The sound of Blade Runner 2049 is striking. Even non-soundfolk are likely to recognize the crucial role it plays throughout the expansive follow-up to Ridley Scott’s 1982 sci-fi cult classic. Artfully sweeping from immersive to hyper-focused to nearly silent, the film’s stellar sound propels the viewer through a dystopian world feeling at once futuristic yet jarringly human. Leading the sound team was supervising sound editor Mark Mangini: winner of the 2016 Best Sound Editing Academy Award for Mad Max: Fury Road, and renowned audio post veteran with over 100 film credits across several decades.
Production & Post-Production
Barbara Lange, executive director of the Society of Motion Picture and Television Engineers, was honored last month by her alma mater, Washington & Jefferson College, with its 2017 Alumni Award for Achievement during its annual President's Homecoming Dinner.
The Society of Camera Operators has named DJI’s Ronin 2 as this year’s recipient of its Technical Achievement Award. The award is given to a manufacturer or technology that has demonstrated superior engineering, advancement of camera operation, and substantial facilitation of the craft. This year’s recipient is DJI’s Ronin 2.
Shanra J. Kehl’s The Morning After features eight intercut vignettes shot in eight locations in 11 days, telling the story of the moment when you wake up next to someone... the next morning. Kehl served as director/writer/producer and cinematographer on the film. She shot with shot with Cooke S4/I lenses.
The Motion Picture Sound Editors announced today that it will present sound designer and sound recordist John Paul Fasal with its 2018 MPSE Career Achievement Award. A 30-year veteran of the sound industry, Fasal has contributed to more than 150 motion pictures and is best known for his groundbreaking work in field recording. Among his many credits are Top Gun, Master and Commander: The Far Side of the World, Interstellar, The Dark Knight, American Sniper and this year’s box office hit Dunkirk. Fasal will receive his award at the MPSE Golden Reel Awards ceremony, February 18, 2018 in Los Angeles.
Netflix and the Australian Broadcast Corporation have partnered to produce a new comedy series, The Letdown. Produced and written by Sarah Scheller and Alison Bell, the pilot and six half hour episodes follows Audrey, played by Bell, as she navigates the chaos of motherhood while still trying to balance a career-focused husband, a self-absorbed mother, and a care-free best friend. The series also stars Duncan Fellows, Sacha Horler, Noni Hazelhurst and Celeste Barber. Cinematographer Judd Overton shot the series with Panasonic VariCam LT cameras.
The Hollywood Professional Association has awarded the organization’s prestigious Judges Award for Creativity and Innovation to National Aeronautics and Space Administration, Amazon Web Services, and AWS Elemental, an Amazon Web Services Company, for the first public live 4K stream from the International Space Station. The honor, whose recipient was selected by a jury of industry veterans, was conceived to recognize companies and individuals who have demonstrated excellence, whether in the development of workflow and process or project to support creative storytelling or in technical innovation. The coveted distinction will be bestowed
For most of the country, the arrival of fall means cooler temperatures and leaves turning colors, but in Hollywood it marks the official start of awards season and with it the annual deluge of Academy screeners.
Instrument of War is a period piece based on the true story of Clair Cline, a US Army Air Forces pilot shot down over occupied Holland during World War II and held at the German Stalag Luft 1 POW camp, and The Prison Camp Violin he made from materials found in the camp and by trading Red Cross cigarettes for a bow. “We shot in Lithuania for the authenticity of the architecture, and built the POW camp around existing buildings to enhance the film’s production value,” said cinematographer Wes Johnson. With the authentic look of their sets, and a strong U.S. dollar, Instrument of War looks like it was shot for several times its actual production cost.
A crash landing, a bruised hero, a crowd about to swarm. For Montreal post house Framestore, Blade Runner 2049’s thrilling Trash Mesa attack sequence had all the elements of a classic set piece, it only needed its band of scavengers. With two days to prep, Framestore turned to Vicon motion capture products and a live link that helped two production teams make crucial decisions, five time zones away.