Currently in worldwide release from Columbia Pictures, director Will Gluck’s Peter Rabbit 2: The Runaway is the charming sequel to the 2018 hit about a bunny who’s a loveable rogue. Much of the creative team from the first film reunited for the new movie, including its award-winning sound team led by re-recording mixer Kevin O’Connell, supervising sound editor Robert Mackenzie and re-recording mixer/supervising Andy Wright.
“We are a little team of three here, so, we all wear many hats,” says Mirza Tahirovic, co-owner of Studio Chelia, a professional audio post-production facility in Sarajevo, Bosnia. “I’m a composer, sound editor and recording mixer, but I also do ADR recordings and other corrections when necessary.”
DTS today announced the first DTS:X quality control screening room in Japan has opened at Imagica Entertainment Media Services, Japan's largest post-production facility.
“Sound is important in all films, but in a supernatural thriller, it’s gigantic,” says writer/director Evan Spiliotopoulos, talking about his new film The Unholy. “What you hear and what you don’t hear are essential to crafting scares.” The new Screen Gems thriller follows Alice, a young hearing-impaired girl who, after a supposed visitation from the Virgin Mary, is inexplicably able to hear, speak and heal the sick. As word spreads and people from near and far flock to witness her miracles, a disgraced journalist hoping to revive his career visits the small New England town to investigate.
Re-recording mixer Frank Morrone has earned himself an extensive resume through his work with Todd AO and Technicolor, which includes projects from high-profile directors like Ron Howard and Tim Burton. In addition to his residency at the acclaimed post house, Morrone also works independently from his home studio for a wide array of film projects.
This week, the Motion Picture Sound Editors will present George Miller with its annual Filmmaker Award, the organization’s highest honor. The Australian director is being recognized for a diverse body of work that includes Happy Feet (an Academy Award-winner for Best Animated Feature), Babe: A Pig in the City and Lorenzo’s Oil, as well as Mad Max and its three sequels. Miller has called his masterpiece, Mad Max: Fury Road, “A movie we see with our ears.”
Pace Pictures provided complete post-production services for Tremors: Shrieker Island, the latest installment in the cult horror franchise about giant, worm-like creatures that prey on humans.
As the industry continues to transition towards IP-based solutions, many integrators have found themselves limited by budget-related restrictions. Diversified, a global technology solutions provider, recently ran into this challenge when it came to a project at BerkleeNYC, a campus-based recording studio formerly known as Avatar Studios. In the process of building a cost-effective IP network for the school’s renowned Power Station recording studio, Diversified turned to TSL Products to provide an IP routing interface that marries TSL’s virtual control processor, the GTP-V1, and its renowned Virtual Panels into a solution that TSL has coined, IP-Cross Connect.
As one of the preeminent feature film re-recording mixers working today, two-time British Academy of Film and Television Arts Award nominee Jaime Baksht has spent almost three decades behind the re-recording console, credited for mixing I Am No Longer Here (2020, Ariel Award Best Sound), Pan’s Labyrinth (2006, BAFTA Nominee, Goya Winner Best Sound), and Darius Marder’s directorial debut Sound of Metal (2021, BAFTA, CAS, AMPS Sound Nominee). Most recently, he received an Oscar nomination for Best Sound for his work on Sound of Metal. In film work, he says, every emotion sounds different.
Allison Casey is the owner and senior mixer of Gramercy Post in New York City. She first began working there as an intern in 2008, when she was just 22. While she later switched to freelancing, she continued to keep a close relationship with the company and its founder, Joe Mendelson. Toward the end of 2012, Mendelson decided to retire from sound and sell Gramercy to her. She says that since he’d been able to train her from the ground up and knew they had similarly intense work ethics, she thinks he knew his studio would be in good hands. In the wake of this week’s celebration of International Women’s Day, I spoke with Casey about her career, about how far women and other minority groups have advanced in production and post-production, and how far they have to go to reach full equality in the industry.