Although assistant editors do embrace the chance to learn more, the question becomes: How much work is too much per assistant? Does bringing this extra work in-house mean that an extra assistant is required? And what does the assistant lose—mentoring time, for example—by taking on these extra tasks? […]
This movie is a playground for sound,” says Randy Thom, CAS, referring to director M. Night Shyamalan’s latest film, The […]
Mixing teams work best when the chemistry is good, the working style is compatible and the size of the job calls for a team approach. […]
The challenge with NCIS from a sound editorial perspective, according to Schorer, is the relentless amount of detail. […]
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. […]
Working on Leverage gave Kenneth L. Johnson his own leverage to push his own shop, Artistry in Sound, to the next level. […]
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. […]
“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 […]
Re-recording mixers Kevin O’Connell and partner Beau Borders have been working tirelessly since last October on mixing Michael Mann’s period gangster crime drama Public Enemies. Mann’s passion for detail and authenticity has been the hallmark of the film’s sonic nuances, according to O’Connell. […]
Childhood fans of Speed Racer, the 1960s Japanese anime series, the brothers have translated it to the big screen with loving care. […]
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