‘Taking Woodstock’ is a movie of source music—and not just the kind that comes from a radio playing on a tabletop. Designed to blend seamlessly with the needle-drop tunes, a lot of that was provided by the “live” hippies. […]
From hyper-real audio effects to vintage-sounding equipment, the sound in a Quentin Tarantino film is always distinctive. it has been the handiwork of supervising sound editor Wylie Stateman and sound designer Harry Cohen, MPSE. […]
A handful of television editors at different stages in their careers recently sat down with CineMontage to discuss the past, present and future of editing for TV. […]
No doubt about it, this is a very funny film. But it is more than just the string of lunatic comedic moments; it also examines themes of friendship and growing up. […]
The expansion of digital filmmaking into HD and beyond has seen film become an anachronism, rather than a competitor or adjunct to digital. Many of the traditional assistant’s duties are being re-shaped or re-tasked. […]
While this fight has proven difficult and remains incomplete, there are encouraging lessons to take away from this job action as well. […]
CineMontage has turned to the Guild’s erudite, critical and scholarly branch––the story analysts––and asked them to venture deep inside their inner film geeks, to forget that their professional reputations could be at stake and to admit to the world––or at least to their fellow Guild members––what their favorite guilty pleasure movies are. […]
“I believe that movies are getting more and more complex visually, and the more visually complex they get, the more they have to rely on the sound to sell those visual effects.” – Kevin O’Connell […]
As a conductor leads an orchestra, and a composer creates ideas and sounds, so does a mixer. All the elements of dialogue, sound effects, music, creativity and technical ability coalesced as a career choice. My goal of sound for picture evolved. […]
Bernard Mendiburu’s book contains the requisite technical information about stereoscopic perception and its relation to cinema. […]
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