Features
Location ADR: A Moveable Feast
It’s not only the “when” of ADR that is being re-examined, but also the “how” and “where.” […]
Film
Columns
Steve Maslow on ‘The Last Waltz’
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. […]
Book Reviews
Man with a Shorinofon:
When Russia Embraced the Talkies
Few Americans, even those who work with motion picture sound, have heard of the Tagefon and Shorinofon systems, but readers interested in the intricacies of how sound first meshed with cinema can learn about these machines and the artists who used them. […]
Columns
‘The Piano’ Ain’t Got No Wrong Notes
From the age of six, Ada McGrath refuses to speak, yet film audiences first saw and heard how clearly she communicates on May 15, 1993, when Jane Campion’s ‘The Piano’ premiered at the 45th Cannes International Film Festival. […]
Columns
Ridley Scott’s ‘Alien’
As a seven-year-old living in the jungles of Matute, Colombia, I was surrounded by an exotic land. My pets weren’t limited to the three dogs and six cats that roamed but also included a macaw named Ludwina, a howler monkey named Tarzan, several tortoises and an assortment of parrots and parakeets. […]
Web Exclusives
‘Making Waves’
A Film on Sound-on-Film
Midge Costin, MPSE, is making a documentary about motion picture sound and its editing. […]
Departments
Fog of War Moviemaking, Getting Testy
The Fog of War Moviemaking Peter Tonguette’s My Most Memorable Film column, “Walter Murch on Apocalypse Now” (CineMontage Q1 2016), […]
Industry
‘Sicario’ and ‘The Big Short’ Score Feature Wins at HPA Awards
On a chilly Thursday evening in mid-November, the Hollywood Professional Association (HPA, formerly the Hollywood Post Alliance) celebrated the presentation of its 11th Annual HPA Awards at the Skirball Cultural Center in Los Angeles. […]
Features
The Ultra Challenge of Digitally Editing An Ultra Wide Film
Among the challenges of creating The Hateful Eight in “glorious 70mm,” as filmmaker Quentin Tarantino described it in his original screenplay, was the fact that it required an overall post workflow that was highly irregular in many respects — both a throwback to an earlier era and extremely complex at the same time. […]
Features
The First Independent: An interview with Legendary Sound Editor Kay Rose Part 1
Kay Rose’s approach to sound editing has always been through story. […]
