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. […]
Consoles have evolved dramatically over the last two and a half decades. […]
It’s not only the “when” of ADR that is being re-examined, but also the “how” and “where.” […]
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. […]
Midge Costin, MPSE, is making a documentary about motion picture sound and its editing. […]
I recently traveled to Paris to mix ‘Le Divorce’. […]
With an electronics background in the Guard, I acquired a 1st Class FCC license in the hope that it might open a door to the industry––and it did! […]
As a conductor leads an orchestra, and a composer creates ideas and sounds, so does a mixer. All the elements of dialogue, sound effects, music, creativity and technical ability coalesced as a career choice. My goal of sound for picture evolved. […]
“I believe that movies are getting more and more complex visually, and the more visually complex they get, the more they have to rely on the sound to sell those visual effects.” – Kevin O’Connell […]
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