Tag Archives: audio post

Creating sounds, mix, more for ‘The Hunger Games: Mockingjay, Part 1’

By Jennifer Walden

It may be called The Hunger Games, but in Mockingjay, Part 1, the games are over. Life for the people of Panem, outside The Capitol, is about rebellion, war and survival. Supervising sound editor/sound designer/re-recording mixer Jeremy Peirson, at Warner Bros. Sound in Burbank, has worked with director Francis Lawrence on both Catching Fire and Mockingjay, Part 1.

Without the arena and its sinister array of “horrors” (for those who don’t remember Catching Fire, those horrors, such as blood rain, acid fog, carnivorous monkeys and lightening storms were released every hour in the arena), Mockingjay, Part 1 is not nearly as diverse, according to Peirson. “Catching Fire was such a huge story between The Capitol and all the various Districts. Continue reading

Mark Corbin’s Top Ten list: Why Audio Engineers Deserve Respect

Mark Corbin is a busy man with two full-time jobs. One of which is working for Avid in console systems support for S6, S5, Venue and ICON. “In a nut shell it means I commission new consoles and help diagnose and resolve existing console issues. I get to meet amazing people and see amazing facilities,” he says.

When he’s not working for Avid, Corbin is an audio post supervisor at New York City’s Corbin Sound, working on television shows or films. “It keeps me very busy, but very fulfilled. I have a fantastic group of audio editors who often work with me on my projects in various capacities.”

So what does supervising entail? For Corbin it means wearing a lot of hats, keeping the clients happy and helping get their project to where they envision it on time and in budget. He Continue reading

Quick Chat: Sound designer David Van Slyke discusses ‘Gotham’

By Randi Altman

Ever wonder what the stoic and steadfast Commissioner Gordon, of DC Comics’ Batman series, was like as a young detective? What about Bruce Wayne as a child? Well, thanks to the new Fox series Gotham, wonder no more. Gotham even gives viewers a glimpse at what some of Batman’s villains were up to in their early days.

Director/executive producer Danny Cannon (Nikita, Dr. Dred, CSI) called on LA-based sound designer David Van Slyke of Sonixphere to help create the pilot’s sound design palette and Episode 3 while also developing a sound design tone that would be carried out throughout the entire series.

For Cannon the choice appeared to be an easy one. He and Van Slyke have worked together Continue reading

Animation and audio combine to celebrate 40 years of Nike shoes

By Jennifer Walden

How do you celebrate 40 years of athletic shoe history? Well if you are Nike, with a two-minute web film featuring the visual evolution of the brand’s sneakers from 1971-2014. Nike’s “Genealogy of Innovation” was created by animation production company Golden Wolf in London, led by co-founder/creative director Ingi Erlingsson, motion graphics lead Alex Fernandez and producer Ant Baena.

Creating the music and sound design were co-founders of Echoic Audio in Bristol, England, composer/mixer David Johnston and sound designer/composer Tom Gilbert. They wrote seven unique music tracks, one for each section of the film, crafted the sound design and handled the final mix. Working closely with the creative team at Golden Wolf, Echoic Audio was able to knock out the entire project in just over a week using a divide and conquer approach. Continue reading

Outpost Studios on affordable Foley for indies

By Jennifer Walden

Foreign distribution companies insist on a fully formed M&E mix, complete with Foley, but for low-budget films there often isn’t room for it. It’s a catch-22. Not footing the bill for Foley work can keep indie filmmakers from making money in the global market.

Dave Nelson, owner/supervising sound editor/re-recording mixer at Outpost Studios in San Francisco, has an economical solution: using Foley Collection and Kontakt 5 to track Foley when filmmakers can’t afford live Foley sessions. “Films that aren’t financially successful here in the United States often do really well in foreign countries because people are fascinated with American lifestyle.”

Outpost Studios offers 7.1/5.1 Dolby mixing, dialogue editing, sound design, music composition, Foley, ADR and voice recording for the film, digital media and audio book Continue reading

Soundcrafter pieces together the varied sounds of ‘Boyhood’

By Jennifer Walden

A decade in dog years is said to be roughly equivalent to 70 human ones. I think that calculation holds true for technology too. Okay, maybe not to that extreme, but it does seem that way.

Richard Linklater, director of the new film Boyhood, which was shot over a 12-year period using the same cast but different tools must certainly feel that way. Let’s not even get into the different camera formats and focus on the audio. The first six years of production audio were captured on now-defunct tape formats, making the audio post process dicey at times, to say the least. Cross your fingers, hit play on the deck and pray the magnetic emulsion on the tape didn’t deteriorate. That is, if you still have the proper deck to play back that tape.

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Creating Under the Dome’s sound experience

By Jennifer Walden

Imagine living your life under an invisible dome that offers no escape, seeing the same people in the same town day after day… oh, and the  “prison” you call home has supernatural powers that might or might not be evil. That’s what the residents of the fictional town of Under the Dome’s Chester’s Mill have to contend with every day on CBS’s sophomore offering based on a Stephen King novel of the same name. Then imagine what that would sound like. Would there be echoes? Would the sounds be magnified? Dulled?

Walter Newman, supervising sound editor at Burbank’s Warner Bros. Sound, is currently working on Season 2 of Under the Dome, which premieres June 30 on CBS with an episode written by King himself.

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Creative Sound boosts audio post services with new gear

Paris-based Creative Sound, a full-service post house serving the film and TV production markets, has added three Solid State Logic C300 HD Master Studio Systems and one C10 HD to its audio post offerings.

The studio has an extensive history of creating French language versions of international films, including such recent projects as The King’s Speech, Diana, Homefront and August: Osage County, as well as the upcoming releases Selfie and Gemma Bovery. Creative Sound accomplishes all of its recording dialogue, sound effects, Foley and music for projects in 7.1, 5.1, Dolby surround and stereo with ease through the SSL consoles.

Creative Sound installed its third C300 HD, using the console line in both of its Auditorium Cinema studios, which are Dolby Digital Cinema 7.1 surround capable as well as in Auditorium B studio, which is focused on fiction and documentary production for television.

A C10 HD is in the studio’s new Foley and ADR stage. “The SSL C10 HD was the perfect console for its ergonomics, audio quality and efficiency in our new Foley/ADR stage,” says Creative Sound’s owner/engineer Cristinel Sirli (pictured above). “We built a new facility for the C10, and, while we love the AWS 900 we have for our existing ADR room, we liked the idea of a digital console, and that led us to the C10. The console fits our size requirements and is expandable if needed.”

Quick Chat: Oscar-winning re-recording mixer Steve Maslow

Burbank — Motion picture sound re-recording mixer Steve Maslow got his start in the entertainment industry in late 1969 as a roadie for a local LA band called Strawberry Alarm Clock.

From there he entered the recording industry, becoming a recording engineer, for acts including Frankie Valli and the Four Seasons and A Taste of Honey. Maslow earned a Gold record, a Platinum record and a Platinum album, for “Oh What A Night (December 1963)” and “Boogie Oogie Oogie.”

By late 1978, Maslow moved into the film audio industry, working on such films as The Last Waltz, Ten, Hair, More American Graffiti, Star Trek and The Postman Always Rings Twice.

He received the first of his three Academy Awards in 1980 for Best Achievement in Sound for Raiders of The Lost Ark, and again in 1981 for The Empire Strikes Back. He was nominated again in 1984 for Dune. Then came another Oscar in 1995 for Speed, which also gave him his first British Academy Award. More Oscar nods came, for 1996’s Waterworld, 1997’s Twister and 2000’s U-571.

Recent films include The Town, The Conjuring and The Great Gatsby. Maslow can often be found working at Warner Bros. Studios in Burbank.

Maslow has been using the new plug-in, Penteo 4 Pro, which converts stereo to 5.1. In this Q&A, he talks about what led him to sound for picture, his workflow and using this new plug-in.

What led you to a career in sound for film?
I started off in records. My last big hit was with Taste of Honey and The Four Seasons. Then it started getting tougher to make a living in the music industry. It became garage band sound and people recording out of their home studios, so things didn’t look as rosy as they used to be. I transitioned into the film business when the door opened for me, and I started mixing music and eventually went into dialogue and music.

Let’s talk about turning stereo into 5.1 surround. What was your process?
I would take the left and right track of a 2-track and run them through a couple of panners, fold it in a little so the left and right contributed to the center just a little bit. Then I would take a boom box, take a bass feed from the left and the right and return it to a fader to get the bottom end. That would give me left, center, right, and the bass for the subwoofer. For left surround, right surround I would try to get a very short reverb to feed to the surrounds. That was the problem; it would always put some sort of echo into the track.

You currently use Penteo. How did you discover the product?
One of the engineers or mixers told me about a device that would take a 2-track and make a 5.1 out of it.

What type of music do you use Penteo on? Does it perform better for rock, pop, symphonic, sound effects?
I’ll use it on any 2-track mix that I get. Sometimes, like for the film I am working on now, I will get maybe 10 stereo tracks. It’s kind of retro to think that some people are still giving you 2-track scores, its 2, 2, and 2. I’ll get 2-track strings, 2-track brass, 2-track percussion, and then I have to think about how I’m going to work with them. I can’t just put them all left-right. Sometimes I’ll take the percussion and put it in the center, but with Penteo, I just feed all the 2-channel stereo mixes in and it comes out as a great sounding 5.1 surround score.

Can you then manipulate it from there and adjust where you want things to be?
Yes, typically I don’t go straight across on the outputs. I pull the surround up or down using the Penteo fader. There are a lot of parameters inside the Penteo process, in terms of preferences. But I generally just use the default settings, because I’m usually under a lot of pressure to get going and Penteo is a real time saver. I’ll just use a default setting and pull back on the left surround, right surround and sprinkle the bottom in to “taste.”

TAMMY

Warner Bros. Tammy.

What are some recent stereo-to-surround projects you have worked on?
I just finished a film called Tammy. Everything was 2-track. Every cue in that movie from source needle drops to score was all 2-track. I used Penteo from reel 1 to reel 6. The last film I used it on before that was the Bruce Willis film Red 2. I had to work with a lot of 2-track music.

How valuable is Penteo to your workflow?
For me now, it’s an essential workflow tool. I wouldn’t do another film without it if 2-track music came in. Penteo makes you sound good, and it definitely expands and turns a 2-track mix into a great 5-channel mix.

Photo Caption:  Steve Maslow using Penteo 4 Pro at Warner Bros. Studios.

NAB: The Colbert Report’s Todd Kilponen

Las Vegas — Some of the post and production crew from The Colbert Report visited postPerspective at NAB 2014,  just days before it was announced that Stephen Colbert would be taking over for David Letterman when he retires.

Colbert’s audio mixer Todd Kilponen, a Grammy-winner (Best Comedy Album: A Colbert Christmas: The Greatest Gift of All), who has also been nominated for an Emmy (Outstanding Sound Mixing for a Variety Series or Special The Colbert Report) was kind enough to grab a mic and share a bit about the show’s workflow from an audio perspective. No pun intended.

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Web Series: Having fun with ‘Fritz’s Funporium’

By Luke Harper

What happens on the set of an educational show once the cameras stop rolling? Trust us, it’s not pretty…. but it is pretty hilarious.
 And here’s a life lesson for you: When someone calls you to check whether or not you want to work on a puppet show with adult themes, there’s only one answer: let’s ride!

Fitz’s Funporium is the creation of E.B. Grzesiak, a veteran team writer for countless crime procedurals and, of all things, children’s television and theater. She is also an astrophysicist, which is, well, sorta neat.

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Subtle Sounds: The Diary of a Sound Designer

By Cory Choy

I often find people asking: “So what does sound design and mix actually DO for a movie? You know, other than adding cool explosions and alien noises…”

It’s true that we sound folks really get a chance to shine during ninja fights and robot wars, Continue reading

Meet Commercial Mixer: Nick Bozzone

POP Sound’s Nick Bozzone has been interested in sound since he was a little kid. He grew up wanting to be a music mixer, but when he discovered the entire post production side of sound his world opened up and he knew he was “home.”

He took time out recently to answer some of our questions, which are designed to get behind a person’s job title. Enjoy.

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Joseph Magee joins Todd-Soundelux to lead expanded music services

Hollywood — Todd-Soundelux has hired music mixer Joseph Magee to lead the company’s strategic development of an expanded, integrated music services offering.

A music specialist for feature film pre-record, production and post mixing for on-camera music, Magee has completed more than 80 feature film projects.  His recent credits include Saving Mr. Banks, Metallica Through the Never, and Pitch Perfect. He is currently working on Blackbird for director Gina Prince-Bythewood.

Some of Magee’s other notable credits include The Lone Ranger, The Muppets, Pirates of the Caribbean: On Stranger Tides; Iron Man 2; Hannah Montana: The Movie; Into the Wild; I Can Do Bad All By Myself; Hannah Montana & Miley Cyrus: Best Of Both Worlds Concert; Spider-Man 3; High School Musical 3; Ali; and Fantasia/2000.

Regarding Magee’s hiring, David F. Alfonso, the owner and chairman of Todd-Soundelux (http://www.toddsoundelux.com) said, “We see a meaningful opportunity in the market to create additional value for content creators by offering a more integrated suite of best-in-class solutions for creative post-production sound services and music services, which will enable us to partner with our clients from pre-production all the way through post production.”

“I see my role as bridging the sometimes separate functions of production and post production,” said Joseph Magee. “When a filmmaker brings me in early for the pre-production process, I can develop a comprehensive template for the technical music needs of the project — a process which considers the unique requirements and considerations of the story, talent and every department that will touch the project, all the way through the final sound mix.

“As a small dedicated team, we coordinate the creative efforts of the music producers, supervisors or musical directors and guarantee the safe arrival of their elements to picture, for final; maintaining creative and financial accountability.  The musical, sonic and sync to picture benefits are significant, enabling the re-recording team to complete the final sound mix with amazing results.”

According to Kevin O’Connell, who in addition to working as a re-recording mixer at Todd-Soundelux , also serves as the company’s CCO. “In the world of feature films, complex pre-record, music playback and live recording on set, are just some of the many areas of expertise where major studio clients have come to rely on Magee’s distinctive talent. It is a testament to his approach that, more often than not, Magee’s production clients will also ask him to follow the project from pre-production to final stem mixes in post. How a production approaches sound and music at the very early stages of pre-production influences the ability to predictably budget and manage costs, and, ultimately, the success of the whole venture.”

 

 

UK-based Audio Network opens LA office

LOS ANGELES— London-based Audio Network (www.audionetwork.com)an international music company specializing in music for television, film and video, has opened an office in Los Angeles, which will be headed up by Cheryl Frohlich, head of business development at Audio Network US.

The new office will enable Audio Network reach a broader customer base on the West Coast and to work more closely with its clients in the region. Audio Network, which already operates a New York facility, as well as offices in London, Sydney, Toronto, Munich and Amsterdam.

Audio Network’s music catalog currently offers over 65,000 original tracks, covering every musical genre from full orchestral pieces to hip-hop, and has a composer base of over 450 artists.

Meet The Artist: Walter Werzowa

Behind the title…

WalterWerzowa_2

Owning a company means wearing many different hats, including one that says “therapist” on it.

NAME: Walter Werzowa

COMPANY: MusikVergnuegen 

CAN YOU DESCRIBE YOUR COMPANY?

We are an audio concept entity based in Hollywood. Our goal: that every 20 seconds, someone in the world is enjoying our music. We are currently at 58 seconds. Continue reading