Letters to the Editor
A True Pioneer in Recording Overlapping Dialogue
Giving credit to John Stephens for the development of a portable, 59-pound, battery-operated 8-track machine. […]
Recordists
Features
What Does A Wormhole Sound Like?
It’s not surprising that director Christopher Nolan drove the sound to a greater extent than ever before on his first space adventure, Interstellar, opening November 7 through Paramount Pictures. That’s because it was pivotal that the organic nature of the aesthetic worked for soundscape and imagery alike.
Features
Andy Nelson: 2014 CAS Career Achievement Award
Re-recording mixer Andy Nelson, CAS, brings to his craft several decades of experience in the art of balancing dialogue, music and sound effects in an immersive soundtrack that supports the director’s storytelling vision […]
Features
Unsung Heroes of Sound
The smooth operation of a post facility depends upon the skills of a well-staffed engineering department to ensure that editors and mixers can work efficiently to create a film/TV soundtrack. In order to throw an inquisitive spotlight on the roles played by a number of leading “unsung heroes” from our industry — who work behind the scenes to ensure minimum downtime — CineMontage reached out to Brian Bair from 20th Century Fox Post-Production Services, Steve Boze from Walt Disney Studios, Kevin Collier from Warner Bros. Studio Facilities, Bill Johnston and Charlie Campagna from Formosa Group/Audio Head, and Michael Novitch from Technicolor at Paramount. […]
Union Made
UNION MADE: Sounds Like a Great Way to Begin a Career…
Knowing that I was unhappy with my apartment maintenance job, my cousins invited me to travel with them as their soundman. There was no pay, but they thought I might go for it. They were right; I accepted! […]
Features
Celebrating a Sonic Centennial: Everything You Wanted to Know About the History of Cinema Sound
Have you seen Laurel and Hardy do exactly the same skit in both a silent and a sound version? Was it actually the quality of John Gilbert’s voice that doomed his career in the talkies? What beloved classic movie used Fantasound? Why did editors resist changing from optical to magnetic sound? […]
Features
Oscar Worthy Sound Editors: 2016
The films of this year’s Oscar nominees in the Sound Editing category range from the story of a run-and-hide rebellion in post-apocalyptic Australia, to emergent threats to galactic peace, through an astronaut left behind on Mars by his crew, a frontiersman fighting for survival after a bear attack, and the unrelenting war on drugs. […]
Features
In Search of the Perfect Take
ADR/Foley mixer Jesse Dodd, CAS, MPSE, never doubted that her career would be in show biz. […]
Web Exclusives
The Post-Production Challenge of Bringing ‘War for the Planet of the Apes’ to the Screen
War for the Planet of the Apes, the third chapter of 20th Century Fox’s latest reboot of the Planet of the Apes franchise, opened July 14, almost three years to the day after Dawn of the Planet of the Apes, the second in the series. […]
Columns
Rick Alexander on ‘Ronin’
In 1998, when re-recording mixers Rick Alexander and Richard D. Rogers first met with director John Frankenheimer about working on “Ronin,” there were many subjects that could have been discussed. […]
