Here, we consider products from three of the leading developers of processor and plug-in design: Sound Particles, iZotope/Exponential Audio and Liquid Sonics. […]
During his introduction, ACE president Kevin Tent made pointed reference the Academy’s decision to pre-record the award presentations for eight craft awards, including film editing and sound. Tent called the decision “hurtful, insensitive and short-sighted,” with residual effects that will require bridge-building. […]
For the first time this year, the Academy has combined Sound Editing and Sound Mixing into one category, Best Achievement in Sound. […]
One critic has likened the film to director Ramón Menéndez’s “Stand and Deliver” (1988), in which a teacher successfully inspires his dropout-prone students to learn calculus. […]
by Mel Lambert “The editor of an unscripted documentary is always, by the nature of the task at hand, a […]
All of the Oscar-nominated editors appeared at a panel discussion during the American Cinema Editors’ 20th Annual “Invisible Art, Visible Artists” (IAVA) to talk about their films, their careers, and their craft. […]
“I’ve always wished someone would invent a device that I could put on my head and think about how the film should sound.” […]
“The cars became characters in their own right – big and bold and real.” […]
“The show’s music sets the tone.” […]
The Netflix four-part miniseries When They See Us, which dropped May 31, was originally called Central Park 5. That working title identifies the overarching plot trajectory: The notorious case of five teenagers of color who were wrongly convicted of raping a white female jogger in New York, and which resulted in the use of the term “wilding” to describe out-of-control gang activity. The revised title better reflects the fate of the young people unjustly ensnared in the criminal justice system by embracing their humanity and not their politicized role. […]
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