The Television Academy on Thursday revealed winners of its 72nd Engineering Emmy Awards, with four of the nine companies honored for developing and deploying remote production technology that has become invaluable in a year […]
With a promise of offering a novel direction for HBO’s multiple-Emmy Award-winning sci-fi drama ‘Westworld,’ its second season is also breaking new ground in the sound department. […]
Music editor Mitsuko Alexandra Yabe exemplifies the possibilities offered by the world of post-production if one is willing to throw oneself in and find one’s way. Yabe was born in New York but grew up in Tokyo, where she trained in violin and taught herself guitar. […]
They say brevity is the soul of wit, and scoring mixers seem to have a sense of humor about what their job entails. “We get coffee for the composer. End of inter- view,” Alan Meyerson jokes. Well, not so fast. […]
Giving credit to John Stephens for the development of a portable, 59-pound, battery-operated 8-track machine. […]
The smooth operation of a post facility depends upon the skills of a well-staffed engineering department to ensure that editors and mixers can work efficiently to create a film/TV soundtrack. In order to throw an inquisitive spotlight on the roles played by a number of leading “unsung heroes” from our industry — who work behind the scenes to ensure minimum downtime — CineMontage reached out to Brian Bair from 20th Century Fox Post-Production Services, Steve Boze from Walt Disney Studios, Kevin Collier from Warner Bros. Studio Facilities, Bill Johnston and Charlie Campagna from Formosa Group/Audio Head, and Michael Novitch from Technicolor at Paramount. […]
Have you seen Laurel and Hardy do exactly the same skit in both a silent and a sound version? Was it actually the quality of John Gilbert’s voice that doomed his career in the talkies? What beloved classic movie used Fantasound? Why did editors resist changing from optical to magnetic sound? […]
When I was born and raised in the west San Fernando Valley in the late 1950s; television was black-and-white, radio was mono and AM radio channel KHJ with “The Real Don Steele” was the coolest thing. […]
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. […]
In ‘The Last Waltz,’ released by United Artists 40 years ago in April 1978, director Martin Scorsese trained his cameras on what was intended to be the last concert of the Band at San Francisco’s Winterland Ballroom. […]
©2016-2021 Motion Picture Editors Guild