Features
Terry Rawlings: The ‘Phantom’ Hand Behind Great Movies
Rawlings discussed his career in a telephone conversation with CineMontage. […]
Features
Features
What’d I Say: Paul Hirsch Riffs on ‘Ray’ with Norman Hollyn
On November 18, Paul Hirsch and I sat down for an interview. […]
Features
Pushing the Envelope…Please: Early Editing Oscar Winning Trailblazers
Many of the first individuals who won Academy Awards in the picture editing and sound categories were pioneers in their respective fields. […]
Features
Recording Artists: One of the Oldest Sound Classifications Faces Uncertainty
Perhaps no other classification in the Guild is so caught in the middle between yesterday and tomorrow, with one foot in the analogue past and the other in the digital present, and a future that is still very much to be determined. […]
Features
They Make the Noises for the Talkies: Foley Artists are of Sound Mind and Body
What is a Foley artist? 41 years after its namesake’s death, Foley is among the last bastions of organic filmmaking––a cinematic art that is still relatively untouched by the digital revolution, and whose true origin belongs more to the Golden Age of radio than to the visual medium it so greatly enhances. […]
Features
Troubleshooting Stars:
Sound Techs to the Rescue
Though their jobs run the gamut from low-tech to the highest levels of digital file management, they all have certain attributes in common: an ability to step into a variety of situations. […]
Features
Sound Trek:
The Audio Explorations of Ben Burtt
The crack of Indiana Jones’ whip, the roar of an Imperial TIE fighter, the hum and crackle of clashing lightsabers, the voice of Wall-E speaking through his circuitry… all can be traced to the same source: sound designer extraordinaire Ben Burtt. […]
Features
Goin’ Back Up the Country:
‘Woodstock’ Re-Revisited with Hours of Bonus Footage
What truly makes Untold Stories a memorable event, however, are appearances from five artists––Paul Butterfield, Creedence Clearwater Revival, the Grateful Dead, Mountain and Johnny Winter––whose performances have never appeared in any of the previous film versions. […]
Features
Mix Master: Kevin O’Connell’s Brilliant Sound Career
“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 […]
Features
‘Basterd’ Sounds:
Wylie Stateman and Harry Cohen
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. […]
