page here.

Alex received an audio engineering degree from Indiana University, and in 2008 moved to NYC to pursue his first job in post production. His experience in audio runs the gamut, from working as a technician and engineer in music studios to independently editing and mixing short-form narrative work. From technical studio design to sound design, Alex brings a multi-faceted understanding of audio workflow with an open mind to always keep learning and discovering sonic unknowns.

For a full list of credits, see Alex’s IMDB page here.

Originally from the Scotland, Hannah was never sure how to answer the question, “What do you want to be when you grow up?” She worked extensively in the theatre business before moving onto fashion and is now settling into post production where her phone now auto corrects to DCP, layback and seems quite at home with duck. While she can’t color correct, mix audio, trouble shoot AVID or conform, she will help with everything else, including throwing a mean happy hour and asking you politely to pay for our services.

Originally applying to universities to pursue a degree in Audio Engineering, Stefan was accidentally enrolled into Drexel’s Film/TV program. Deciding that film piqued his interest, he amended his college applications and later graduated from Rider University in 2015 with a BFA in Television/Film.

Upon graduation, Stefan started working at the post-production house to RadicalMedia, Outpost Digital. There he headed the camera department, advising on and creating the workflows for media ingest for offline editorials, as well as helping to troubleshoot media issues during the finishing and delivery process. During his time at Outpost Digital, he created and managed workflows for Netflix originals such as My Next Guest Needs No Introduction with David Letterman, Abstract: The Art of Design, and Bobby Kennedy for President.

His love for the big screen brought him to Final Frame in 2018 where he is now a member of the engineering team.

For a full list of credits, see Stefan’s IMDB page here.