Alchemy Post Sound provided Foley services for The Bandit, director Jesse Moss’ exhilarating documentary about Burt Reynolds, the late director and stuntman Hal Needham and the making of the iconic 1977 action-comedy Smokey and the Bandit. Working under the direction of supervising sound editor/re-recording mixer Tom Paul, Foley artist Leslie Bloome and his crew recreated the sounds of brawling stuntmen, a rocket-propelled car and 100-foot body falls to accompany the film’s mind-blowing stunts and action scenes.
Warner Bros. Pictures’ Batman v Superman: Dawn of Justice was released last month in Dolby Cinema. That process begins with the filmmaker’s vision. The technical wizards behind the film recently sat down for an interview to discuss their roles in bringing it to the big screen.
Technicolor has announced that acclaimed sound designer and feature film supervising sound editor Scott Gershin has joined Technicolor as director of sound editorial. Gershin will lead the company’s expansion into sound design for gaming and immersive experiences and will also continue to design and supervise sound for films.
The Motion Picture Sound Editors presented the 63rd MPSE Golden Reel Awards at a black-tie ceremony Saturday evening at the Bonaventure Hotel in Los Angeles. Golden Reel Awards recognizing outstanding achievement in sound editing were presented in 24 categories encompassing feature films, long-form and short-form television, animation, documentaries and other media. Re-recording mixer Marti Humphrey and sound designer/supervising sound editor Jussi Tegelman presented the annual MPSE Filmmaker Award to director Sam Raimi. Picture editor Lee Smith and re-recording Mmxer Doug Hemphill presented the Career Achievement Award to supervising sound editor and sound designer Richard King.
On February 27th, supervising sound editor and sound designer Richard King will receive the Motion Picture Sound Editors’ 2016 Career Achievement Award. A three-time Academy Award winner (Inception, The Dark Knight and Master and Commander: The Far Side of the World), King will join such previous sound professionals as Skip Lievsay, Randy Thom, Larry Singer, Walter Murch and George Watters II as a recipient of the MPSE’s highest honor.
Sound artists from Sony Pictures Entertainment are among the nominees for 2016 Motion Picture Sound Editor Golden Reel Awards and the 52nd Cinema Audio Society Awards. Sony Pictures talent are nominated in six categories of the MPSE Golden Reel Awards for work on the films Southpaw and Hotel Transylvania 2, and the television series Homeland, Saints and Strangers and True Detective. Sony Pictures talent also received eight nominations for CAS Awards for work on the film The Hateful Eight and Hotel Transylvania 2, and the television series True Detective and Silicon Valley.
Twenty-one years after their first collaboration, Avid and Focusrite are in deep discussions once more, the results of which they look forward to announcing soon.
iZotope has added John Bigay to the executive team as chief marketing officer. Bigay will lead the strategic development and execution of global marketing, e-commerce, and education initiatives to accelerate the company’s rapid growth.
As with most independent films, budgets for the short film The Chain were minimal, which meant that sound editor and mixer Michael Gross needed to make the most of the audio he had from the set. iZotope’s RX suite of intelligent repair and enhancement modules enabled Gross to clean up production dialogue to a point where very little automatic dialogue replacement was required. For an independent film on a limited budget, this represented a huge savings in time and effort for both cast and crew.
The obvious difference between sound for the big screen, the small screen, and now, the tiny screen, may not seem that different. In many ways they are not. As sound designers and editors, we want the viewer to experience every gunshot and explosion as well as every word, whether listening in a theater, at home on a TV, or earbuds on the subway. Sound for the big screen on a movie like Trumbo means you can use 5, 7 or in the case of Dolby Atmos, unlimited channels, for panning. We also have a large dynamic range because of the room size and speaker size. This, in many ways, is the easiest for those of us creating the sound tracks.