The Motion Picture Sound Editors today announced that it will honor supervising sound editor Dennis Drummond with its 2021 MPSE Career Achievement Award. Drummond’s long list of credits includes The Intern, The Help, It’s Complicated and The Pursuit of Happyness. He has developed close relationships with several top directors including Nancy Meyers, James L. Brooks and Penny Marshall. He will receive the Career Achievement Award at the 68th Annual MPSE Golden Reel Awards, which will be held as an international virtual ceremony on April 16th.
The Motion Picture Sound Editors association has announced the nominees in the 68th Annual MPSE Golden Reel Awards. Nominees represent the work of the world’s most talented sound artists and their contributions to the past year’s most outstanding feature film, television, animation, computer entertainment, and student productions.
The VSI Group has expanded its Latin American operations with the majority acquisition of dubbing, subtitling and media services facility, Vox Mundi, which is based in São Paulo, Brazil.
Nugen Audio has released Version 1.1 of its 3D-compatible convolution reverb plug-in, Paragon. Included among the updates is the addition of outdoor impulse responses and improved balancing of early reflections. Version 1.1 also features new presets and an improved browser, with search, tagging and favorite functions. Unlike any other convolution reverb on the market, Paragon offers full control of the decay, room size and brightness via state-of-the-art re-synthesis modelled on 3D recordings of real spaces.
In the next edition of Post Break, Post New York Alliance’s free webinar series, Harbor Supervising sound editor/re-recording mixer Damian Volpe and re-recording mixer Rob Fernandez will discuss their longtime collaboration, workflows for Dolby Atmos and how COVID-19 has changed post-production sound forever. Gershon Hinkson will moderate the discussion.
As the owner of A Sound, one of Belgium’s leading post-production sound companies, Thierry De Vries leads a highly experienced team of sound designers, composers and re-recording mixers that over the past 25 years has worked on many features, shorts and television programs. These include such films as Torpedo, Gangsta, D'Ardennen, Matroesjka’s, Het Eiland and Professor T. De Vries most recently worked on the television series Fair Trade and the Spanish feature film, Libertad. De Vries has also worked on many commercials and museum projects.
The Motion Picture Sound Editors association has elected Steve Urban to a two-year term as vice president, succeeding Bernard Weiser. Additionally, Jeremy Gordon was reelected as treasurer and Christopher Reeves as sergeant-at-arms in the organization’s annual board elections. They join Mark A. Lanza, who continues in the role of president.
Audio challenges have inhibited wider acceptance of larger direct view displays because, unlike with acoustically transmissive projection screens, loudspeakers cannot be located directly behind the visual image. Placing screen channel loudspeakers around the display perimeter compromises uniformity of coverage, stability of image localization, and overall audio fidelity. To address this situation, Meyer Sound has introduced Ultra Reflex, a patent-pending solution for optimum reproduction of discrete screen channel audio on large-scale direct view video displays. For the initial launch period, Ultra Reflex solution is paired with Sony’s Crystal LED. The first joint installation for the two technologies is at a reference-level screening room and lab on the Netflix campus in Los Angeles.
Editorial and post-production finishing for the eight-episode, first season of the hit Starz series P-Valley was centered in New York as several Post New York Alliance member companies helped bring the fictional small town of Chucalissa, Mississippi vibrantly to life. New York City facilities Goldcrest Post, Harbor and Technicolor PostWorks each played a role in the project, as did Foley specialist Alchemy Post Sound and VFX studio The Molecule.
When Gene Martin, owner of Audio Department and Sound Guy Solutions, was presented with a technical nightmare for a commercial client in the early days of COVID, his sound mixer gears started turning. With scenes being shot in separate areas around the U.S., Martin had to juggle as many as 10 different drop kit audio packages at a time. As he was on-location with the main crew in California, he also had to account for remote workflows as well as social distancing protocols.