Terence Curren founded AlphaDogs in 2002 when he envisioned a future that would have a demand for more than just a conventional post-production facility. Sixteen years ago, the traditional business model was just beginning to show cracks as the falling costs of equipment led some producers to invest in their own. Curren believed talent would be the key ingredient to thrive in the technological world of the 21st Century. A veteran editor and colorist by trade, Curren assembled an elite team of like-minded post-production professionals that brought the perfect balance of creativity and technical know-how to the table. Sixteen years later, AlphaDogs continues to evolve with the ever-changing technology and needs of their clients.
New York independent sound studio Sound Lounge has introduced its Sound Lounge Everywhere concept to Colorado. The company has partnered with Boulder post-production company 11 Dollar Bill to offer remote audio production and mixing service to agencies and brands in the region and beyond.
Independent post-production company Pace Pictures has opened a new sound and picture finishing facility in Hollywood. The 20,000 square foot site offers editorial finishing, color grading, visual effects, titling, sound editorial and sound mixing services. Key resources include a 20-seat, 4K color grading theater, two additional HDR color-grading suites and ten editorial finishing suites. It also features a Dolby Atmos mix stage designed by three-time Academy Award-winning re-recording mixer Michael Minkler, who is a partner in the company’s sound division.
Award-winning supervising sound editor and re-recording mixer Will Files has joined Sony Pictures Post Production Services. Files, who spent a decade at Skywalker Sound, brings credits on more than 80 feature films, including Passengers, Deadpool, Star Wars: The Force Awakens and Fantastic Four. Files won a 2018 MPSE Golden Reel Award for his work on War for the Planet of the Apes. His current project is the upcoming Columbia Pictures release Venom out in U.S. theaters October 5.
Philip K. Dick’s Electric Dreams, the anthology series produced by Sony Pictures Television in a joint venture with Channel 4 in the U.K. and Amazon Studios in the U.S., draws on the late science fiction writer’s voluminous short fiction for its stories of alternate realities, future worlds and paradoxical situations. The show’s first season is a feast for the imagination, consisting of 10 stand-alone, one-hour episodes, each based on a different Philip K. Dick short story and each with a different cast, director and writer. Split between England and the United States, production of Philip K. Dick’s Electric Dreams was logistically and creatively challenging.
H. Loren Nielsen has joined Xperi Corporation as vice president, content relations and strategy. Nielsen will serve as the studio liaison for DTS:X object-based immersive sound technology from DTS, a wholly owned Xperi subsidiary.
The Los Angeles Section of the Audio Engineering Society and the Hollywood Section of the Society of Motion Picture and Television Engineers will host a joint meeting this month exploring sound editorial for Amazon’s new sci-fi anthology series Philip K. Dick’s Electric Dreams. The meeting is slated for Tuesday, January 30 at Sony Pictures Studios in Culver City, California.
In Columbia Pictures’ Jumanji: Welcome to the Jungle, the game has changed as four teenagers are sucked into the world of Jumanji. Director Jake Kasdan has introduced many clever twists to the action-adventure, and that created plenty of opportunities for the film’s sound crew to get creative with sound. All sound services were completed at Sony Pictures Post Production Services.
Making a film for the first time is a challenge enough in itself, but post-production can sometimes be even more daunting. Aspiring filmmaker Michael Thibault said, “Strangely, all the things we were warned about – actors, scheduling, permits, etc – weren’t a problem at all. But when it came to post-production, it was a complete nightmare until we brought the show to AlphaDogs. We tried to get by cheap and skip using a professional post house, only to find out these freelance colorists and audio mixers have no clue as to what they are doing.”
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.