The keynote panel addressed the topic of pivotal sound changes within the post community, including the rise of streaming services, emergent technologies and formats, plus evolution of the sound designer/re-recording mixer. […]
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.” […]
©2016-2021 Motion Picture Editors Guild