Editing Sound

“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.”

“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.

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.”

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.