Tag Archives: Formosa Group

Focusing on sound bars at CES 2017

By Tim Hoogenakker

My day job is as a re-recording mixer and sound editor working on long-form projects, so when I attended this year’s Consumer Electronics Show in Las Vegas, I honed in on the leading trends in home audio playback. It was important for me to see what the manufacturers are planning regarding multi-channel audio reproduction for the home. From the look of it, sound bars seem to be leading the charge. My focus was primarily with immersive sound bars, single-box audio components capable of playing Dolby Atmos and DTS:X as close as they can in their original format.

Klipsch TheaterBar

Klipsch Theaterbar

Now I must admit, I’ve kicked and screamed about sound bars in the past, audibly rolling my eyes at the concept. We audio mixers are used to working in perfect discrete surround environments, but I wanted to keep an open mind. Whether we as sound professionals like it or not, this is where the consumer product technology is headed. That and I didn’t see quite the same glitz and glam over discrete surround speaker systems at CES.

Here are some basic details with immersive sound bars in general:

1. In addition to the front channels, they often have up-firing drivers on the left and right edges (normally on the top and sides) that are intended to reflect onto the walls and the ceiling of the room. This is to replicate the immersiveness as much as possible. Sure this isn’t exact replication, but I’ll certainly give manufacturers praise for their creativity.
2. Because of the required reflectivity, the walls have to be of a flat enough surface to reflect the signal, yet still balanced so that it doesn’t sound like you’re sitting in the middle of your shower.
3. There is definitely a sweet spot in the seating position when listening to sound bars. If you move off-axis, you may experience somewhat of a wash sitting near the sides, but considering what they’re trying to replicate, it’s an interesting take.
4. They usually have an auto-tuning microphone system for calculating the room for the closest accuracy.
5. I’m convinced that there’s a conspiracy by the manufacturers to make each and every sound bar, in physical appearance, resemble the enigmatic Monolith in 2001: A Space Odyssey…as if literally someone just knocked it over.

Yamaha YSP5600

My first real immersive sound bar experience happened last year with the Yamaha YSP-5600, which comes loaded with 40 (yes 40!) drivers. It’s a very meaty 26-pound sound bar with a height of 8.5 inches and width of 3.6 feet. I heard a few projects that I had mixed in Dolby Atmos played back on this system. Granted, even when correctly tuned it’s not going to sound the same as my dubbing stage or with dedicated home theater speakers, but knowing this I was pleasantly surprised. A few eyebrows were raised for sure. It was fun playing demo titles for friends, watching them turn around and look for surround speakers that weren’t there.

A number of the sound bars displayed at CES bring me to my next point, which honestly is a bit of a complaint. Many were very thin in physical design, often labeled as “ultra-thin,” which to me means very small drivers, which tells me that there’s an elevated frequency crossover line for the subwoofer(s). Sure, I understand that they need to look sleek so they can sell and be acceptable for room aesthetics, but I’m an audio nerd. I WANT those low- to mid-frequencies carried through from the drivers, don’t just jam ALL the low- and mid-frequencies to the sub. It’ll be interesting to see how this plays out as these products reach market during the year.

Sony HTST 5000

Besides immersive audio, most of these sound bars will play from a huge variety of sources, formats and specs, such as Blu-ray, Blu-ray UHD, DVD, DVD-Audio, streaming via network and USB, as well as connections for Wi-Fi, Bluetooth and 4K pass-through.

Some of these sound bars — like many things at CES 2017 — are supported with Amazon Alexa and Google Home. So, instead of fighting over the remote control, you and your family can now confuse Alexa with arguments over controlling your audio between “Game of Thrones” and Paw Patrol.

Finally, I probably won’t be installing a sound bar on my dub stage for reference anytime soon, but I do feel that professionally it’s very important for me to know the pros and the cons — and the quirks — so we can be aware how our audio mixes will translate through these systems. And considering that many major studios and content creators are becoming increasingly ready to make immersive formats their default deliverable standard, especially now with Dolby Vision, I’d say it’s a necessary responsibility.

Looking forward to seeing what NAB has up its sleeve on this as well.

Here are some of the more notable soundbars debuted:

LG SJ9

Sony HT-ST5000: This sound bar is compatible with Google Home. They say it works well with ceilings as high as 17 feet. It’s not DTS:X-capable yet, but Sony said that will happen by the end of the year.LG SJ9: The LG SJ9 sound bar is currently noted by LG as “4K high resolution audio” (which is an impossible statement). It’s possible that they mean it’ll pass through a 4K signal, but the LG folks couldn’t clarify. That snafu aside, it has a very wide dimensionality, which helps for stereo imaging. It will be Dolby Vision/HDR-capable via a future firmware upgrade.

The Klipsch “Theaterbar”: This another eyebrow raiser. It’ll release in Q4 of 2017. There’s no information on the web yet, but they’re showcasing this at CES.

Pioneer Elite FS-EB70: There’s no information on the web yet, but they were showcasing this at CES.

Onkyo SBT-A500 Network: Also no information but it was shown at CES.


Formosa Group re-recording mixer and sound editor Tim Hoogenakker has over 20 years of experience in audio post for music, features and documentaries, television and home entertainment formats. He had stints at Prince’s Paisley Park Studios and POP Sound before joining Formosa.

The sound of fighting in Jack Reacher: Never Go Back

By Jennifer Walden

Tom Cruise is one tough dude, and not just on the big screen. Cruise, who seems to be aging very gracefully, famously likes to do his own stunts, much to the dismay of many film studio execs.

Cruise’s most recent tough guy turn is in the sequel to 2014’s Jack Reacher. Jack Reacher: Never Go Back, which is in theaters now, is based on the protagonist in author Lee Child’s series of novels. Reacher, as viewers quickly find out, is a hands-on type of guy — he’s quite fond of hand-to-hand combat where he can throw a well-directed elbow or headbutt a bad guy square in the face.

Supervising sound editor Mark P. Stoeckinger, based at Formosa Group’s Santa Monica location, has worked on numerous Cruise films, including both Jack Reachers, Mission: Impossible II and III, The Last Samurai and he helped out on Edge of Tomorrow. Stoeckinger has a ton of respect for Cruise, “He’s my idol. Being about the same age, I’d love to be as active and in shape as he is. He’s a very amazing guy because he is such a hard worker.”

The audio post crew on ‘Jack Reacher: Never Go Back.’ Mark Stoeckinger is on the right.

Because he does his own stunts, and thanks to the physicality of Jack Reacher’s fighting style, sometimes Cruise gets a bruise or two. “I know he goes through a fair amount of pain, because he’s so extreme,” says Stoeckinger, who strives to make the sound of Reacher’s punches feel as painful as they are intended to be. If Reacher punches through a car window to hit a guy in the face, Stoeckinger wants that sound to have power. “Tom wants to communicate the intensity of the impacts to the audience, so they can appreciate it. That’s why it was performed that way in the first place.”

To give the fights that Reacher feel of being visceral and intense, Stoeckinger takes a multi-frequency approach. He layers high-frequency sounds, like swishes and slaps to signify speed, with low-end impacts to add weight. The layers are always an amalgamation of sound effects and Foley.

Stoeckinger prefers pulling hit impacts from sound libraries, or creating impacts specifically with “oomph” in mind. Then he uses Foley to flesh out the fight, filling in the details to connect the separate sound effects elements in a way that makes the fights feel organic.

The Sounds of Fighting
Under Stoeckinger’s supervision, a fight scene’s sound design typically begins with sound effects. This allows his sound team to start immediately, working with what they have at hand. On Jack Reacher: Never Go Back this task was handed over to sound effects editor Luke Gibleon at Formosa Group. Once the sound effects were in place, Stoeckinger booked the One Step Up Foley stage with Foley artist Dan O’Connell. “Having the effects in place gives us a very clear idea of what we want to cover with Foley,” he says. “Between Luke and Dan, the fight soundscapes for the film came to life.”

Jack Reacher: Never Go BackThe culminating fight sequence, where Reacher inevitably prevails over the bad guy, was Stoeckinger’s favorite to design. “The arc of the film built up to this fight scene, so we got to use some bigger sounds. Although, it still needed to seem as real as a Hollywood fight scene can be.”

The sound there features low-frequency embellishments that help the audience to feel the fight and not just hear it. The fight happens during a rowdy street festival in New Orleans in honor of the Day of the Dead. Crowds cavort with noisemakers, bead necklaces rain down, music plays and fireworks explode. “Story wise, the fireworks were meant to mask any gunshots that happened in the scene,” he says. “So it was about melding those two worlds — the fight and the atmosphere of the crowds — to help mask what we were doing. That was fun and challenging.”

The sounds of the street festival scene were all created in post since there was music playing during filming that wasn’t meant to stay on the track. The location sound did provide a sonic map of the actual environment, which Stoeckinger considered when rebuilding the scene. He also relied on field recordings captured by Larry Blake, who lives in New Orleans. “Then we searched for other sounds that were similar because we wanted it to sound fun and festive but not draw the ear too much since it’s really just the background.”

Stoeckinger sweetened the crowd sounds with recordings they captured of various noisemakers, tambourines, bead necklaces and group ADR to add mid-field and near-field detail when desired. “We tried to recreate the scene, but also gave it a Hollywood touch by adding more specifics and details to bring it more to life in various shots, and bring the audience closer to it or further away from it.”

Jack Reacher: Never Go BackStoeckinger also handled design on the film’s other backgrounds. His objective was to keep the locations feeling very real, so he used a combination of practical effects they recorded and field recordings captured by effect editor Luke Gibleon, in addition to library effects. “Luke [Gibleon] has a friend with access to an airport, so Luke did some field recordings of the baggage area and various escalators with people moving around. He also captured recordings of downtown LA at night. All of those field recordings were important in giving the film a natural sound.”

There where numerous locations in this film. One was when Reacher meets up with a teenage girl who he’s protecting from the bad guys. She lives in a sketchy part of town, so to reinforce the sketchiness of the neighborhood, Stoeckinger added nearby train tracks to the ambience and created street walla that had an edgy tone. “It’s nothing that you see outside of course, but sound-wise, in the ambient tracks, we can paint that picture,” he explains.
In another location, Stoeckinger wanted to sell the idea that they were on a dock, so he added in a boat horn. “They liked the boat horn sound so much that they even put a ship in the background,” he says. “So we had little sounds like that to help ground you in the location.”

Tools and the Mix
At Formosa, Stoeckinger has his team work together in one big Avid Pro Tools 12 sessions that included all of their sounds: the Foley, the backgrounds, sound effects, loop group and design elements. “We shared it,” he says. “We had a ‘check out’ system, like, ‘I’m going to check out reel three and work on this sequence.’ I did some pre-mixing, where I went through a scene or reel and decided what’s working or what sections needed a bit more. I made a mark on a timeline and then handed that off to the appropriate person. Then they opened it up and did some work. This master session circulated between two or three of us that way.” Stoeckinger, Gibleon and sound designer Alan Rankin, who handled guns and miscellaneous fight sounds, worked on this section of the film.

All the sound effects, backgrounds, and Foley were mixed on a Pro Tools ICON, and kept virtual from editorial to the final mix. “That was helpful because all the little pieces that make up a sound moment, we were able to adjust them as necessary on the stage,” explains Stoeckinger.

Jack Reacher: Never Go BackPremixing and the final mixes were handled at Twentieth Century Fox Studios on the Howard Hawks Stage by re-recording mixers James Bolt (effects) and Andy Nelson (dialogue/music). Their console arrangement was a hybrid, with the effects being mixed on an Avid ICON, and the dialogue and music mixed on an AMS Neve DFC console.

Stoeckinger feels that Nelson did an excellent job of managing the dialogue, particularly for moments where noisy locations may have intruded upon subtle line deliveries. “In emotional scenes, if you have a bunch of noise that happens to be part of the dialogue track, that detracts from the scene. You have to get all of the noise under control from a technical standpoint.” On the creative side, Stoeckinger appreciated Nelson’s handling of Henry Jackman’s score.

On effects, Stoeckinger feels Bolt did an amazing job in working the backgrounds into the Dolby Atmos surround field, like placing PA announcements in the overheads, pulling birds, cars or airplanes into the surrounds. While Stoeckinger notes this is not an overtly Atmos film, “it helped to make the film more spatial, helped with the ambiences and they did a little bit of work with the music too. But, they didn’t go crazy in Atmos.”

Formosa Group outgrowing space, moving to new home in 2017

In early 2017, Formosa Group will be moving their home base from West Hollywood to a new creative office campus at 959 North Seward Street, named Hollywood 959. The audio post house will be taking up two floors of the green building, which has LEED Silver certification.

“Over the three years since our initial launch, we’ve experienced tremendous growth,” says Robert C. Rosenthal, CEO of Formosa Group. “As our requirements on The Lot expanded, we grabbed edit/office space where we could, resulting in us residing in multiple buildings. This move will allow us to be in a contiguous space with sound editorial, operations and administration together.”

After the move, the company will have over 30,000 square feet at Hollywood 959, covering sound design, sound and music editorial, mixing — there will be multiple Atmos sound design rooms and one Atmos mixing environment — and ADR capabilities, along with administrative and support staff. The new creative campus itself features large outdoor gathering areas, an on-site commissary and ample parking.

Formosa will continue to operate its other facilities in West Hollywood, Santa Monica, West LA and Burbank.

Playing in a sonic sandbox for ‘Batman v Superman’

Formosa Group’s Scott Hecker on creating iconic sounds

By Jennifer Walden

If you’re looking to see a deep, intellectual movie, you might want to skip Batman v Superman: Dawn of Justice. But if it’s action you are after, buy your ticket and enjoy the ride. Directed by Zack Snyder — who has helmed 300, Dawn of the Dead, Watchmen, Sucker Punch and Man of Steel — this film tries to answer the age-old question asked on playgrounds and in bars worldwide: “Who would win in a fight? Batman or Superman?”

For Warner Bros.’ Batman v Superman, Snyder called on his go-to supervising sound editor/designer Scott Hecker from Santa Monica’s Formosa Group — Hecker has worked on all of the Snyder films mentioned above, and more. “His vision is amazing,” Hecker says of Snyder. “It’s always fun to see what he puts on screen. It’s just a treat for a sound designer to dig his teeth into an amazing film like this.”

Scott Hecker

Scott Hecker

The Sound of Superheroes
Hecker’s sound design work on Man of Steel paved the way for Batman v Superman. The sounds from both films are the start of a growing library that will define the ensuing DC Comic films coming via Warner Bros. On Man of Steel, Hecker says they created Superman’s unique flying sounds by processing numerous wind and whoosh effects, but there was one throwback ingredient they included to make the flying sounds authentically Superman. “There’s a bit of the George Reeves flying sound from the original Superman TV series. The sound isn’t dominant, but we just had to include it. If you hear it you know exactly what it is and where it is from,” says Hecker.

Other superheroes and villains take the screen in Batman v Superman, including Wonder Woman (Gal Gadot), who is the focus of the next feature film in the series. Knowing that, Hecker paid special attention to Wonder Woman’s characteristic sounds. “They are presently shooting Wonder Woman in the UK. So while we were working on Wonder Woman’s sounds for this film, we wanted to come up with something that could hopefully carry forward, because the next film is entirely based on Wonder Woman. Her sounds weren’t just a one-off in this film.”

Power Blast!
Wonder Woman has two main sound elements to her superpower. There is the clank of her wristbands followed by a power blast. For the wristband clank, Hecker says he and his sound designer Chuck Michael searched far and wide to find a sound that was feminine, magical and tonally pleasing. “The final sound is a really powerful, solid metallic clank. It has a cool ring to it and it has a tone to it, instead of it just sounding like a normal metal hit. It sounds feminine and powerful with a cool tone.”

For the power blast, “we were thinking that it needed to feel magical, like a superpower, and not something earthly,” says Hecker. To achieve an interesting tonal feel without being overly musical, they processed different gongs and bells by manipulating the pitch and speed, and added modulation using Waves MondoMod and other plug-ins.

“It has a stuttering effect to make it feel like it is emulating a force. It’s unique, and it sounds powerful and magical at the same time,” says Hecker, who feels that designing superhero sounds is part skill and part serendipity. “It’s like playing in a sonic sandbox. You just keep experimenting with things until all the sudden it’s like sonic alchemy — a beautiful accident happens and you go, ‘Wow that was cool! What did we just do?” That happens for a lot of what we do and that’s the fun of it. It really is a lot of experimentation and just playing until something tickles your funny bone and you feel good about it.”

The Batmobile
Batman (Ben Affleck) may not have superpowers, but he’s super rich and super smart, and that’s good enough for gaining entry into the crime-fighting game. Sound-wise, Hecker wanted to reflect Bruce Wayne’s refined sense of style in Batman’s arsenal of high-tech gear, including his sweet ride — the Batmobile.

“We recorded the Batmobile on-location in Detroit, which was really exciting,” explains Hecker. “In putting that production vehicle together, they had to invert and reverse the transmission. On a technical level, I don’t know why they did it but it created this interesting sound. When I heard a sample of this reversed transmission, with this reversed whine and pitched-up characteristic to it — I thought there is a lot of promise there.”

He sent sound effects recordist John Fasal to Detroit to capture every sound he could from the Batmobile. There was just one stipulation: since they didn’t want to risk breaking the vehicle before they had a chance to shoot the scenes, they only allowed Fasal to capture the recordings during the vehicle tests. “They were constantly testing the vehicle to make sure it could withstand the various stunts and maneuvers that were required in the chase scenes. So they allowed John to put as many mics as he wanted on the car, in the car, on the engine and the tailpipe, but he couldn’t dictate what he wanted the car to do. He could just be there and capture as many sounds as he was able to capture.”

With the Batmobile miked up, Fasal was free to capture all the exterior sounds too, like pass-bys, drive-ups, pull-aways, engine starts and stops.

Back at Formosa, Hecker and his sound team layered the recordings of the Batmobile’s inverted transmission whine with the engine sounds of a Shelby Series 1. “It’s a powerful car, but it has this sleek power to it that works well with the high-pitched whine that was created from the inverted transmission of the Batmobile,” says Hecker. “I’m really happy that they had to do that to the car to make it work for them because otherwise we would’ve been missing a critical element to the sound. I think for other permutations of the Batmobile, in previous films, those sound crews were using jet turbine whines. One thing I always want to avoid is doing something that other people have done before. So this helped us to be original and authentic. It was a win-win.”

Fights
For the hand-to-hand combat sequences, Hecker turned to his brother Gary Hecker, a supervising Foley artist at Sony Pictures who has a flair for action films. “I love the process of Foley, and especially being able to work with my brother Gary. He was the perfect guy to get into that action film mode,” says Hecker.

Besides the footsteps and normal hand props, they created new punches, hits, crashes and also cape sounds. “We have Batman’s cape and Superman’s cape — that made everything have a very visceral feel. You actually feel the movement and the characters’ presence in these fights too.” The final combat tracks are a combination of Foley and sound effects tailored to fit the unique qualities of each fight scene. “There are about four fight scenes in the film and they are all different. It’s not just your standard punches and hits. They all have a slightly different feel stylistically. Zack is very smart about that. He has such a colorful vision and he keeps things fresh and fun.”

During the film’s epic battle sequences, there is the potential to go full-bore all the time. Add to that the soaring score by Hans Zimmer and Junkie XL, which at times reaches operatic heights, and you get what Jimmy Fallon called, “One of the loudest movies I’ve ever seen… in a great way.”

The Mix
Hecker admits it was super challenging to build a dynamic track. “One way that we modulated it was by really changing things up for the various confrontations, fights and action scenes,” he says. On some scenes the effects would drive the mix, and in other scenes the music would lead. They could create shifts in the intensity by having the music and the effects hand-off from one to the other. “As soon as you start hearing operatic motifs in the music, you just know you don’t want to hear a bunch of loud sound effects. So in those situations we turned to using more impressionistic action sounds versus literal punches and hits and crashes.”

Batman V. Superman: Dawn Of Justice

On Warner Bros. dub Stage 9, re-recording mixers Chris Jenkins (dialogue/music) and Michael Keller (sound effects/Foley) were tasked with finding harmony among all the elements competing for the same sonic space. “In areas where there are less interesting sound design or effects, we just let the music lead. When in doubt, the music will usually predominate, as it should. It’s a really beautiful score,” says Hecker.

There are definitely areas of the film that get loud but they don’t stay loud. The mixers tried to achieve an intense feeling without hitting levels that would abuse the audience. The loud sections pop in and pop out, giving the audience sonic breaks. Hecker explains the approach on the climactic third act confrontation, where Wonder Woman comes in. “Her theme comes in and the score turns operatic. We got very impressionistic there because by then, throughout the whole film, we had a lot of opportunities for vibrant, colorful, powerful action sounds. By the third act we really wanted to hand-off to music a bit more for the climax.”

Once Jenkins and Keller crafted the final soundtrack on Stage 9, they transferred everything over to Warner Bros. Stage 10 for the Dolby Atmos mix.

“I’m thrilled that audiences are finally able to enjoy our team’s hard work on the film. And as far as what’s sonically in store for the other DC Comics characters, we’re just rolling up our sleeves,” concludes Hecker.

Jennifer Walden is a New Jersey-based writer and audio engineer.

The Revenant’s sound team takes home BAFTA

The Revenant sound team has won the Best Sound award at the British Academy of Film and Television Arts (BAFTA) Awards ceremony . Winning the award was supervising sound editor and Formosa Group talent Lon Bender, along with supervising sound editor Martin Hernandez, supervising sound editor/re-recording mixer Randy Thom, production sound mixer Chris Duesterdiek and re-recording mixers Frank A. Montano and Jon Taylor.

Other nominees in the category include Bridge of Spies, Mad Max: Fury Road, The Martian, and Star Wars Episode VII: The Force Awakens. 

“I am very pleased that our crew was recognized at the BAFTA Awards for their hard work and artistry,” said BAFTA winner and Formosa’s Lon Bender.  “It is an honor to have had our film included among all the other nominees this year.” 

Bender is also nominated for an Oscar for Best Sound Editing for The Revenant. His 30-plus year career in sound dditing includes BAFTA nominations for Shrek and The Last of the Mohicans, Oscar nominations for Drive and Blood Diamond, and BAFTA and Oscar wins for Braveheart, which he shared with Formosa’s Per Hallberg. 

The British Academy of Film and Television Arts (BAFTA) is an independent charity that supports, develops and promotes the art forms of the moving image by identifying and rewarding excellence, inspiring practitioners and benefiting the public. 

Joe Dzuban joins Formosa Features

Hollywood’s Formosa Group has hired supervising sound editor/sound designer/re-recording mixer Joe Dzuban as part of its Formosa Features team.

Dzuban, a multiple Golden Reel Award-nominee, has provided sound services for film projects of all types, including recent releases such as Guillermo del Toro’s Crimson Peak and Breck Eisner’s The Last Witch Hunter.

In addition to Crimson Peak (Legendary/Universal) and The Last Witch Hunter (Lionsgate), past releases on his resume include James Wan’s Furious 7 (Universal), John R. Leonetti’s Annabelle (New Line/Warner Bros.), Dean Israelite’s Project Almanac (Paramount), Christopher Landon’s Paranormal Activity: The Marked Ones (Paramount), as well as Wan’s Insidious and Insidious: Chapter 2 (Blumhouse/FilmDistrict).

Having been in the business of sound for over 15 years, Dzuban has an MFA in Film Production from USC’s School of Cinematic Arts.

Behind the Title: Formosa Group mixer Tim West

NAME: Tim West

COMPANY: Formosa Group‘s Villa commercial division.

CAN YOU DESCRIBE YOUR COMPANY?
Audio post for features, TV and commercials. We have sound editorial teams working on different feature projects.

WHAT’S YOUR JOB TITLE?
Commercial and ADR mixer.

WHAT DOES THAT ENTAIL?
I record, edit and mix commercials for TV, radio and theatrical presentations and replace dialog for movies and TV shows.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The amount of file management and the printer problems I deal with.

WHAT TOOLS DO YOU USE?
I use an Avid Pro Tools rig with an ICON console, Adam monitors and John Hardy pre-amps.

WHAT’S YOUR FAVORITE PART OF THE JOB?
The social aspect — the clients and actors I work with. I love hearing old Hollywood stories from the horse’s mouth!

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Mornings! I’m definitely a morning person.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
It’s been a while, so I haven’t considered anything else for a long time, but probably something to do with construction and property development.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
Since my mid-teens when I interned at the BBC — I got distracted for a few years, but I got back into it in my mid-twenties.

tr_gallery_07182014_pg_0272

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Taco Bell’s “Breakfast Defectors” campaign and The History Channel’s Texas Rising.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I worked on a campaign for Chevy Silverado a couple of years ago which told the stories of various people and how they used their Trucks. I had enough time to make them sound really great, and they were beautifully produced and written pieces.

I watched Texas Rising in a theater for the cast and crew screening, and was struck by how proud everybody is of their work; it sounded and looked truly awesome.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My Dolby Media Meter, a good microphone and my coffee machine.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I think I have a healthy amount of stress to keep me on my toes, but I like to sail, and hang out with my kids (which isn’t stress free!). My nine year old has suddenly become a really great drummer, so I keep my Marshall amp in his room and we rock out a few times a week. I’m not saying we’re any good, but it’s a hell of a lot of fun!

Formosa Group Santa Monica opens at POP Sound location

The former POP Sound facility in Santa Monica has been re-opened by Formosa Group. Many of the sound pros that worked at POP Sound have joined this reborn studio, including mixers Nick Bozzone, Mitch Dorf, Peter Rincon, Tim West, Tim Hoogenakker, and ADR mixer Michael Miller. Business operations staff members include EP Paula Arnett, EP/scheduler Jennifer Bowman and facility engineer Eric Beam.

“I am thrilled that we have the opportunity to ‘get the band back together,’ says sound designer/mixer Peter Rincon. “We really are a talented team with tons of great history at this historic facility. And now, with our Formosa brand, we are excited to take our creative services to the next level.”

Adds Formosa president/COO Robert C. Rosenthal, “The opening of the Formosa Santa Monica facility, with upgrades and renovations underway, marks another important milestone. Now with facilities in West Hollywood, West Los Angeles, Burbank and Santa Monica, Formosa Group offers filmmakers and content creators unprecedented sound talent and resources for the feature, broadcast, music, interactive and commercial markets.”

While much of the of the gear from POP Sound remains in place, Formosa has added Avid’s ICON D-Control, ICON D-Command and a Christie projector. They expect more additions will come.

Main Image: The Formosa Santa Monica team. Photo Credit: Martin Cohen

Formosa Group takes over former POP Sound location

Formosa Group, which serves film, broadcast, commercial and interactive clients, will re-open the facility formerly known as POP Sound (Pacific Ocean Post). The Santa Monica-based facility closed on July 7 of this year.

Bob Rosenthal

Bob Rosenthal

“We are pleased to re-open this outstanding post-production sound facility,” said Formosa president/COO Robert C. Rosenthal. “With this addition, we will now have an expanded west side presence. It also enables the core clientele to continue their great work here with many of the accomplished creative artists and support staff formerly associated with POP.”

The former POP Sound features 10 mixing stages, eight voiceover booths and an ADR stage. The facility will be refurbished and rebranded for a launch this month, with some of the existing gear.

Rosenthal is reportedly in talks with several of the former POP artists and staff members to rejoin the facility under Formosa’s management; it’s estimated that approximately 10 will rejoin.

Formosa Group, based at The Lot in West Hollywood, also has a second West Hollywood location, along with West LA and Burbank locations.

The sound of fire, tires and more for Disney’s ‘Planes: Fire and Rescue’

By Jennifer Walden

Disney’s follow-up to Planes, Planes: Fire and Rescue, like many Disney offerings, has a message — this one involves overcoming a handicap and finding another path in life. But if you think it’s a film for very young children, you’d be mistaken. It’s a family action-adventure film, complete with intense visuals, situations and sound to match.

There was no holding back on the native Dolby Atmos mix. With full-range surround speakers in a 62.2 configuration, the mix team of David E. Fluhr (dialogue and music) and Dean Zupancic (sound effects) had all the sonic real estate they needed to immerse the audience in the action. According to Formosa Group supervising sound editor/sound designer Todd Toon, “Director Roberts Gannaway not only gave us permission, but demanded that we deliver a big Continue reading