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    Home » Arcade Edit Diversifies With Launch Of Timber

    Arcade Edit Diversifies With Launch Of Timber

    By SHOOTFriday, February 7, 2014Updated:Tuesday, May 14, 2024No Comments4877 Views
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    (L-r) Jonah Hall, Damian Stevens and Kevin Lau.
    LOS ANGELES --

    Bicoastal editorial house Arcade Edit is expanding its creative offering with the launch of sister company Timber. The design-driven shop will collaborate with Arcade’s editing talent to provide an end-to-end digital postproduction service. Arcade’s current finishing division, Airship, will be absorbed into Timber as the new enterprise boots its capabilities to include design, concept, animation, compositing, effects, graphics, pre-visualization and color services.

    Timber has already been responsible for design and digital post work on several well-received projects, including Hyundai Genesis’ “Dad’s Sixth Sense” Super Bowl spot, which entailed working closely with director Frank Todaro of Moxie Pictures to shoot the highly controlled situations and the rigging that bought them to life. Timber also handled CG and finishing for the recent series of Old Spice web films out of Wieden+Kennedy featuring Isaiah Mustafa staging interventions for men making bad online decisions. Timber also did the design and visual effects for Bank of America, U2 and RED’s Super Bowl spot and the corresponding music video. All of these projects were edited at Arcade Edit. 

    Creative directors Jonah Hall and Kevin Lau take the creative helm at Timber. As a VFX supervisor and creative director, Hall honed his skills at the likes of Digital Domain, Mirada and Asylum before setting up Timber. Lau, meanwhile, earned his stripes as a designer and creative director at Brand New School, Superfad and Motion Theory, among others.

    “Timber’s launch will do much, much more than significantly add to the postproduction services that Arcade already offers clients,” said Damian Stevens, partner and managing director of Arcade Edit. “Both Jonah and Kevin come from a background in collaboration and are able to work with clients and directors from previsualization and design all the way to VFX and postproduction.”

    The team at Timber will combine their wide-ranging expertise, from design to illustration and visual effects to music, to offer creative solutions at all stages of the commercial production process. Timber will also work closely with Arcade Edit to integrate the storytelling process and give clients an all-in-one studio experience. Focusing on a team approach rather than operating as separate divisions, the two entities will complement and aid each other’s creative processes by sharing not just a physical workspace, but also conversations and ideas.

    Arcade Edit is expanding its Los Angeles home to house Timber.

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    Category:News
    Tags:Arcade Edit



    Review: Writer-Director Ian Tuason Makes Feature Debut With “Undertone”

    Friday, March 13, 2026
    This image released by A24 shows Nina Kiri in a scene from "Undertone." (Dustin Rabin/A24 via AP)

    Writer-director Ian Tuason's feature debut, the sonic-driven horror "Undertone," has, at least at the outset, an appealingly stripped-down quality. The 30-something Evy Babic (Nina Kiri) lives with her dying, comatose mother (Michèle Duquet). The movie never leaves their small, two-story home. Upstairs, Evy's mother lies wordlessly in a bed. Downstairs, Evy, at 3 a.m. puts on headphones, sits in front of a microphone and calls up her paranormal podcast co-host Justin (Adam DiMarco's voice) to talk "all things creepy." It's a testament to Tuason's evident filmmaking talent that, with these bare bones, "Undertone" swells into a gripping and unsettling experience. This is a movie that summons many of its scares with a sudden boost in audio levels, the thunderous tick of a clock or the scream of … a tea kettle. It's even rated "R" not for bloodcurdling violence or satanic ghouls but, simply, "language." It's these subtle qualities that make "Undertone" a spare but deftly dense film and Tuason a filmmaker to watch. It's the movie's disappointing second half, though, that breaks its quiet spell. After conjuring a tapestry of tension through narrative drips, as well as literal ones, Tuason throws in the whole kitchen sink, drowning out "Undertone" with a cacophony of genre cliches. Ancient Christian lore is invoked, as are children's lullabies, and the riveting nuance of "Undertone" slips away in all the feedback. "I want it to be over," Evy tells Justin. "Is that a bad thing to say?" Evy's mother hasn't eaten in two days, and her emotional exhaustion is clear when she first connects with her London-based co-host. You might here be wondering if the movie digs into this guilt, but "Undertone" is better at leaving carefully placed clues than following... Read More

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