With some 190-plus films to his credit, not to mention 14 Academy Award nominations, it is perhaps hard to believe that such a seasoned re-recording mixers Greg P. Russell, CAS,got his start in a modest recording studio. […]
Whether they selected films or not, the music editors voiced a range of opinions about whether an award for Best Music Editing was even a good idea. Their perspectives on the question provided some insights into the nature of their work. […]
A compilation of early Oscar winning editors. […]
The Soundman is a unique document of how sound departments worked in the later days of studio system dominance. […]
For both mixing and workstation technologies at Technicolor’s new post complex, Avid served as the primary hardware supplier. […]
Legendary movie producer Sam Goldwyn wrote the quote, opposite, in an article for The New York Times Magazine in 1949, just as television was emerging as a major mass medium. […]
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. […]
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. […]
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. […]
Orchestral layout is highly dependent upon the type of film music being recorded, according to scoring mixer John Kurlander. […]
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