Mel Lambert - - Page 7

You Ain’t Heard Nuthin’ Yet… Prepare for Sonic Immersion

May 1, 2013

With movie-going audiences expecting fully immersive visuals from 3D presentations, the sound post-production community is fast playing catch-up with immersive surround-sound systems.

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A Good Way to Mic and Mix Scoring Sessions

March 1, 2013

Orchestral layout is highly dependent upon the type of film music being recorded, according to scoring mixer John Kurlander.

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Settler of Scores: John Kurlander Mixes Music for Film

March 1, 2013

Probably best known for his creative work on the scores for director Peter Jackson’s The Lord of The Rings trilogy, scoring mixer John Kurlander earned three consecutive Best Score Soundtrack Album Grammy Awards for Fellowship of the Ring, The Two Towers and Return of the King.

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New York’s Soundscape: East Coast Audio Facilities

January 9, 2013

This article looks at the East Coast sound contingent, which consists of a handful of post-production facilities that cater to the needs of independent filmmakers and directors based close to the Big Apple.

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Let There Be Sound: The Origins of Post-Production Audio on the West Coast

November 1, 2012

To relate the history of film post- production sound during the past 75 years is to tell the story of the creative post facilities that made such developments possible through a combination of tenacity and technical developments.

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Spider-Man’s Sonic Stratagem: Sound Editors Shannon Mills and Addison Teague Have Spidey Sense

July 1, 2012

The prevailing wisdom within Hollywood seems to be that a successful franchise needs a fresh start every few years to ensure a contemporary perspective and, hence, appeal to a newer generation of filmgoers for whom previous versions may seem passé.

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A New Hue in Sound: Talent and Technology Coverage at Technicolor at Paramount

March 1, 2012

Representing one of the most exciting new sound post-production facilities to be built in Tinsel Town in several decades, the Technicolor at Paramount complex on Melrose Avenue in Hollywood comprises eight re-recording theatres, three ADR stages, a large Foley stage, eight sound design suites, 16 editorial suites, six DVD/ Digital New Media editing/encoding rooms and a pair of 7.1-channel HD video layback/ Transfer/QC rooms.

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What’s Under the Hood

March 1, 2012

For both mixing and workstation technologies at Technicolor’s new post complex, Avid served as the primary hardware supplier.

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How I Mixed Your Mother: Sitcom Sound Guys Charlie McDaniel & Bob Bradford Reveal Their Workflow

January 1, 2012

In the time-critical world of half-hour TV sitcoms, the seasoned team of re-recording mixer Charlie McDaniel and sound editor Bob Bradford has lead the way for the past 18 years. As McDaniel explains, “We have four hours — maybe six for the busier shows — to mix and print master 22 minutes of surround sound, and then prep the room for the next session.”

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Don Hall: A Hands-On Collaborator

September 1, 2011

During a busy and productive career that spans 60 years in film and television, sound editor Don Hall––the 2011 recipient of the Editors Guild’s prestigious Fellowship and Service Award, to be presented to him at a ceremony scheduled for October 15––has collaborated with a number of prominent directors.

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