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.” […]
Re-recording Mixers
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. […]
Web Exclusives
‘Making Waves’
A Film on Sound-on-Film
Midge Costin, MPSE, is making a documentary about motion picture sound and its editing. […]
Features
Mixing the French Way: Working on ‘Le Divorce’ in Paris
I recently traveled to Paris to mix ‘Le Divorce’. […]
Union Made
UINON MADE: A Sound Career Decision
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! […]
Union Made
UNION MADE: The Mixing Console as a Musical Instrument
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. […]
Features
Mix Master: Kevin O’Connell’s Brilliant Sound Career
“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 […]
Features
Soundbender: The Aural Adventures of Randy Thom
This movie is a playground for sound,” says Randy Thom, CAS, referring to director M. Night Shyamalan’s latest film, The […]
Features
Transformative Mixer: Greg P. Russell Strives for a Well-Balanced Soundtrack
With some 190-plus films to his credit, not to mention 14 Academy Award nominations, it is perhaps hard to believe that such a seasoned re-recording mixers Greg P. Russell, CAS,got his start in a modest recording studio. […]
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. […]
