The 141st Audio Engineering Society Convention, held recently in the Los Angeles Convention Center’s West Hall, attracted a record West Coast attendance, with a wide cross-section of brands showing their wares on the exhibition floor and companion demo rooms. […]
On Saturday, September 17, Mix magazine presented its third annual Sound for Film and Television conference at Sony Pictures Studios in Culver City, in cooperation with the Cinema Audio Society (CAS) and the Motion Picture Sound Editors (MPSE). […]
Scheduled to unveil on September 2 in its 10-episode entirety, Season 2 of Netflix’s hit series Narcos is expected to prove as popular as the initial offering — and probably will be viewed in extended binge-watching sessions […]
Have you seen Laurel and Hardy do exactly the same skit in both a silent and a sound version? Was it actually the quality of John Gilbert’s voice that doomed his career in the talkies? What beloved classic movie used Fantasound? Why did editors resist changing from optical to magnetic sound? […]
The technical, artistic and economic tumult that roiled through Hollywood with the coming of sound sometimes led to wildly unusual experiments and partnerships. The widespread adoption of literary works and stage plays was one product of the beginning of the talkies. […]
The smooth operation of a post facility depends upon the skills of a well-staffed engineering department to ensure that editors and mixers can work efficiently to create a film/TV soundtrack. In order to throw an inquisitive spotlight on the roles played by a number of leading “unsung heroes” from our industry — who work behind the scenes to ensure minimum downtime — CineMontage reached out to Brian Bair from 20th Century Fox Post-Production Services, Steve Boze from Walt Disney Studios, Kevin Collier from Warner Bros. Studio Facilities, Bill Johnston and Charlie Campagna from Formosa Group/Audio Head, and Michael Novitch from Technicolor at Paramount. […]
It’s not surprising that director Christopher Nolan drove the sound to a greater extent than ever before on his first space adventure, Interstellar, opening November 7 through Paramount Pictures. That’s because it was pivotal that the organic nature of the aesthetic worked for soundscape and imagery alike.
Good acoustics are simple,” states Bruce Black, director of engineering with MediaRooms Technology. The company recently performed analysis of re-recording rooms at Sony Pictures Entertainment’s Sound Department in Culver City, as well as re- recording mixer Paul Massey’s Sound Signal facility in Ojai, California, and rooms at other LA-area post sound houses, and also provided acoustical consultation for Technicolor Burbank on upgrades to its mix room. […]