With a career spanning more than 20 years in the film industry, Kate Morrison-Lyons started as a camera trainee in the UK before transitioning into camera rental. Motivated by the release of the D20 camera system, she moved into post-production technology where she dedicated her time to understanding end-to-end, file-based workflows for digitally captured feature film productions. In 2011 Kate founded Fluent Image, a company dedicated to handling the digital negative from capture through to final DI. Here her clients included 20th Century Fox, Warner Brothers and Legendary. She was later hired by Walt Disney Studios to support their live action movies and eventually relocated to the US to manage their Production Technology department. Kate joined Netflix in 2018 and currently supports Netflix Original and Indie Films as part of the Studio Production Technology team.
Senior Colorist Corinne Bogdanowicz joined Light Iron in 2010 after working as a colorist and digital compositor for Post Logic/Prime Focus, Pacific Title, and DreamWorks Animation. Some of Corinne’s feature credits include 42, Flight, Hell or High Water, Allied, Dolemite Is My Name, and Wonder. On the episodic side, Corinne has colored all five seasons of Amazon’s Emmy-winning series Transparent, as well as Mrs. Fletcher, Truth Be Told, Baskets, and The Haunting of Bly Manor. Corinne holds a BFA in Graphic Arts from the State University of New York (SUNY) Geneseo. Outside of work, she likes to spend time with her two young daughters and is an avid horse enthusiast.
Jill Bogdanowicz is the Co-Head of Features Color, based at Company 3 in Santa Monica. Since joining the company in the fall of 2014, Jill Bogdanowicz has brought her unique talents to features including Spider-Man: Far From Home, John Wick: Chapter 3, Joker, The Umbrella Academy, and Dr. Sleep. Previously, she spent two years at Modern VideoFilm, where she colored an impressive list of films, including the lush, beautiful The Grand Budapest Hotel for director Wes Anderson and cinematographer Robert Yeoman, ASC. Prior to that, Bogdanowicz worked for eight years at Technicolor on a large slate of productions, including almost everything Clint Eastwood finished during that period – a list that includes the stark Letters from Iwo Jima, and powerful period drama The Changeling. Bogdanowicz started her work as a digital colorist assistant at Cinesite on the first full DI, O Brother, Where Art Thou?, for Joel and Ethan Coen and cinematographer Roger Deakins, ASC, BSC. She comes from a family of imaging experts — her father spent his career as a top-level scientist at Eastman Kodak’s Rochester, NY headquarters and her sister is also a successful digital colorist. Bogdanowicz majored in Art and minored in Physics at the State University of New York, Geneseo. She is also an avid painter of large format (five- and six-foot tall) oils and watercolors, which she has exhibited at a number of high-profile galleries.
JOAN SOBEL, ACE began her career in documentaries as an Assistant Editor on Barbara Kopple’s American Dream, which won the Academy Award for Best Documentary Feature. Recently, Sobel completed additional editing on Blue Bayou, starring Alicia Vikander and Justin Chon. She also edited The Rhythm Section for Director Reed Morano and Producer Barbara Broccoli, starring Blake Lively, Jude Law, and Sterling K. Brown, and was the Additional Editor on Steve McQueen’s Widows, starring Viola Davis, Liam Neeson, and Colin Farrell. Prior to this, she edited The Mercy, A Single Man, Admission, Being Flynn, and Nocturnal Animals, the latter of which she was nominated a BAFTA for Editing. Sobel’s other feature credits as Editor include David M. Rosenthal’s box office hit The Perfect Guy, Philip Martin’s The Forger, Alejandro Monteverde’s Little Boy, Karen Leigh Hopkins’ Miss Meadows, Dennis Lee’s Jesus Henry Christ, Chris D’Arienzo’s Barry Munday, Marc Klein’s Suburban Girl, Jamie Babbit’s The Quiet, and Ray McKinnon’s Academy Award-winning short film, The Accountant. Sobel has enjoyed a long collaborative relationship with Billy Bob Thornton, cutting his critically acclaimed Boxmasters music videos, three of which made the top 10 in rotation on the industry standard CVMC. She learned feature storytelling as First Assistant Editor with writer/director Paul Thomas Anderson and Editor Dylan Tichenor, on Boogie Nights; and as First Assistant Editor with writer/director Quentin Tarantino and Editor Sally Menke, on both of the Kill Bill movies. Sobel was Editor Conrad Buff’s Additional Editor on David Ayer’s Harsh Times, starring Christian Bale. Sobel is a member of The Academy of Motion Picture Arts & Sciences, BAFTA, and American Cinema Editors.
Lora Hirschberg is a Re-Recording Mixer and Sound Supervisor working out of Skywalker Sound in Marin County, California. She is a 1985 graduate of NYU Film and Television and has been mixing movies at Skywalker since 1991. Ms Hirschberg has worked on well over 150 features, independent and documentary films ranging in scope and style from Jonathan Caouette’s 2004 iMovie masterpiece Tarnation to Christopher Nolan’s blockbuster Inception, for which she won an Academy Award in 2010. Upcoming projects include Black Widow, Borat 2, and Taylor Mac: 24hour Decade. She is a current Board Member of the Motion Picture Editors Guild Local 700.
Acclaimed producer Shannon McIntosh has been a key player in the entertainment industry for over two decades. Her latest producing effort on Quentin Tarantino’s Once Upon a Time… In Hollywood earned her Academy Award® and BAFTA® nominations in addition to Golden Globe® and Critics’ Choice Award wins for best picture. She’s currently in production on Cinderella directed by Kay Cannon, starring Camila Cabello, James Corden, Idina Menzel, Billy Porter and Pierce Brosnan. Her banner, McIntosh Films, has a four-picture martial arts slate in conjunction with Evolution Films, and also in post-production is the follow up to the urban comedy Meet the Blacks, The House Next Door. Other work includes Tarantino’s The Hateful Eight; Kevin Smith’s Tusk; Angels Sing. She executive-produced Django Unchained and served in the same role for Inglourious Basterds and Grindhouse. Prior to becoming an independent producer, she oversaw production, post-production and programming for both Miramax Films and The Weinstein Company (TWC). While there she managed many timeless classics such as Life is Beautiful, The English Patient, Shakespeare In Love, Chicago, Chocolate, Il Postino (The Postman), The Reader and The Artist. In her roles at MMX and TWC, she created an unprecedented system that managed every life stage of a motion picture property – from development through a home entertainment/on-demand release. McIntosh was the first to successfully build a department with such a comprehensive handle on individual projects.