Final Cut Editor
wins Best in Show
Company 3 Colorist
Tom Poole takes two,
Bob Carr joins
Hall of Fame
Editor Jim Helton of Final Cut won the Best in Show at Thursday night’s AICP Post Awards gala held in the Grand Ballroom at Navy Pier in Chicago. Helton took the honor for his moving, dy-namic editorial approach to a campaign for The New York Times. Consisting of three spots – Perseverance, Rigor, and Resolve.
The work also won Helton honors in the Editorial: National Campaign and Best of East categories.
The wins made Helton the single-most awarded artist at the annual awards competition, for-merly known as the AICE Awards, which honors excellence in a range of post production crafts including editing, color grading, audio mixing, sound design, visual effects, CGI and animation and design.
The second-most awarded artist of the night was Colorist Tom Poole of Company 3. He took home two AICP Post Awards, winning in the categories of Color Grading: Lengths :90 & Above for National Lottery, “Amazing Starts Here,” and Color Grading: Music Video for The Carters, Apes**T.
To view photos from the show, click here.
Multiple award-winning shops
A number of companies were represented with multiple awards presented to their artists. In ad-dition to Final Cut and Company 3, this list also includes:
Arcade Edit, which saw editor Paul Martinez winning in Edito-rial: Dialogue for EA Madden ’19 and Editor Graham Chisholm winning in Editorial: Montage for Gymnastics Canada;
BIG SKY EDIT, which saw Editor Chris Franklin winning in Editorial: Mon-ologue / Spoken Word for Nationwide and Editor Ben Jones winning in the new category of Ver-tical Video for Heineken; and
Cut+Run, which saw Editor Stacey Peterson winning in Editorial: Docu-Style for Gillette and Editor James Rose winning in Editorial: Fashion / Beauty for H&M.
Leading the list of ad agencies most often credited with wining work was Droga5, responsible for six of the entries that won in various categories, followed by Wieden+Kennedy, Ogilvy and ad-am&eveDDB, which each worked on projects that won two Post Awards.
Bob Carr joins Hall of Fame
The event included the induction of the late Bob Carr into the AICP Post Hall of Fame.
Carr, who passed away in September of 2018, was one of Chicago’s leading editorial talents, hav-ing spent almost two decades at Optimus before co-founding his own company, NuWorld. A noted industry leader and mentor, his induction video was introduced by Optimus Founder and Editor Jimmy Smyth (a 2004 Hall of Fame inductee).
The award was accepted on his behalf by members of the Carr family.
Lev Award winners
Also saluted at the event were the three winners of the Lev Awards, the Grand Prizes in Editori-al, Audio and Graphic Design at the 2018 Camp Kuleshov trailer competition for assistants. They were, respectively, George Irizarry of Cosmo Street, Tom Morris of Heard City and Andrew Becker of Flavor.
CAPS – A Cast & Crew Entertainment Company
Universal Studios (Partners)
Film Offices of The Hawaiian Islands
Musicbed + Filmsupply
Sony Pictures Studios
The TEAM Companies
Company 3, Cutters Studios, Noise Floor, Optimus, The Colonie and Whitehouse Post. Its Gold Sponsors are: AwardCore, Cosmo Street, Ogilvy, S’well and We Are Unlimited. Silver Sponsors include DDB Worldwide, HIATUS, Leo Burnett USA, mcgar-rybowen, Megatrax, Protokulture and Quriosity Productions / Tessa Films
POST AWARDS SHOW SPONSORS
Earhole Studios, SHIFT, Sibling Rivalry, Sling Shot, Intergalac-tic and The Team Companies. Media Sponsors include Little Black Book, REEL Chicago, Screen Magazine, SHOOT Magazine | SHOOT online and Source | SHOTS | Slate
AICP represents, exclusively, the interests of independent companies that spe-cialize in the production and post pro-duction of commercials in various media—film, video, digital—for advertisers and agencies. The association, with national offices in New York and Los Angeles as well as regional chapters across the country, serves as a strong collective voice for this $5 billion-plus industry. Founded in 1972, AICP assists its members by: disseminating information; representing production and post production companies within the adver-tising community in business circles, in labor negotiations and dealing with employment issues; and before govern-mental officials; developing industry standards and tools; providing professional development; and marketing Ameri-can production and post production via events and awards shows.