Foley was a name that stuck to the process, the location and the very special group of craftspeople who became, next to the physical actors, perhaps the most important performers in a motion picture. […]
‘Taking Woodstock’ is a movie of source music—and not just the kind that comes from a radio playing on a tabletop. Designed to blend seamlessly with the needle-drop tunes, a lot of that was provided by the “live” hippies. […]
A very brief history of the Oscar Award for Sound Editing. […]
Growing up in Connecticut, I had no idea how movies were made. I thought that they just “happened.” […]
I joined the Motion Picture Sound Editors’ Board of Directors, eventually becoming the first woman president in 1984, and also served on the Executive Committee of the Sound Branch of the Academy of Motion Picture Arts and Sciences. […]
I am still passionately involved—working with clients who require cost-effective methods of designing post-production facilities, recording studios, acoustics and home theatres internationally and am proud to be part of this strenuous but great business. […]
‘Sound for Digital Video’ provides a valuable overview for those planning to enter the audio-for-video production business. […]
I have been a re-recording mixer for 33 years, and the idea of turning a production track into a full, complete and seamless sound track — that hopefully enhances and advances the project — still fascinates and excites me. […]
Scattered throughout the films of Cameron Crowe are moments in which the director’s adolescent rock wordsmith background shine through. […]
The many people who create sound,are likewise invisible to the public — even as their contributions are central to making onscreen worlds. They too are part of the occult magic of cinema. […]
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