Oscar Worthy Sound Editors: 2016

February 1, 2016

The films of this year’s Oscar nominees in the Sound Editing category range from the story of a run-and-hide rebellion in post-apocalyptic Australia, to emergent threats to galactic peace, through an astronaut left behind on Mars by his crew, a frontiersman fighting for survival after a bear attack, and the unrelenting war on drugs. […]

Why Is It Called ‘Foley’ Anyway?

February 1, 2016

It was the late 1920s and Jack Foley was a producer, director and writer working at Universal Pictures at its old location on Ventura Boulevard in the San Fernando Valley. […]

Noise Makers: Foley Artists Enhance Character Through Sound Effects

February 1, 2016

The old edict “Necessity is the mother of invention” certainly rings true for Foley artists — the people who create sounds for film and television. To be a Foley artist is to be creative and detail-oriented, intuitive and analytical; they must be in good physical condition and, as it turns out, quite often a mind reader.
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Oscar-Worthy Film Editors: 2016

February 1, 2016

This year’s Oscar nominees for Best Editing explore the economic collapse of Wall Street in 2008 as a black comedy; return to an iconic post-apocalyptic world, as well as a galaxy, far, far away; go on a metaphysical journey in the frozen wilderness; and provide an inside glimpse of The Boston Globe’s Pulitzer Prize–winning coverage of the Catholic Church sex scandal cover-up. […]

The Ultra Challenge of Digitally Editing An Ultra Wide Film

December 1, 2015

Among the challenges of creating The Hateful Eight in “glorious 70mm,” as filmmaker Quentin Tarantino described it in his original screenplay, was the fact that it required an overall post workflow that was highly irregular in many respects — both a throwback to an earlier era and extremely complex at the same time. […]

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