Features
Aural History: Soundmen Celebrated in Long-Forgotten Short
The Soundman is a unique document of how sound departments worked in the later days of studio system dominance.
Features
Features
What’s Under the Hood
For both mixing and workstation technologies at Technicolor’s new post complex, Avid served as the primary hardware supplier.
Features
The Box That Shook Hollywood: Television’s Emergence
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.
Features
A New Hue in Sound: Talent and Technology Coverage at Technicolor at Paramount
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.
Features
New York’s Soundscape: East Coast Audio Facilities
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.
Features
Settler of Scores: John Kurlander Mixes Music for Film
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.
Features
A Good Way to Mic and Mix Scoring Sessions
Orchestral layout is highly dependent upon the type of film music being recorded, according to scoring mixer John Kurlander.
Features
John Roesch: MPSE 2013 Career Achievement Award
The first Foley artist to receive the Motion Picture Sound Editors’ (MPSE) Career Achievement Award, Foley artist John Roesch has contributed to over 400 movies in the last four decades, including — to name a very few — Raiders of the Lost Ark (1981), E.T.: The Extra-Terrestrial (1982), Back to the Future (1985), Unforgiven (1992), The Matrix (1999) and The Dark Knight Rises (2012), the latter for which he received two MPSE Golden Reel Awards nominations as part of the film’s sound editing team. He was presented the award acknowledging his career accomplishments at the MPSE’s 60th annual Golden Reel Awards on February 17.
Features
You Ain’t Heard Nuthin’ Yet… Prepare for Sonic Immersion
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.
Features
Is Your Room in Tune?
Sound editors and mixers need to be confident that their room acoustics are not skewing their judgment.
