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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A compilation of praise for Joseph A. Aredas. […]
Television has its own way of telling stories, on screen and in the cutting room.
Richard Halsey, A.C.E., lives by three rules: Be organized, listen to your intuition and always tell the truth. These are rules that the editor applies to his work, as well as to his life. Of course, Halsey says, it’s not always easy. […]
CineMontage caught up with the two sound mixers as they were finishing work on ‘World War Z’ at Twickenham Studios in London. […]
There’s a revolution going on at JJ Abrams’ Bad Robot Productions and it has nothing to do with aliens, plane crashes or spies. It’s a change in the way music is being integrated into post-production. […]
Let’s hear it for the longtime assistant for enabling the editor to keep story as the primary focus. Assistant editors are the foundation of the editing room — organizing, interfacing and problem- solving. […]
Marvin Davis should have become a union organizer. Davis, a Field Representative in the Hollywood office of the Editors Guild, retired in February after a long and rewarding career in the film industry. […]
“Let me just start out by saying that I have everything before Avatar, and then Avatar––because there was nothing normal about how we did this film”- Stephen Rivkin […]
Since she discovered her passion for post-production while studying film at the University of California Santa Barbara, there was nothing up in the air about the career choice of Dana Glauberman, A.C.E. […]
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