Just what does the end of the world sound like? That’s the question that faced supervising sound editors/sound designers Steven D. Williams, MPSE, and Eric Norris, MPSE, as they approached this daunting film. […]
The production and post-production of Ridley Scott’s ‘All the Money in the World’ is one of the most fascinating filmmaking stories of the past year, perhaps the decade. […]
The acclaimed web series “Transparent,” created by producer/writer/director Jill Soloway (“Six Feet Under,” 2001-05, and “United States of Tara,” 2009-11), has made waves on television and in the LGBTQ community. […]
Mikael Sandgren likes to keep busy. He straddles the worlds of indie film, studio film and television, major commercial campaigns and even video games. […]
“Lillian Benson is one of the most gifted, resourceful and dedicated editors with whom I have had the privilege to work,” said Debbie Allen. “From Eyes on the Prize II to The Hot Chocolate Nutcracker, her talent has enriched every project.” […]
Listening to singer-songwriter Halsey’s new single, “Not Afraid Anymore,” as it pulsates through a fresh Dolby Atmos mix on a stage at Universal Studios in the company of music editors Angie Rubin, MPSE, and Bill Abbott can be a bit of an unsettling experience. […]
Over the past decade, production sound mixer Chris Newman, CAS — who has been something of a mentor to me during my whole career — has been retired from working on the set and has been teaching a production sound recording class at the School of Visual Arts in New York. […]
There’s a joyous moment in director Martin Scorsese’s Hugo, opening November 23 from Paramount Pictures, when Sir Ben Kingsley–– portraying the pioneering French filmmaker Georges Méliès (1902’s A Trip to the Moon)—performs a magi- cal feat onstage to thunderous applause. It’s but a brief glimpse into a forgotten past. […]
In the early 1950s, the film industry, hoping to lure audiences back into theatres from their new TV sets, created more movies in color and introduced widescreen formats that could not be reproduced on the small screen. Between 1952 and 1954, it even tried to recapture viewers with movies in 3-D, the process created to intensify the illusion of depth. […]
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