A closer look at some London-based audio post studios - postPerspective. By Mel Lambert While in the UK recently for a holiday/business trip, I had the opportunity to visit several of London’s leading audio post facilities and catch up with developments among the Soho community.
‘Baby Driver’ I also met up with Julian Slater, a highly experienced supervising sound editor, sound designer and re-recording mixer who relocated to the US a couple of years ago, working first at Formosa Group and then at the Technicolor at Paramount facility in Hollywood. Slater was in London working on writer/director Edgar Wright’s action-drama Baby Driver, starring Lily James, Jon Hamm, Jon Bernthal and Jamie Foxx. The film follows the progress of a young getaway driver who, after being coerced into working for a crime boss, finds himself taking part in a heist that’s doomed to fail. Baby Driver is scheduled for UK and US release in August, and will be previewed in mid-March at the SXSW Film Festival in Austin. Slater is a multiple BAFTA and Emmy Award nominee. Warner Bros. (13) Spaceship Sound Design Tutorial with Marshall McGee. (60) The Beautiful Lies of Sound Design. What's that noise? A fun foley sound effects guessing game quiz from Blue Peter. - CBBC - BBC.
Video & Audio: "Auralities" The ‘Auralities’ research network is concerned with investigating, debating and understanding practices of audition, broadly conceived.
Our heading is necessarily in the plural: practices of audition are shaped by wider cultural practices that shift across different times and places; differences between ‘hearing’ and listening’ have preoccupied philosophers and scientists alike; and even definitions of sound itself presume a normalized baseline of human sound perception (traditionally cited as 20 Hz to 20,000 Hz), averaged across large populations.
On an individual level, too, pluralities prevail, as audition is typically understood as a psychoacoustic process that involves two ears – ‘binaurality’ – in which sound, space and time become closely entangled. Our seminar will explore these plural facets of sound, hearing and listening by bringing together scholars and practitioners from a range of disciplines across the humanities, social and natural sciences. Post Sound — The Rough Assembly. Todd Phillips talks directing Warner Bros.' Joker - postPerspective. By Iain Blair Filmmaker Todd Phillips began his career in comedy, most notably with the blockbuster franchise The Hangover, which racked up $1.4 billion at the box office globally.
He then leveraged that clout and left his comedy comfort zone to make the genre-defying War Dogs. Todd Phillips directing Joaquin Phoenix Joker puts comedy even further in his rearview mirror. This bleak, intense, disturbing and chilling tragedy has earned an astounding $1 billion worldwide since its release, making it the seventh-highest-grossing film of 2019 and the highest-grossing R-rated film of all time.
Directed, co-written and produced by Phillips, Joker is the filmmaker’s original vision of the infamous DC villain — an origin story infused with the character’s more traditional mythologies. Phoenix is joined by Oscar-winner Robert De Niro, who plays TV host Murray Franklin, and a cast that includes Zazie Beetz, Frances Conroy, Brett Cullen, Marc Maron, Josh Pais and Leigh Gill. (85) INDEPTH Sound Design. Instant dialogue cohesiveness. Operating Systems: Mac: OS X 10.9.5 Mavericks–macOS 10.14 Mojave PC: Win 7–Win 10 NOTE: Dialogue Match does not yet support Catalina.
We plan on having support for this product in the near future. Mixing for a rapidly growing Dolby Atmos world – Audio Media International. Tom Marks CAS, Los Angeles-based mixer for film, TV and music, offers his thoughts… With the rising trend of streaming platforms that provide instant access to millions of media files, viewers and listeners are no longer limited to what they can see or where they can see it.
They can have songs, movies and shows immediately transport them to other places and realities. IMMERSIVE SOUND FOR CINEMA - Mixonline. The introduction in 2005 of the Digital Cinema Initiatives standard brought with it the largest wholesale change in motion picture presentation since the arrival of widescreen cinema and stereophonic sound in 1953.
It differed greatly from the past because picture and sound specifications had already been carefully vetted by committees with an eye toward scalability of the DCPs (Digital Cinema Packages) that are sent to theaters. For the image, this meant 2k resolution was the minimum, but 4k was supported; in sound, all theaters were expected to have basic 5.1 systems, although the standard allowed for a total of 14 channels.
Two additional channels are reserved for mono mixes for hearing impaired and visually impaired patrons, the latter being narration on top of the mix. However, it was inevitable that variations would soon occur, and these were first in picture with various implementations of 3-D. Confused by Sound Mixing vs. Sound Editing? We’ve Got You. At last year’s Academy Awards, “Arrival” won the Oscar for best sound editing. This was not to be confused with the award for best sound mixing, which went to “Hacksaw Ridge.” This year, the same movies — “Baby Driver,” “Blade Runner 2049,” “Dunkirk,” “The Shape of Water” and “Star Wars: The Last Jedi” — are up for both awards.
So what’s the difference? Isn’t mixing levels a core part of sound editing? Not quite. The sound editing category used to be known as sound effect editing, which is actually the more apt name. It is left to the sound editors to put in other noise to complement the spoken words. Walter Murch, an Oscar-winning sound editor for “Apocalypse Now” and “The English Patient,” has likened the filling out of audio around dialogue to making a mosaic. In an interview posted by the Academy of Motion Picture Arts and Sciences, he explained, “I would say that 98 percent of all the sound that you hear in a film is added after the fact.”
Gary Rydstrom, Sound Designer ('Jurassic Park', 'Ready Player One') by Soundstage Access. Glossary of Sound Effects - Part 3 — Boom Box Post. Whinny: The sound of a horse Neigh, usually high in pitch.
Also look up: search neigh. Pat: The sound of a hand coming into contact with a surface, such as cloth, skin, wood, etc. Also look up: grab, touch, clasp, skin touch. Gallop: A fast walk cycle of a horse or other four legged creature, usually with 3-4 audible steps. Also look up: trot, canter, horse walk. Rise: A cinematic musical or tonal element ascending in pitch, usually for the purpose of creating suspense. Guts: Squishy, slimy, movement or impacts that are typically wet and gross sounding.
Industry Round Table: Audio Trends for 2020 and Beyond. The old saying goes, “Hindsight is 20:20.”
Poppycock! We say 2020 is for foresight! It’s amazing that we’re about to turn the page on the 20-teens already. Seems like just yesterday I needed to connect to my hardware interface via Firewire 400 cable just to be able to load Pro Tools 7.4. Now it’s common practice to pack an entire professional rig in a bag. In a decade where the audio industry has exploded and grown so much, we wanted to take a peek at where things stand today for the better, for the worse, and what can help us to push the industry forward into 2020 and beyond. We asked 10 incredible pros from various corners of the audio industry to weigh in with their thoughts, including Oscar, Emmy, Golden Reel, and GANG award winners alike. Soundworks Collection. Meet the man creating the trailers for your favorite movies. True Detective’s quiet, tense Emmy-nominated sound - postPerspective. By Jennifer Walden When there’s nothing around, there’s no place to hide.
That’s why quiet soundtracks can be the most challenging to create. Every flaw in the dialogue — every hiss, every off-mic head turn, every cloth rustle against the body mic — stands out. Every incidental ambient sound — bugs, birds, cars, airplanes — stands out. Boom Box Post at WAMCon Los Angeles: Sound for Picture — Boom Box Post. Last month, it was our pleasure to be part of WAMCon Los Angeles: Sound for Picture.
The conference serves women (cis-gender and trans, as well as non-binary and gender non-conforming individuals) who are interested in the recording arts and particularly the field of sound for picture. It was incredibly flattering to be a part of this sold-out event with talented men and women from Disney, Warner Bros, Skywalker Sound, and Dolby. A Little about Women’s audio mission If you don’t already know, Women’s Audio Mission (WAM) is a non-profit organization based out of San Francisco/Oakland which offers a working recording studio operated by women as well as multiple training programs, classes, and a kick-ass internship program. They offer a safe and comfortable space for women to learn the craft of audio, and actively work to place those newly trained women. A Little About Boom Box Post. Tips and thoughts on running your own audio post production house - with William McGuigan: If you're running a smaller audio post production company, how do you thrive and grow when you're in an industry with many, much-larger players?
That's what Doug Siebum set out to find out with this interview, centered around the topic of 'subversion': Here, he speaks with William McGuigan who has been doing post sound for over 12 years and is the proud owner of Gypsy Sound in Los Angeles. His credits include Chef's Table, The Kings of Summer, You're the Worst, Stan Against Evil, and, through Skywalker Sound, Kong: Skull Island. Written by Doug Siebum, photo by Johnny McPheeters. Sound Effect Special. Idris Elba and Gary Reich talk about creating Netflix’s Turn Up Charlie. By Iain Blair Idris Elba has always excelled at playing uber-cool, uber-controlled characters — often villains and troubled souls, such as drug lord Stringer Bell on HBO’s The Wire, detective John Luther on the BBC’s Luther, and the war lord in the harrowing feature film Beasts of No Nation.
No wonder everyone thinks he’d be perfect as the next uber-sexy Bond. Making Waves. Walter Murch: Godfather of Modern Sound Reflects On a Career. Before kicking off his on-stage interview with Francis Ford Coppola following the Tribeca Film Festival premiere of Coppola’s seminal “Apocalypse Now: Final Cut,” fellow director Steven Soderbergh took a moment to recognize one of the film’s key collaborators who was seated in the sold-out Beacon Theater audience.
“His onscreen credits don’t really describe fully his influence or his abilities,” Soderbergh told the crowd. “He’s a filmmaker in his own right, an author, he’s also, for a lot of people of my generation and yours [Coppola], a sound and image guru: Walter Murch.” Fittingly enough, just one night later, the first documentary about Hollywood sound design, “Making Waves,” also premiered at Tribeca, in which Murch’s colleagues make the full-throated case that he is the godfather of the modern movie sound. Screenwriting For Sound – randythomblog. Pick a character in your script. What can we invent for her to hear that will tell us something about her? How might her perception of that sound, or memory of that sound change from early in the story to late in the story? What can that change tell us about who she has become? Employee Spotlight: Robbie Elias - 343 Industries.
Videos: Sound Mixing and Sound Editing explained - by the legendary Walter Murch: Wonder Park’s whimsical sound. By Jennifer Walden The imagination of a young girl comes to life in the animated feature Wonder Park. A Paramount Animation and Nickelodeon Movies film, the story follows June (Brianna Denski) and her mother (Jennifer Garner) as they build a pretend amusement park in June’s bedroom. We've worked out John Williams' secret to writing a film score, and it's... Hulu’s PEN15: Helping middle school sound funny. By Jennifer Walden Being 13 years old once was hard enough, but the creators of the Hulu series PEN15 have relived that uncomfortable age — braces and all — a second time for the sake of comedy. Providing audio post for Three Identical Triplets documentary.
BBC Arts - BBC Arts - Are smartphones the future of filmmaking? (121) Top 10 Best Sound Designed Films of All Time. The School of Sound. How television used to be made – ADAPT: Researching the history of television production technology. Spider-Man Into the Spider-Verse: sound editors talk ‘magical realism’ Recreating authentic soundscapes for A Private War. White Mark designs five Dolby Atmos theatres for London-based audio facility. Acoustic consultancy White Mark has helped Pixelogic transform a former office building in London’s West End into a state of the art facility for content localisation and distribution. Working closely with Laurence Claydon, Pixelogic’s technical consultant and programme manager, White Mark has designed and installed five Dolby Atmos approved sound mixing and screening theatres, each of which supports a variety of immersive audio formats and is equipped with the latest laser projector technology for 4K and HDR.
How do film budgets change as they grow? Unique opportunity: Watch the full 'Actors of Sound - a Foley Art Documentary' here, for a limited time: Sound in Hanna-Barbera. There is an odd overlap of desire and embarrassment in the critical and affective responses of many a person of a certain age to the cartoons of Hanna-Barbera. As Patrick Sullivan aptly points out, cartoons such as The Jetsons (1962-1963) or Jonny Quest (1964-1965) are derided for their clumsy limited motion, their almost offhand efforts to sync their sound, especially their dialogue, to that jerky motion.
Yet as relics of the early days of television, and (if you believe parents) of misspent Saturday mornings, a lingering fondness attaches to them—to the snappy dialogue and hackneyed sitcom plots somehow made child-friendly through the halting physicality of their characters. Audio post pro Julienne Guffain joins Sonic Union. AES/SMPTE panel: Spider-Man: Into the Spider-Verse sound. Sundance: Audio post for Honey Boy and The Death of Dick Long. Film Genre Popularity - 1910-2018 - Bo McCready.
Sundance 2019: Creating sound for The Sound of Silence - Randi Altman's postPerspective. How to sound design magic spell sound effects. Behind the Title: Mr. Bronx sound designer/mixer Dave Wolfe - Randi Altman's postPerspective. David White details the pressures on sound professionals - IF Magazine. First Man: Historical fiction meets authentic sound - Randi Altman's postPerspective. The Shining Recut, HD. Nugen Halo Upmix delivers scarily good audio for The Haunting of Hill House. Sound Effects Master Class with Mark Mangini.
From Script to Final Mix: Enos Desjardins on how story informs sound design for film & TV. Tsugi : Software for Creatives. Behind the Title: Sim re-recording mixer Sue Pelino - Randi Altman's postPerspective. Report: Sound for Film & TV conference - Randi Altman's postPerspective. Music recording Industry Insight: What can we learn from the past 20 years? - Audio Media International. Sonic/Temporal Ambiguity as Evidence of Psychosis in Martha Marcy May Marlene. iZotope RX 7 Advanced. Creating super sounds for Disney XD’s Marvel Rising: Initiation - Randi Altman's postPerspective. Rex Recker's mix and sound design for new Sunoco spot - Randi Altman's postPerspective. The rise of retro filmmaking and resurgence of Super 8. Behind the Title: Heard City mixer Elizabeth McClanahan - Randi Altman's postPerspective. Enhancing BlacKkKlansman’s tension with Foley - Randi Altman's postPerspective.
Acting auditions, Film & TV Crew jobs, Guides & Tips. The Meg: What does a giant shark sound like? - Randi Altman's postPerspective. Audiomediainternational. Behind the Title: Grey Ghost Music mix engineer Greg Geitzenauer. Netflix’s Lost in Space: New sounds for a classic series. Kotaku. Behind the Title: Sim's supervising sound editor David McCallum. Pacific Rim: Uprising's big sound. BBC Sound Effects Player. The Force of Sound: Creating sounds in a galaxy far, far away Video.
Filmschoolthrucommentaries. Sound Reality: Clint Eastwood's The 15:17 to Paris. Ren Klyce: Mixing the score for Star Wars: The Last Jedi. Feature: Inside the world of Location Recorders. Archive — Twenty Thousand Hertz. The Open Acoustic Impulse Response Library. Six Best Uses Of Classical Music In Tom and Jerry Cartoons. PMC 5.1 system helps sound recordist deliver immersive seminar experience. The challenges of dialogue and ice in Game of Thrones 'Beyond the Wall' Richard King talks sound design for Dunkirk. Soho post firms under threat. Behind the Title: Butter Music and Sound's Chip Herter. Grand Central Recording Studios sets sights on VR audio with new studio. Storage in the Studio: Post Houses. Spatial Awareness: Inside the world of immersive sound designAudio Media International - News. Mixing the sounds of history for Marshall. AMI December 2017 Digital Edition by NewBay Europe. Halo carries out major £300k upgrade to its Studio 1 film dubbing stage.
Are audiences tiring of 3D movies? Walter Murch: A Conversation With The Legendary Sound Designer, Feature. Edgar Wright On Turning Sound Into Cinematic Poetry In ‘Baby Driver’: Podcast. Warner Bros to open major Soho post facility. Creating sounds for Battle of the Sexes. Creating sounds for Battle of the Sexes.