Light Iron Digital | Post Production Workflow
Light Iron was started in 2009 by brothers Michael and Peter Cioni, who recognized changes in the landscape of post production services that were being fueled by file-based cinematography. Along with founders Katie Fellion and Paul Geffre, the Cioni brothers developed a business model that catered to creatives embracing evolving filmmaking techniques.
Early on, the team developed a unique approach to dailies services with their Outpost Mobile Labs. Productions rented Outpost systems to produce their own dailies deliverables on-set or near-set with their own crew hires, a faster and more cost-effective alternative to traditional brick-and-mortar workflows. Avatar, The Amazing Spider-Man, and Pirates of the Caribbean 4 were some of these early clients. At the same time, Light Iron completed many digital intermediate projects in temporary facilities, including The Social Network, before finding its long-term Hollywood home in 2010 at the De Longpre facility formerly occupied by Birns & Sawyer.
In 2013, Light Iron acquired the assets of OFFHOLLYWOOD’s post production operations in Manhattan. The growing team developed this SoHo facility to include premium offline rentals, and quickly established Light Iron NY as a home for the same progressive dailies and finishing services as Light Iron LA. The two facilities expanded their artist rosters and earned repeat business from creatives working on both studio and independent projects such as Gone Girl, Cold in July, Afternoon Delight, Ender’s Game, and 42.
In a partnership to provide end-to-end production and post solutions, Light Iron was acquired in 2015 by Panavision, the entertainment industry’s most respected designer, manufacturer, and rental provider of high precision camera systems, lenses, and accessories. With Panavision’s support, Light Iron opened its third facility, in New Orleans. It also expanded into supporting more episodic clients, including Amazon’s award-winning Transparent and The Marvelous Mrs. Maisel, FX’s Baskets and Better Things, and Netflix’s GLOW and The Keepers.
The combination of Panavision’s longstanding acclaimed optics program with Light Iron’s color and workflow insights yielded another benefit in 2016: the Millennium DXL camera, in collaboration with RED Digital Cinema’s camera R&D program. Creatives embraced the many facets of DXL, including 8K resolution, large format sensor, color science, and high dynamic range, in features such as Can You Ever Forgive Me?, Detective Chinatown 2, and The Happytime Murders, as well as series including The First (Hulu), Sorry For Your Loss (Facebook Watch), and Maniac (Netflix).
Light Iron recently expanded its presence across the U.S. – opening three more facilities in Albuquerque, Chicago, and Atlanta – and is committed to supporting creatives around the world.