As Spectrum Films heads into its 59th year, managing director Josh Pomeranz is feeling buoyant.
Pomeranz has led the post-production house started by his father, Hans, since ’98. He know as well as any that the industry moves in cycles, but notes it is currently “robust”.
“I think that we’re producing really good content; I’m very excited by the stories that we’re telling and the great talent that’s coming in,” he tells IF.
Fresh from Ausfilm Week in LA at the end of October with 36 other delegates, Pomeranz feels the exchange rate the way it is, the current rebates, and the amount of content being produced globally, Australia is “open for business”. Â
In the last five years, the Disney Studios-based Spectrum has significantly expanded, now able to offer full-service picture and sound post, as well as visual effects.
It has capilitised on the recent influx of international production, completing work on projects such as Thor: Love and Thunder, Shang-Chi and the Legend of the Ten Rings and Mortal Kombat.
At the same time, it continues to work on Australian productions of a range of budgets, such as Elvis, Three Thousand Years of Longing, The Power of the Dog, Blaze, Poker Face, Seriously Red and documentary Firestarter: The Story of Bangarra.
“We’ve got a really great management leadership team that has just helped this business drive forward,” Pomeranz says.
“The bigger projects that are coming down here, we’re able to do end-to-end post-production on them, whereas before we were predominantly an offline facility.”
Today the company unveils a new logo, designed by Corlette Design, which Pomeranz hopes will signify this “next generation” of the business.
It will make its “screen debut” at the AACTA Industry Awards on Monday, with Spectrum the official post-production partner.
With beginnings as a one-room editing suite in Willoughby in 1964, Spectrum today has more than 40 suites and three theatres – with a fourth under construction, due for completion in February.
After assuming management of Definition Films’ post-production facility in November 2020, the business has ramped up its end-to-end capabilities. It had previously done full service post on Australian films such as Babyteeth and Palm Beach, but the take over of the new facilities allowed Spectrum the scale to attract projects like Elvis, The Power of the Dog and Three Thousand Years of Longing.
It overhauled the site’s Atmos mix theatre, noting that it had acoustic problems previously. It worked with US-based acoustic consultants Salter to incorporate new inner walls, infinite baffle, and high-end acoustic insulation and fabrics for diffusion and absorption. Mortal Kombat was the first to complete final mix in the room.
In September, Spectrum also hired Adam Archer to establish and lead its new VFX division, and oversee the conform and online team.
Pomeranz sees visual effects as growth opportunity moving forward, with the business partnering with a number of vendors and currently working on projects for both TV and online.
Spectrum also recently brought on Glenn ‘Barney’ Butler as sound engineer and re-recording mixer, to work alongside head of sound Angus Robertson.
While acknowledging the sector will always face headwinds – funding, the whims of government policy, exchange rates and competition from other territories – Pomeranz is optimistic about the opportunities ahead, particularly in the next three to five years: “I think there’s that much content being made”.
“I think it’s pretty amazing that it’s a family business and turning 58 next week on the 11th of December, which is actually my birthday… And I’m excited about the next 60 years.”