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.
Sony Pictures Animation’s monster hit Hotel Transylvania 2, currently topping charts and setting records at the worldwide box office, marks the return of the Drac Pack in an all-new comedy adventure. Like its hit 2012 predecessor, the new film is directed by Genndy Tartakovsky and features the voice talents of Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, and many others. Also back for the sequel are supervising sound editor Geoffrey G. Rubay and his sound team from Sony Pictures Post Production Services.
Continuing to expand its resources for motion picture and television sound, Sony Pictures Post Production Services has installed an Avid S6 control surface in its 158-seat Anthony Quinn Theatre. The largest Avid S6 console installed anywhere to date, the 22-foot long board features 48 faders in each of two sections, along with 12 meter displays, two sets of dual joysticks and two bias panels. It is supported by four Pro Tools HDX2 players and two HDX recorders. The console is connected via high-speed Ethernet to editorial rooms and other facilities on the Sony lot.
On September 26, Sony Pictures Post Production Services will welcome leading innovators from across the world of motion picture sound as host of the Second Annual Mix Presents Sound for Film Conference and Exhibition. The theme for this year’s event, co-sponsored by the Motion Picture Sound Editors and the Cinema Audio Society, will be Music, Effects and Dialog in an Immersive World. It will explore the current boom in immersive sound technologies through speakers, panels, workshops and exhibits. Participants will include DTS, Dolby, Yamaha, Auro Technologies and other sound companies.
In a significant boost to its services for movie and television sound, Tattersall Sound & Picture has added Dolby Atmos technology to its largest mixing stage and completed its first project in the immersive sound format. Hyena Road, an Afghan war drama from actor/director Paul Gross (Passchendaele) will make its world premiere this month at the Toronto International Film Festival as a Gala Presentation.
One of Hollywood’s most gifted action directors, Antoine Fuqua explores the rarified violence of the boxing ring in his latest film Southpaw, released this month by The Weinstein Company. The director’s visceral boxing imagery is supported by a meticulously crafted soundtrack, created by a team from Sony Pictures Post Production Services led by supervising sound editor Mandell Winter, sound designer David Esparza and re-recording mixers Steve Pederson and Daniel J. Leahy.
Blaine Stewart first started in the industry on audio crew and as mixer’s assistant for The Donnie & Marie Show at the Osmond family’s studio in Orem, Utah, in 1978. By 1986, he was back in his native L.A. working at different audio post facilities as well as mixing production for shows such as Circus of the Stars and Alf. In 2000, he opened his own post-production facility, Post Plus Sound, in Burbank, and in 2010 he moved PPS to the Salt Lake City area and renamed it The Stewdio.
Pacific Wave Media worked on the sound for director Richard Zelniker’s As Night Comes, which was mixed on a Genelec 1029 system and then was recently screened for distributors in the Zanuck Theater and The Little Theater, both on Fox’s studio lot.
Editor’s Note: Writer Timo Klinge recently sat down with Ben Osmo, production sound mixer and Oliver Machin, sound department coordinator & vehicle FX recordist about their experiences in the desert of Nambia, Africa during the recent production Mad Max: Fury Road. This article was provided by Ambient Recording and is reprinted here with the company’s permission.