Unlike most guilds in the film industry (the Screen Actors Guild excepted), the Motion Picture Editors Guild looks forward to its membership garnering multiple Academy Awards every year. […]
This year’s Oscar nominees for Best Sound Editing transport us to three very distinct war zones (American Sniper, The Hobbit: The Battle of the Five Armies, Unbroken), take us for a roller-coaster ride inside a wormhole and a black hole (Interstellar), and put us in the mindset of a has-been movie star going out of his mind (Birdman). […]
There’s an old adage in show business that if you want to ensure success, avoid working with kids and animals. Don’t tell that to picture editor Craig Cobb and supervising sound editor Louis Bertini, MPSE, who help post one of Nickelodeon’s hit shows, The Naked Brothers Band. […]
My anticipation was always a mixture of excitement and fear — excitement that I was going to the studio where my father made movies, but fear because the actual reason for the visit was to see the dentist, which, given my age, could mean the extraction of baby teeth. The fear usually won out. […]
[Chris Innis’] presence in Jordan helped preserve the authenticity of the soldier’s point of view that was key to the success of The Hurt Locker, but the physical hardships were only part of the difficulties she faced. […]
“I had no other recourse but to go to work…or pretend to…” – Norman B. Schwartz […]
Having retired after 45 years in the business, Don Hall, was asked to join the University of Southern California’s School of Cinema. “After I retired in January 1996, my wife Teddy and I started to do all the things retired people do,” Hall remembers. […]
Although nowhere near as well represented as their male counterparts in the Academy Awards pantheon, women in post-production nonetheless gained recognition for their craft and brought home some Oscar gold. […]
In the time-critical world of half-hour TV sitcoms, the seasoned team of re-recording mixer Charlie McDaniel and sound editor Bob Bradford has lead the way for the past 18 years. As McDaniel explains, “We have four hours — maybe six for the busier shows — to mix and print master 22 minutes of surround sound, and then prep the room for the next session.” […]
An unexpected landing on a distant planet spells danger for the Robinson family. If that sounds vaguely like a flashback to baby boomers who watched primetime TV back in the Sixties, it is. Well, sort of… […]
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