24 blog posts found matching keyword search for: Sound Editors
When it comes to bringing a story to life with sound, there's more to it than meets the eye... or ear. Woody Woodhall, CAS is President of Allied Post Audio in Santa Monica, CA and is an award winning supervising sound editor, sound designer and rerecording mixer. He has sound supervised and mixed feature films, documentaries and for television he’s VO recorded, sound edited and mixed hundreds of episodes of programming for MTV, Comedy Central, Food Network, Nat Geo, History, USA Network and VH-1 to name a few.
Every winter in Utah, the Sundance Film Festival becomes the ultimate gathering of original storytellers and audiences. The festival includes dramatic and documentary features and short films; series and episodic content; and New Frontier, showcasing emerging media in the form of multimedia installations, performances, and films. When you attend Sundance, you can expect to attend daily filmmaker conversations, panel discussions, and live music events.
by N. HalpernThe Sony Pictures Sound Effects Series is a ten-volume collection of sound effects, foley, and sound design elements. This wide-ranging collection takes its material directly from the vaults of Sony Pictures Entertainment; unsurprisingly, the quality of the material is uniformly top notch. Besides being a nice potential additional to a sound designer or mixer’s arsenal, this is also an excellent commercial library for quick access for editors, producers, theater producers, and even composers (more on that later) who need to take sound matters into their own hands.
by Bradford HillSession Notes from "How SNL Produces Short Films in 48 Hours or Less" at the NAB Show. Speakers: George Winslow, Rhys Thomas, Stacey Foster, Alex Buono, Adam Epstein(Basically, the SNL Film unit produces killer shorts in less than the time it took me to write these session notes). First, they kicked off the session with a montage of some of the best recent SNL shorts, including ‘Red Flag’, “Sopranos Diaries” and the “Real Housewives of Disney”. See More Here: http://www.rhyst.com/filter/snlThen they showed my personal favorite, the Louie CK parody “Lincoln.”How many of you would have guessed that happened in the wake of Sandy? More to come on that later.
As recently as a couple of years ago, it was generally thought that immersive formats such as Dolby Atmos can only be used on big studio productions. Now, this is not necessarily true. Here’s a story of how a short passion project grew into a full-blown Hollywood production and how using Avid Pro Tools native support for Dolby Atmos allowed us to push the boundaries on a proof of concept.
Netflix, the on-demand streaming service, has produced a streak of compelling original programming that pleases both critics and consumers. House of Cards. Orange Is The New Black. And now, Daredevil, the story of a blind, crime-fighting vigilante who protects the Hell's Kitchen neighborhood of Manhattan.
When the critically acclaimed action film Baby Driver hit the big screen, audiences got to experience a number of heart pounding, in-your-face motor vehicle sound effects courtesy of Sound Designer/Composer Watson Wu. In order to capture the pristine vehicle sounds, Wu, long regarded as one of the industry leaders in field recording, relied on his trusted equipment from DPA Microphones. He answered a few questions about working on the film and how he got the sounds just right.
A 2001 graduate of Full Sail University, Frank Scheuring has worked in sound for television and film for nearly 15 years. During that time he has been a part of over 1,300 programs for clients such as Discovery, the National Geographic Channel, FOX, TLC, PBS, G4TV, the Smithsonian Channel, and a slew of independent directors and producers. In addition to his long form work, he has worked on hundreds of commercials and marketing videos for clients such as the Washington Capitals, Washington Wizards, Pfizer, Ford, and many political candidates. In 2014 Frank stepped into the world of producing with a TV series pilot called "Speed Freaks: The Science of Speed" and in 2015 produced his first feature length documentary, "Blood and Steel: Cedar Crest Country Club".
Editors, Sound Designers & VFX Artists Share Their Secrets at MEW’s 6/8 EventBy N. HalpernOn June 18th, the Manhattan Edit Workshop presented “Inside the Cutting Room: Sight, Sound and Story,” a series of panels on post-production techniques. The day’s events included panels that ran the gamut from picture editing, to sound design and visual effects. Here are some highlights from the day’s panels.In the afternoon panel “Anatomy of a Scene: Documentary and Narrative Editors Deconstruct their Work” film editors Michael Berenbaum, David Tedeschi, Jeffrey Wolf, and David Zieff screened and discussed sequences from documentary and narrative film projects, charting the processes of their respective developments.
Adding music to a film can add power and interest to the production. And when the music is an integral part of the story, the power is multiplied. Filmmakers, creative editing company editors and sound engineers need to work together to realize the full advantages of using music in their film.