Box office hit, Venom, from Columbia Pictures, was among the first films to have its sound work completed through Sony Pictures Post Production Services’ expanded facilities on the studio lot in Culver City. Supervising sound editor/re-recording mixer/sound designer Will Files and his crew used a new theater-style sound design suite to create sound effects for the film, which stars Academy Award nominated actor Tom Hardy as both the alien symbiote Venom and its human host, Eddie Brock
Sound Lounge is expanding its film and television division, which provides sound editorial, ADR and mixing services for episodic television, features and documentaries. The studio is upgrading the division’s main mix stage to support editing and mixing in the immersive Dolby Atmos format. It has also added veteran supervising sound editor, designer and re-recording mixer Evan Benjamin to its team. Benjamin is best known for his work in documentaries, including the acclaimed feature documentary, RBG, about Supreme Court Justice Ruth Bader Ginsburg, as well as documentary series for Netflix, Paramount Network, HBO, and PBS.
Supervising sound editors/re-recording mixers Steve Giammaria and Evan Benjamin from Sound Lounge’s Film + Television division will share their insights into documentary sound at the Doc NYC Pro Conference, held in conjunction with the Doc NYC film festival.
In a reverse twist on the silent movies of old, The Companions: A Lost Screenplay is a film without moving images. Or, as described in accompanying notes from the de Young Museum in San Francisco, the sound installation becomes “a type of auditory cinema that explores the vital role sound plays in shaping narrative and affective space in film.” The 20-minute work, presented in the de Young’s iconic observation floor (one of the free spaces within the museum), couples sweeping 360-degree views of the city to a soundtrack of music and sound effects as reproduced through a 24-channel system of Meyer Sound loudspeakers.
Éclair has appointed Anno Storbeck as head of production for Éclair Studios, the new state-of-the-art dubbing and automatic dialogue replacement studios in Central Berlin. He will be responsible for the artistic and commercial production management of all dubbing and ADR productions for film distributors, producers, rights holders and content service crossover sales. Based in Berlin, Storbeck reports directly to Éclair country manager Michael Krauth.
Slice, currently in international release from A24, is a quirky comedy/horror tale centering on a neighborhood pizza parlor that doubles as “a gateway to hell.” For Steve Giammaria, of Sound Lounge’s Film + Television division, who acted as both supervising sound editor and re-recording mixer, Slice offered an opportunity to indulge both his sense of humor and taste for the macabre.
Extending its engagement in virtual reality and augmented reality applications, Sennheiser has partnered with spatial computing leader Magic Leap and joined the Works with Magic Leap certification program. This partnership consolidates Sennheiser’s presence and thought leadership in spatial audio as it continues to develop innovative audio tools for spatial audio visionaries and content creators.
Pixelogic has opened new advanced and innovative post-production content review and audio mixing theatres within its facility in Burbank, California. The main theatre is equipped with a Dolby Vision projection system, and supports Dolby Atmos immersive audio.
Continuing to add resources for motion picture and television sound, Sony Pictures Post Production Services today announced the opening of three theater-style studios inside the Stage 6 facility on the Sony Pictures Studios lot in Culver City.
Tower 3, a new documentary short from Irish filmmaker and artist Marcus Robinson, commemorates the massive construction project behind the latest addition to New York’s World Trade Center site, an 80-story structure that is now the city’s fifth largest building. Commissioned by Silverstein Properties for ribbon-cutting ceremonies marking the building’s completion, the five-minute film was produced by Robinson with technical and creative assistance from Technicolor PostWorks New York.