Deluxe to acquire post production icon MRPPP
Deluxe Australia, a subsidiary of Deluxe Entertainment Services Group Inc., today announced that it has entered into an agreement to acquire leading Australian commercial post production business MRPPP, previously known as Mike Reed Partners Post Production.
Operating for over 35 years, MRPPP is a cornerstone of the Australian post production industry specializing in editing, sound, design and online services for commercials in television from its facilities in Melbourne and Sydney.
Andrew Shostak (pictured), Managing Director of MRPPP said of the deal: “Oursuccess has been based on having talented people that deliver greatcreative product for our commercial clients. From my earliestconversations with the Deluxe executive team locally and in the U.S. itwas evident that they shared this same philosophy.”
MRPPP will be able to offer world class services to complement theEFILM® commercial colour grading systems in Sydney, and the MRPPPMelbourne facility as of 2011. The Resolve grading suite will bematched to its similar offering in Sydney with Edel Rafferty serving asSenior Colourist at MRPPP Melbourne.”
Deluxe’s General Manager of Creative Services Anthos Simon said,”Deluxe and EFILM have wonderful relationships with leading film makersboth locally and internationally . MRPPP equally enjoys goodrelationships with its commercial clients and shares the customer-firstphilosophy of Deluxe.”
Andrew Shostak will continue to manage the organisation with all ofMRPPP’s senior partners, Michael Houlahan, Seth Lockwood, Rosano Lepriand Tim Parrington remaining in place. The business will continue tooperate as MRPPP out of the existing addresses in Sydney and Melbourne.
Deluxe Australia’s Managing Director Alaric McAusland said, “This is asignificant step forward for Deluxe Australia and particularly forVictorian commercial and feature film makers. It builds on our 40-yearcommitment to the State’s screen production community as Deluxe andpreviously as Cinevex. Deluxe, MRPPP and our other creative servicebrands CIS-Postmodern, EFILM and StageOne Sound will continue to focuson delivering the highest quality creative outcomes for our customerssupported by the best technology and industry expertise,” addedMcAusland.
The transaction is subject to customary closing conditions and is expected to close by the end of November.
18 Comments
Still cleaning up the scraps. Who’s left?
Welcome to the machine!!!!
Would hardly be calling MRPPP scraps 9.50.
They have always been quality.
what a handsome man andrew shostak is.
9.50 you are a knob!
Agreed 12.28 he is a bit of a spunk.
Another local siphoning cash to the overseas bean counters. Sad!!!
10:07 its blatantly clear without a worldwide business perspective Australia will crash and burn. It may be earning for an overseas company but its also paying for, and guaranteeing we keep, local talent.
The dollar is too strong to warrant overseas work coming here and local clients want so much of a deal that no one can invest in the future of their company. Everyone will end up on final cut and apple colour after shooting on their handycam/iphone (as is already happening in some cases unfortunately) and the entire post industry is truly fucked then.
It will be owned by Steve ‘I’m here to harvest your soul’ Jobs instead of a company/companies that actually care about quality and craft.
Its about time Australia started looking outside of its own arsehole to stop it imploding.
Yeah Deluxe are probably fucked but its about the work you can get not who owns you.
At least its not the Mapps buying it up for a change!
10.07 You don’t have to be a brain surgeon to work out that much like London needs the likes of the Mill, MPC, Framestore, etc Sydney needs a big player to attract the international work ( the work everybody is fighting for..) and to create Jobs within the market (Boutique means very few Jobs…) . Good to see a company being positive and not ‘rollin over’ like a few other tosser’s who just want the ‘cash for nothing’ days back! The way I see it, Money being invested in the Australian Market can only be a good thing!
10.07 your comments are well thought out and very sensible.
Maybe if agencies and production companies stopped trying to screw companies like mrppp and other post companies on deals on every post job, then local companies could continue to invest in their companies future.
Agree also with your comment about the Mapps.
@12:23 I’d like to see a time where the Agency and Production do their part of the job for 30% of full rate and the Post House gets 100% of full rate for a change.
Never gonna happen but while I drive my Daihatsu Charade to work everyday and park next to my clients Porshe / Audi TT / Mercedes SLK so I can fix their mistakes from set and make their job look they deserve the big bucks I’ll keep talking about it.
This move and other Deluxe have made in the last few months, here and overseas.
Make the Mapps look like poor hobbyists!
12.23 everyone who currently works in post production has only one thing to say to your comments.
“HERE HERE”
Unfortunately instead of united Post Production front to counteract us being constantly shafted there are a few players that are happy to cut any deal they can just to get the work in the door.
I have heard of companies that are so greedy and want to keep ALL the work from edit to mastering out in the one building that they are using substandard products to achieve it.
This highlights 11:48 comments that it stops future investment in quality gear and people.
The issue isn’t the job they are working on at the moment its the insistence to the client that the substandard gear just does as good a job and it those that really know the difference aren’t always in a position to correct that assumption, but can clearly see it and tell the difference.
The result is a sub standard job which looks pretty average on air, although the more it happens & the more go to air the less you can tell its shit as it sits along aside other shit looking work.
That is until its put out there into the international market and then we lose more work because everyone knows its shit and the vicious cycle begins.
I’m moving overseas………………
Much ado about nothing really, from this actual takeover, to its PR, to all the comments about the lamentable situation in the post and vfx worlds here at the edge of the world, because the conversation is largely about the marginal players in the industry.
The best work, at the top shops is still being made locally and for international clients, maybe not as regularly as prior to the GFC and the subsequent rise in the AUD, but it’s still being made, and the best artists in the area are still being drawn to these top shops, because that’s where the creative work goes from the best on both the agency and production sides of the business.
Neither the Mapp juggernaut of mostly middle brands, nor the companies being bought up by Deluxe are of any more or less consequence than they were when they had their independence. Sorry, but despite the opinions registered here by those loyal to their shops, they’re unfortunately exhibiting as much denial as those who find Andrew physically attractive.
Just saying.
11.39 You are a White Elephant..you said a lot and yet nothing!
Elephant in the room, I am loyal only to myself and work for none of the mentioned companies (yet, but who knows) but agree with a lot of the above comments. Post Production has been shafted on the budget for as long as I can remember and chances are you are –
A) one of the guys that rock up after a shoot begging for a deal because theres only $7.50 left in the budget and you need everyone on stand by for three weeks to finish it. But aren’t prepared to cut your rate to finish the job properly.
B) one of the post houses willing to accept the $7.50 to guarantee you get the international/’best’ work and using basic tools to give the client a basic finish and are just good at bullshitting them into believing its brilliant.
MRPPP being around (and successful) for 35yrs surely means its not marginal?
Just saying.
Whether MRPPP is owned by Mike Reed, the Partners or now by Deluxe, it’s always been about the editors there attracting the work and their 35 years of success is based on that. Let’s hope Deluxe can hold onto them.