The expansion of digital filmmaking into HD and beyond has seen film become an anachronism, rather than a competitor or adjunct to digital. Many of the traditional assistant’s duties are being re-shaped or re-tasked. […]
With the clarity of hindsight,perhaps the Academy can find a way to single out those films of past years that may have been unjustly overlooked.
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. […]
My mother, father, aunt and uncles were all in the teachers union. I learned from an early age how unions can help us make our lives better. […]
A compilations of praise and memorable stories for award winning re-recording mixer Donald O. Mitchell. […]
The producers see the character of Dexter as having different, sonically distinct modes of operation; that drives their creative decisions. […]
“There were several gun battles and a serious rocky fall that contained no traditionally scored music. The absence of music allowed our sound effects and Foley to take the soundtrack’s exclusive and full dynamic range.” – Wylie Stateman […]
During the past 35 years, Randy Thom, CAS, MPSE, has helped define the creative art of sound for feature films, and has been an inspiration to colleagues and assistants alike. Thom is this year’s recipient of the MPSE Career Achievement Award from the Motion Picture Sound Editors, which was presented at its 61st annual Golden Reel Awards, held at the Westin Bonaventure Hotel in Los Angeles February 16. […]
I was preparing for a career in Foley. Whether I was imitating a birdcall that I heard during recess or pantomiming the rhythm of Miss Brady’s heels clip-clopping down the hall, I’ve always had a heightened awareness of sound and movement. […]
Giving credit to John Stephens for the development of a portable, 59-pound, battery-operated 8-track machine. […]
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