
Emmys 2019: How the Team Behind ‘Deadwood: The Movie’ Captured the Sounds of the Old West
“I wanted to make sure that we were hearing the right train, the right kind of Baldwin Locomotive.” […]
“I wanted to make sure that we were hearing the right train, the right kind of Baldwin Locomotive.” […]
“Watching ‘Lost’ was one of the reasons I wanted to get into audio post production.” […]
From early in her career in the film business, Jeannette Browning recognized that she was something of a rarity. “I was really interested in dubbing, but I realized that there were no female dubbing mixers,” she says. […]
The world of episodic TV and cable has been experiencing some major challenges during recent seasons. As appointment viewing transitions to more on-demand streaming and even binge-watching, there is a pressing need to deliver increasingly innovative and enveloping soundtracks for a wider range of offerings. […]
“Developing a soundtrack is a collaborative process, from the spotting session to the dub stage,” stressed Oscar–nominated sound designer, supervising sound editor and re-recording mixer Ai-Ling Lee, CAS. […]
The Academy of Motion Picture Arts and Sciences has extended invitations to join the organization to 928 artists and executives from 59 countries — including 37 Editors Guild members in good standing — who have distinguished themselves by their contributions to theatrical motion pictures […]
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. […]
Remember, the job you lose just may be your own! […]
From the beginning of his film career in the early 1950s, filmmaker Robert Altman has utilized sound in unorthodox and spontaneous ways. […]
Some excerpts from a panel of sound effects professionals. […]
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