When London was readying The Pacific’s post-production workflow in 2007, he participated in two key decisions—to shoot the miniseries on film rather than acquiring it on emerging file-based systems, and to edit simultaneously with production in Australia, bringing along three editors. […]
“Sometimes, hearing another editor comment on your work in an open forum and having him tell you he sees a problem and how he thinks it should be fixed, can be a little uncomfortable, but it was all for the greater good. The bottom line is that the entire miniseries improved greatly after that.” […]
The challenge with NCIS from a sound editorial perspective, according to Schorer, is the relentless amount of detail. […]
In a perfect world, what would be the Best Picture of 2009? […]
Flyers (or websites or e-mails) don’t really organize anybody. The actual act of organizing, is a face-to-face thing. […]
I am still passionately involved—working with clients who require cost-effective methods of designing post-production facilities, recording studios, acoustics and home theatres internationally and am proud to be part of this strenuous but great business. […]
‘The Royal Tenenbaums’ is a dark and redemptive tragicomedy of a “family of geniuses.” […]
Viera’s fine history provides an insightful look into this legendary producer. […]
“By the time we were going to camera, we were already dealing with all the best performances… We had to come up with a whole new language of terms—combos, stitches, FPR, loads, etc.––all invented on this production.” -Stephen Rivkin […]
Just what does the end of the world sound like? That’s the question that faced supervising sound editors/sound designers Steven D. Williams, MPSE, and Eric Norris, MPSE, as they approached this daunting film. […]
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