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… […]
Letters regarding our articles on sound editing history as well as our political content. […]
Letters from our readers regarding ‘black hawk down’ and the history of post-production sound. […]
Some essential words are offered about cutting room etiquette and potential traps for the dialogue editor. […]
Sound effects have been Peter’s life. […]
The same loyalty that they give him, Ron Howard gives back in trust, respect and collaboration. […]
The Kinetophone was the ancestor of a steady line of emerging technologies-film, recording, reproduction and amplification-that through trial and error would converge to create the technology of optical, monaural sound. […]
Stephanie Lowry provides a roadmap to some of the issues being dealt with by the rank and file music editors. […]
Though many documentary producers cut corners on sound editing, relegating it to the bottom of the production budget, filmmaker Ken Burns is the opposite. […]
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