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.
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.
Nugen Audio today announced that Jeff Mullen, an Emmy Award-winning sound designer and mixer based in Washington, D.C., has adopted Nugen Audio's new Halo Upmix tool for automated upmixing of stereo audio to 5.1/7.1 Surround. As founder and owner of Sonichead, a full-service audio post-production facility specializing in television productions, Mullen uses Halo Upmix to produce both a high-quality 5.1 upmix as well as a stereo mix for a wide range of projects.
The German post-production facility Rotor Film has installed a 69-loudspeaker Meyer Sound cinema system in its recently opened mixing stage—the largest in Europe that offers both Dolby Atmos and Auro-3D immersive surround sound technologies.
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.
Bill Evans, executive producer, engineer, and manager for the number one-charting progressive rock super group Flying Colors, has adopted Nugen Audio’s new Halo Upmix tool to automate and streamline up-mixing of stereo audio to 5.1/7.1 surround. Most recently, Evans used Halo Upmix to accelerate production of the Blu-ray version of Flying Colors’ latest concert album, Second Flight: Live at Z7, from Music Theories Recordings/Mascot Label Group.
Father and son re-recording mixers Michael and Christian Minkler have joined the growing roster of sound talent at Sony Pictures Post Production Services. The Minklers, who mixed the current Columbia Pictures release Concussion in Sony Pictures’ Burt Lancaster Theatre, have been working at the studio since last year, but are now on a formal basis. The pair previously mixed Insurgent on the Sony lot and are currently collaborating on The Hateful Eight.
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.
Tattersall Sound and Picture is currently providing final sound mixing services for the second installment of the critically acclaimed limited series Fargo, and the Toronto studio has come up with a unique way for the show’s Los Angeles-based producers to monitor the work.