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. […]
Representing one of the most exciting new sound post-production facilities to be built in Tinsel Town in several decades, the Technicolor at Paramount complex on Melrose Avenue in Hollywood comprises eight re-recording theatres, three ADR stages, a large Foley stage, eight sound design suites, 16 editorial suites, six DVD/ Digital New Media editing/encoding rooms and a pair of 7.1-channel HD video layback/ Transfer/QC rooms. […]
In the time-critical world of half-hour TV sitcoms, the seasoned team of re-recording mixer Charlie McDaniel and sound editor Bob Bradford has lead the way for the past 18 years. As McDaniel explains, “We have four hours — maybe six for the busier shows — to mix and print master 22 minutes of surround sound, and then prep the room for the next session.” […]
What is a Foley artist? 41 years after its namesake’s death, Foley is among the last bastions of organic filmmaking––a cinematic art that is still relatively untouched by the digital revolution, and whose true origin belongs more to the Golden Age of radio than to the visual medium it so greatly enhances. […]