Founded in London in 1997, award-winning Factory Studios has produced the sound for projects by many high profile clients, including EE, O2, Renault, Nike, Three, eBay, Sainsbury’s, Tesco, Harvey Nichols, BT, Sony and Samsung. Last year it became the first UK facility to include a Dolby Atmos-licenced suite for commercials and trailers, which features 35 Alcons CRMS Cinema Reference Monitor System speakers.
Ymagis Group has acquired Berlin-based Christa Kistner Synchronproduktion, one of Germany’s leading dubbing companies for the cinema and television industries. Under the terms of the agreement, Ymagis SA, through one of its wholly owned German subsidiaries, becomes the sole shareholder of Christa Kistner Synchronproduktion. Christa Kistner remains in her functions as its managing director.
Post work for director Rebecca Miller’s new romantic comedy Maggie’s Plan, currently in wide release from Sony Pictures Classics, was a labor of love for Technicolor PostWorks New York. A long-time supporter of independent film, the facility furnished suites and systems to picture editor Sabine Hoffman and her crew. It also provided resources for dailies processing, editorial finishing, color grading, sound mixing and deliverables. The project involved months of concentrated effort, spanning pre-production through the film’s world premiere at the Toronto International Film Festival.
Cinema immersive sound is upside down. Technology providers invest in intellectual property for immersive sound rendering engines, but they compete on the availability of content. Trading on content has been counterproductive to growth, contributing to a lackluster immersive sound installation count that is less than two percent of worldwide screens. Immersive sound has more moving parts to address than distribution, but the industry is fixated on a design from scratch, do-everything, distribution standard that’s two and a half years in the making and at least as many years from finding its way into cinemas. A deeper look shows that the key friction point of production for competing systems has been addressed. It’s time to put immersive sound right side up and grow the format.
When Two Worlds Collide, winner of the World Cinema documentary prize for Best First Feature at this year’s Sundance Film Festival, focuses on the alarming and sad conflict between indigenous people of the Peruvian rainforest and corporations bent on exploiting the region through mining, drilling and clear cutting.
Veteran supervising sound editor and sound designer George H. Anderson has joined Sony Pictures Post Production Services. Anderson brings a deep and varied resume in sound with more than 75 credits in film and television. He has completed several recent projects at Sony Pictures, including Popstar: Never Stop Never Stopping, Pee-wee’s Big Holiday and Trainwreck.
The Motion Picture Sound Editors will host Sound Advice: Pro Tools 12.5 Avid Cloud Collaboration, a special event for MPSE members, May 10th at Sony Pictures Studios in Culver City, California. Held in partnership with Sony Pictures Post Production Services and Avid, the event will include a technical overview and demonstration of Avid’s new cloud collaboration functionality, which allows editors and mixers to effortlessly collaborate on Pro Tools projects. Avid will also present a technology preview of new editorial features under development.
Alchemy Post Sound provided Foley services for The Bandit, director Jesse Moss’ exhilarating documentary about Burt Reynolds, the late director and stuntman Hal Needham and the making of the iconic 1977 action-comedy Smokey and the Bandit. Working under the direction of supervising sound editor/re-recording mixer Tom Paul, Foley artist Leslie Bloome and his crew recreated the sounds of brawling stuntmen, a rocket-propelled car and 100-foot body falls to accompany the film’s mind-blowing stunts and action scenes.
Warner Bros. Pictures’ Batman v Superman: Dawn of Justice was released last month in Dolby Cinema. That process begins with the filmmaker’s vision. The technical wizards behind the film recently sat down for an interview to discuss their roles in bringing it to the big screen.
Technicolor has announced that acclaimed sound designer and feature film supervising sound editor Scott Gershin has joined Technicolor as director of sound editorial. Gershin will lead the company’s expansion into sound design for gaming and immersive experiences and will also continue to design and supervise sound for films.