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67th MPSE Golden Reel Winners

By Dayna McCallum

The Motion Picture Sound Editors (MPSE) Golden Reel Awards shared the love among a host of films when handing out awards this past weekend at their 67th annual ceremony.

The feature film winners included Ford v Ferrari for effects/Foley, 1917 for dialogue/ADR, Rocketman for the musical category, Jojo Rabbit for musical underscore, Parasite for foreign-language feature, Toy Story 4 for animated feature, and Echo in the Canyon for feature documentary.

The Golden Reel Awards, recognizing outstanding achievement in sound editing, were presented in 23 categories, including feature films, long-form and short-form television, animation, documentaries, games, special venue and other media.

Academy Award-nominated producer Amy Pascal (Little Women) surprised Marvel’s Victoria Alonso when she presented her with the 2020 MPSE Filmmaker Award (re-recording mixer Kevin O’Connell and supervising sound editor Steven Ticknor were honorary presenters).

The 2020 MPSE Career Achievement Award was presented to Academy Award-winning supervising sound editor Cecelia “Cece” Hall by two-time Academy Award-winning supervising sound editor Stephen H. Flick.

“Business models, formats and distribution are all changing,” said MPSE president-elect Mark Lanza during the ceremony. “Original scripted TV shows have set a record in 2019. There were 532 original shows this year. This number is expected to surge in 2020. Our editors and supervisors are paving the way and making our product and the user experience better every year.”

Here is the complete list of winners:

Outstanding Achievement in Sound Editing – Animation Short Form

3 Below “Tales of Arcadia”

Netflix

Supervising Sound Editor: Otis Van Osten
Sound Designer: James Miller
Dialogue Editors: Jason Oliver, Carlos Sanches
Foley Artists: Aran Tanchum, Vincent Guisetti
Foley Editor: Tommy Sarioglou 

Outstanding Achievement in Sound Editing – Non-Theatrical Animation Long Form

Lego DC Batman: Family Matters

Warner Bros. Home Entertainment

Supervising Sound Editor: Rob McIntyre, D.J. Lynch
Sound Designer: Lawrence Reyes
Sound Effects Editors: Ezra Walker
ADR Editor: George Peters
Foley Editor: Aran Tanchum, Derek Swanson
Foley Artists:  Vincent Guisetti 

Outstanding Achievement in Sound Editing – Feature Animation

Toy Story 4

Walt Disney Studios Motion Pictures

Supervising Sound Editor: Coya Elliott
Sound Designer: Ren Klyce
Supervising Dialogue Editor: Cheryl Nardi
Sound Effects Editors: Kimberly Patrick, Qianbaihui Yang, Jonathon Stevens
Foley Editors: Thom Brennan, James Spencer
Foley Artists:  John Roesch, MPSE, Shelley Roden, MPSE

Outstanding Achievement in Sound Editing – Non-Theatrical Documentary

Serengeti

Discovery Channel

Supervising Sound Editor: Paul Cowgill
Foley Editor: Peter Davies 
Music Editor: Alessandro Baldessari
Foley Artists: Paul Ackerman 

Outstanding Achievement in Sound Editing – Feature Documentary

Echo in the Canyon

Greenwich Entertainment

Sound Designer: Robby Stambler, MPSE
Dialogue Editor:  Sal Ojeda, MPSE

Outstanding Achievement in Sound Editing – Computer Cinematic

Call of Duty: Modern Warfare (2019)

Activision Blizzard
Audio Director: Stephen Miller
Supervising Sound Editor: Dave Rowe
Supervising Sound Designer: Charles Deenen, MPSE Csaba Wagner
Supervising Music Editor:  Peter Scaturro

Lead Music Editor: Ted Kocher
Principal Sound Designer: Stuart Provine
Sound Designers: Bryan Watkins, Mark Ganus, Eddie Pacheco, Darren Blondin
Dialogue Lead: Dave Natale
Dialogue Editors: Chrissy Arya, Michael Krystek
Sound Editors: Braden Parkes, Nick Martin, Tim Walston, MPSE, Brent Burge, Alex Ephraim, MPSE, Samuel Justice, MPSE
Music Editors: Anthony Caruso, Scott Bergstrom, Adam Kallibjian, Ernest Johnson, Tao-Ping Chen, James Zolyak, Sonia Coronado, Nick Mastroianni, Chris Rossetti
Foley Artists: Gary Hecker, MPSE, Rick Owens, MPSE

Outstanding Achievement in Sound Editing – Computer Interactive Game Play
Call of Duty: Modern Warfare (2019)
Infinity Ward
Audio Director: Stephen Miller
Senior Lead Sound Designer: Dave Rowe
Senior Lead Technical Sound Designer: Tim Stasica
Supervising Music Editor: Peter Scaturro
Lead Music Editor: Ted Kocher
Principal Sound Designer: Stuart Provine
Senior Sound Designers: Chris Egert, Doug Prior
Supervising Sound Designers: Charles Deenen, MPSE, Csaba Wagner
Sound Designers: Chris Staples, Eddie Pacheco, MPSE, Darren Blondin, Andy Bayless, Ian Mika, Corina Bello, John Drelick, Mark Ganus
Dialogue Leads: Dave Natale, Bryan Watkins, Adam Boyd, MPSE, Mark Loperfido
Sound Editors: Braden Parkes, Nick Martin, Brent Burge, Tim Walston, Alex Ephraim, Samuel Justice
Dialogue Editors: Michael Krystek, Chrissy Arya, Cesar Marenco>
Music Editors: Anthony Caruso, Scott Bergstrom, Adam Kallibjian, Ernest Johnson, Tao-Ping Chen, James Zolyak, Sonia Coronado, Nick Mastroianni, Chris Rossetti

Foley Artists: Gary Hecker, MPSE, Rick Owens, MPSE

Outstanding Achievement in Sound Editing – Non-Theatrical Feature

Togo

Disney+

Supervising Sound Editors: Odin Benitez, MPSE, Todd Toon, MPSE
Sound Designer: Martyn Zub, MPSE
Dialogue Editor: John C. Stuver, MPSE
Sound Effects Editors: Jason King, Adam Kopald, MPSE, Luke Gibleon, Christopher Bonis
ADR Editor: Dave McMoyler
Supervising Music Editor: Peter “Oso” Snell, MPSE
Foley Artists: Mike Horton, Tim McKeown
Supervising Foley Editor: Walter Spencer

Outstanding Achievement in Sound Editing – Special Venue

Vader Immortal: A Star Wars VR Series “Episode 1”

Oculus

Supervising Sound Editors: Kevin Bolen, Paul Stoughton
Sound Designer: Andy Martin
Supervising ADR Editors: Gary Rydstrom, Steve Slanec
Dialogue Editors: Anthony DeFrancesco, Christopher Barnett, MPSE Benjamin A. Burtt, MPSE
Foley Artists: Shelley Roden, MPSE Jana Vance

Outstanding Achievement in Sound Editing – Foreign Language Feature

Parasite

Neon

Supervising Sound Editor: Choi Tae Young
Sound Designer: Kang Hye Young
Supervising ADR Editor: Kim Byung In
Sound Effects Editors: Kang Hye Young
Foley Artists: Park Sung Gyun, Lee Chung Gyu
Foley Editor: Shin I Na
 

Outstanding Achievement in Sound Editing – Live Action Under 35:00

Barry “ronny/lily”

HBO

Supervising Sound Editors:  Sean Heissinger, Matthew E. Taylor
Sound Designer:  Rickley W. Dumm, MPSE
Sound Effects Editor: Mark Allen
Dialogue Editors:  John Creed, Harrison Meyle
Music Editor:  Michael Brake
Foley Artists:  Alyson Dee Moore, Chris Moriana 
Foley Editors:  John Sanacore, Clayton Weber

Outstanding Achievement in Sound Editing – Episodic Short Form – Music

Wu Tang: An American Saga “All In Together Now”

Hulu 

Music Editor: Shie Rozow

Outstanding Achievement in Sound Editing – Episodic Short Form – Dialogue/ADR

Modern Love “Take Me as I Am”

Prime Video
Supervising Sound Editor: Lewis Goldstein
Supervising ADR Editor: Gina Alfano, MPSE
Dialogue Editor:  Alfred DeGrand

Outstanding Achievement in Sound Editing – Episodic Short Form – Effects / Foley

The Mandalorian “Chapter One”

Disney+

Supervising Sound Editors: David Acord, Matthew Wood
Sound Effects Editors: Bonnie Wild, Jon Borland, Chris Frazier, Pascal Garneau, Steve Slanec
Foley Editor: Richard Gould
Foley Artists: Ronni Brown, Jana Vance

Outstanding Achievement in Sound Editing – Student Film (Verna Fields Award)

Heatwave

National Film and Television School

Supervising Sound Editor: Kevin Langhamer

Outstanding Achievement in Sound Editing – Single Presentation

El Camino: A Breaking Bad Movie

Netflix

Supervising Sound Editors: Nick Forshager, Todd Toon, MPSE
Supervising ADR Editor: Kathryn Madsen
Sound Effects Editor: Luke Gibleon
Dialogue Editor: Jane Boegel
Foley Editor: Jeff Cranford
Supervising Music Editor: Blake Bunzel
Music Editor: Jason Tregoe Newman
Foley Artists: Gregg Barbanell, MPSE, Alex Ullrich 

Outstanding Achievement in Sound Editing – Episodic Long Form – Music

Game of Thrones “The Long Night”

HBO 

Music Editor: David Klotz

Outstanding Achievement in Sound Editing – Episodic Long Form – Dialogue/ADR

Chernobyl “Please Remain Calm”

HBO

Supervising Sound Editor: Stefan Henrix
Supervising ADR Editor:  Harry Barnes
Dialogue Editor: Michael Maroussas

Outstanding Achievement in Sound Editing – Episodic Long Form – Effects / Foley

Chernobyl “1:23:45”

HBO

Supervising Sound Editor: Stefan Henrix
Sound Designer: Joe Beal
Foley Editors: Philip Clements, Tom Stewart
Foley Artist:  Anna Wright

Outstanding Achievement in Sound Editing – Feature Motion Picture – Music Underscore

JoJo Rabbit

Fox Searchlight Pictures

Music Editor: Paul Apelgren

Outstanding Achievement in Sound Editing – Feature Motion Picture – Musical

Rocketman

Paramount Pictures

Music Editors: Andy Patterson, Cecile Tournesac

Outstanding Achievement in Sound Editing – Feature Motion Picture – Dialogue/ADR

1917

Universal Pictures

Supervising Sound Editor: Oliver Tarney, MPSE
Dialogue Editor: Rachael Tate, MPSE

Outstanding Achievement in Sound Editing – Effects / Foley

Ford v Ferrari

Twentieth Century Fox 

Supervising Sound Editor: Donald Sylvester

Sound Designers: Jay Wilkenson, David Giammarco

Sound Effects Editor: Eric Norris, MPSE

Foley Editor: Anna MacKenzie

 Foley Artists: Dan O’Connell, John Cucci, MPSE, Andy Malcolm, Goro Koyama


Main Image Caption: Amy Pascal and Victoria Alonso

 

CAS and MPSE bestow craft honors to audio pros, filmmakers

By Mel Lambert

While the Academy Awards spotlight films released during the past year, members of the Cinema Audio Society (CAS) and Motion Picture Sound Editors (MPSE) focus on both film and TV productions.

The 53rd CAS Awards — held at the Omni Los Angeles Hotel on February 18, and hosted once again by comedian Elayne Boosler — celebrated the lifetime contributions of production mixer John Pritchett with the CAS Career Achievement Award for his multiple film credits. The award was presented by re-recording mixer Scott Millan, CAS, and actor/producer Jack Black, with a special video tribute from actor/director/producer Tom Hanks. Quoting seasoned sound designer Walter Murch, Millan shared, “Dialog is the backbone of a film.”

“Sound mixing is like plastic surgery,” Black advised. “You only notice it when it’s done badly.”

Actor/director Jon Favreau received the CAS Filmmaker Award from actor/writer Seth McFarlane, film composer John Debney and CAS president Mark Ulano. Clips from the directors’ key offerings, including The Jungle Book, Chef, Cowboys & Aliens, Iron Man and Iron Man 2, were followed by pre-recorded congratulations from Stan Lee and Ed Asner. “Production and post production are invisible arts,” said Favreau. “Because if you do it right, it’s invisible. If you want to look good on the set you need to understand sound.”

Presenters Robert Forster and Melissa Hoffman flanking winners of the CAS Award for Outstanding Sound Mixing Motion Picture for La La Land.

The CAS Award for Outstanding Sound Mixing Motion Picture — Live Action went to the team behind La La Land: production mixer Steven Morrow, CAS; re-recording mixers Andy Nelson, CAS, and Ai-Ling Lee, scoring mixer Nicholai Baxter, ADR mixer David Betancourt and Foley mixer James Ashwill. “It was a blast to work with Andy Nelson and the Fox Sound Department,” said Lee. The film’s director, Damien Chazelle, also was on hand to support his award-winning crew. Other nominees included Doctor Strange, Hacksaw Ridge, Rogue One: A Star Wars Story and Sully.

The CAS Award for Outstanding Sound Mixing Motion Picture — Animated went to Finding Dory and original dialogue mixer Doc Kane, CAS, re-recording mixers Nathan Nance and Michael Semanick, CAS, scoring mixer Thomas Vicari, CAS, and Foley mixer Scott Curtis. “I’ve got the best job in the world,” Kane offered, “recording all these talented people.”

 

Kevin O’Connell and Angela Sarafyan flanking Dennis Hamlin and Peter Horner, winners of the CAS Award for Outstanding Sound Mixing Motion Picture — Documentary.

During a humorous exchange with his co-presenter Angela Sarafyan, an actress who starred in HBO’s Westworld series, re-recording mixer Kevin O’Connell, CAS, was asked why the 21-time Oscar-nominee had not — as yet — received an Academy Award. Pausing briefly to collect his thoughts, O’Connell replied that he thought the reasons were three-fold. “First, because I do not work at Skywalker Sound,” he said, referring to Disney Studios’ post facility in Northern California, which has hosted a number of nominated sound projects. “Secondly, I do not work on musicals,” he continued, referring to the high number of Oscar and similar nominations this year for La La Land. “And third, because I do not sit next to Andy Nelson,” an affectionate reference to the popular re-recording engineer’s multiple Oscar wins and current nomination for La La Land. (For O’Connell it seems the 21st time is the charm. He walked away from this year’s Oscar with a statuette for his work on Hacksaw Ridge.)

O’Connell and Sarafyan then presented the first-ever CAS Award for Outstanding Sound Mixing Motion Picture — Documentary to the team that worked on The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble: production mixers Dimitri Tisseyre and Dennis Hamlin, plus re-recording mixer Peter Horner.

The CAS Award for Outstanding Sound Mixing Television Movie or Miniseries went to The People v. O.J. Simpson: American Crime Story and production mixer John Bauman, re-recording mixers Joe Earle, CAS, and Doug Andham, CAS, ADR mixer Judah Getz and Foley mixer John Guentner. The award for Television Series — 1-Hour went to Game of Thrones: Battle of the Bastards and production mixers Ronan Hill, CAS, and Richard Dyer, CAS, re-recording mixers Onnalee Blank, CAS, and Mathew Waters, CAS, and Foley mixer Brett Voss, CAS. “Game of Thrones was a great piece of art to work on,” said Blank.

L-R:Game of Thrones: Battle of the Bastards team — Onnalee Blank, Brett Voss, and Matthew Waters, with Karol Urban and Clyde Kusatsu.

The award for Television Series — 1/2-Hour went to Modern Family: The Storm and production mixer Stephen A. Tibbo, CAS, and re-recording mixers Dean Okrand, CAS, and Brian R. Harman, CAS. The award for Television Non-Fiction, Variety or Music Series or Specials went to Grease Live! and production mixer J. Mark King, music mixer Biff Dawes, playback and SFX mixer Eric Johnston and Pro Tools playback music mixer Pablo Munguía.

The CAS Student Recognition Award went to Wenrui “Sam” Fan from Chapman University. Outstanding Product Awards went to Cedar Audio for its DNS2 Dynamic Noise Suppression Unit and McDSP for its SA-2 dialog processor.

Other presenters included Nancy Cartwright (The Simpsons), Robert Forster (Jackie Brown), Janina Gavankar (Sleepy Hollow), Clyde Kusatsu (SAG/AFTRA VP and Madame Secretary), Rhea Seehorn (Better Call Saul) and Nondumiso Tembe (Six).

MPSE
Held on February 19 at the Westin Bonaventure Hotel in downtown Los Angeles, opening remarks for the 64th MPSE Golden Reel Awards came from MPSE president Tom McCarthy. “Digital technology is creating new workflows for our sound artists. We need to take the initiative and drive technology, and not let technology drive us,” he said, citing recent and upcoming MPSE Sound Advice confabs. “The horizons for sound are expanding, particularly virtual reality. Immersive formats from Dolby, Auro, DTS and IMAX are enriching the cinematic experience.”

Scott Gershin, MPSE Filmmaker Award recipient Guillermo Del Toro and Tom McCarthy.

The annual MPSE Filmmaker Award was presented to writer/director Guillermo del Toro by supervising sound editor/sound designer Scott Gershin, who has worked with him for the past 15 years on such films as Hellboy II: The Golden Army (2008) and Pacific Rim (2013). “Sound editing is an opportunity in storytelling,” the director offered. “There is always a balance we need to strike between sound effects and music. It’s a delicate tango. Sound design and editing is a curatorial position. I always take that partnership seriously in my films.”

Referring to recent presidential decisions to erect border walls and tighten immigration controls, del Torro was candid in his position. “I’m a Mexican,” he stated. “Giving me this award [means] that the barriers people are trying to erect between us are false,” he stressed, to substantial audience applause.

Supervising sound editor/sound designer Wiley Stateman and producer Shannon McIntosh presented the MPSE Career Achievement Award to supervising sound editor/sound designer Harry Cohen, who has worked on more than 150 films, including many directed by Quentin Tarantino, who made a surprise appearance to introduce the award recipient. “I aspired to be a performing musician,” Cohen acknowledged, “and was 31 when I became an editor. Sound design is a craft. You refine the director’s creativity through your own lens.” He also emphasized the mentoring process within the sound community, “which leads to a free flow of information.”

The remaining Golden Reel Awards comprised several dozen categories encompassing feature films, long- and short-form TV, animation, documentaries and other media.

The Best Sound Editing In Feature Film — Music Score award went to Warcraft: The Beginning and music editors Michael Bauer and Peter Myles. The Best Sound Editing In Feature Film — Music, Musical Feature award went to La La Land music editor Jason Ruder.

The Hacksaw Ridge team included (L-R) Michelle Perrone, Kimberly Harris, Justine Angus, Jed Dodge, Robert Mackenzie Liam Price and Tara Webb.

The Best Sound Editing In Feature Film — Dialog/ADR award went to director Mel Gibson’s Hacksaw Ridge and supervising sound editor Andy Wright, supervising ADR editors Justine Angus and Kimberly Harris, dialog editor Jed Dodge and ADR editor Michele Perrone. The Best Sound Editing In Feature Film — FX/Foley Award also went to Hacksaw Ridge and supervising sound editors Robert Mackenzie, Foley editor Steve Burgess and Alex Francis, plus sound effects editors Liam Price, Tara Webb and Steve Burgess.

The MPSE Best Sound & Music Editing: Television Animation Award went to Albert  supervising sound editor Jeff Shiffman, MPSE, dialogue editors Michael Petak and Anna Adams, Foley editor Tess Fournier, music editor Brad Breeck plus SFX editors Jessey Drake, MPSE, Tess Fournier and Jeff Shiffman, MPSE. The Best Sound & Music Editing: Television Documentary Short-Form award to Sonic Sea and supervising sound editor Trevor Gates, dialog editor Ryan Briley and SFX editors Ron Aston and Christopher Bonis. The Best Sound & Music Editing: Television Documentary Long-Form award went to My Beautiful Broken Brain supervising sound editor Nick Ryan, dialog editor Claire Ellis and SFX editor Tom Foster. The Best Sound & Music Editing: Animation — Feature Film award went to Moana supervising sound editor Tim Nielsen, supervising dialog editor Jacob Riehle, Foley editors Thom Brennan and Matthew Harrison, music editors Earl Ghaffari and Dan Pinder, plus SFX editors Jonathan Borland, Pascal Garneau and Lee Gilmore. The Best Sound & Music Editing: Documentaries — Feature Film award to The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble and supervising sound editor Pete Horner, sound designer Al Nelson and SFX editor Andre Zweers.

The Verna Fields Award in Sound Editing in Student Films was a tie, with $1,500 checks being awarded to Fishwitch, directed by Adrienne Dowling from the National Film and Television School, and Icarus by supervising sound editor/sound designer Zoltan Juhasz from Dodge College of Film and Media Arts, Chapman University.

The MPSE Best Sound & Music Editing: Special Venue award went to supervising sound editor/sound designer Jamey Scott for his work on director Patrick Osborne’s Pearl, a panoramic virtual reality presentation — and which has also been nominated in the Oscars Best Animated Short Category. The Best Sound Editing In Television: Short Form — Music Score award went to music editor David Klotz for his work on Stranger Things, Chapter Three: Holly Jolly. “The show’s composers — Kyle Dixon and Michael Stein — were an inspiration to work with,” said Klotz, “as was the sound team at Technicolor.” The Best Sound Editing In Television: Short Form — Music, Musical award was another tie between music editor Jason Tregoe Newman and Bryant J. Fuhrmann for Mozart in the Jungle — Now I Will Sing and music editor Jamieson Shaw for The Get Down — Raise Your Words, Not Your Voice.

The winning Westworld team included Thomas E. de Gorter (center), Matthew Sawelson, Geordy Sincavage, Michael Head, Mark R. Allen and Marc Glassman.

The Best Sound Editing In Television: Short Form — Dialog/ADR award went to the team from Penny Dreadful III, including supervising sound editor Jane Tattersall, supervising dialogue editor David McCallum, dialog editor Elma Bello, and ADR editors Dale Sheldrake and Paul Conway. The Best Sound Editing In Television: Short Form — FX/Foley award went to Westworld — Trompe L’Oeil supervising sound editors Thomas E. de Gorter, MPSE, and Matthew Sawelson, MPSE, Foley editors Geordy Sincavage and Michael Head, and sound designers Mark R. Allen, MPSE, and Marc Glassman, MPSE. The same post team won The Best Sound Editing In Television: Long Form — FX/Foley award for Westworld — The Bicameral Mind. The Best Sound Editing In Television: Long Form — Dialog/ADR award went to The Night Of — Part 1 The Beach and supervising sound editor Nicholas Renbeck, and dialog editors Sara Stern, Luciano Vignola and Odin Benitez.

Presenters included actor Erich Riegelmann, actress Julie Parker, Avid director strategic solutions Rich Nevens, SFX editor Liam Price, producer/journalist Geoff Keighley, Formosa Interactive VP of creative services Paul Lipson, CAS president Mark Ulano, actress Andrene Ward-Hammond, supervising sound editors Mark Lanza and Bernard Weiser, picture editor Sabrina Plisco, and Technicolor VP/head of theatrical Sound Jeff Eisner.

MPSE president McCarthy offered that the future for entertainment sound has no boundaries. “It is impossible to predict what new challenges will be presented to practitioners of our craft in the years to come,” he said. “It is up to all of us to meet those challenges with creativity, professionalism and skill. MPSE membership now extends around the world. We are building a global network of sound professionals in order to help artists collaborate and share ideas with their peers.”

A complete list of MPSE Golden Reel Awards can be found on its website.

Main Image (L-R): John Debney, CAS Filmmaker Award recipient Jon Favreau, Seth MacFarlane and Mark Ulano. 

CAS images – Alex J. Berliner/ABImages
MPSE Images – Chris Schmitt Photography


Mel Lambert is principal of Content Creators, an LA-based copywriting and editorial service, and can be reached at mel.lambert@content-creators.com. Follow him on Twitter @MelLambertLA.

Sound work recognized by the CAS and MPSE

By Mel Lambert

While George Miller’s Mad Max: Fury Road swept the Academy Awards for both sound editing and sound mixing — congratulations, respectively, to co-supervising sound editors Mark Mangini and David White, production mixer Ben Osmo, and re-recording mixers Chris Jenkins and Gregg Rudloff — members of the Cinema Audio Society/CAS and Motion Picture Sound Editors/MPSE favored a broader cross section of film and TV productions during their recent awards ceremonies held in Hollywood in late February.

Hosted by comedian Elayne Boosler, the 52nd CAS Awards celebrated the lifetime contributions of ADR mixer Doc Kane by honoring him with the CAS Career Achievement Award for his more than 350 film credits. There were special video tributes from both Disney Animation and Pixar, as well as actor Brad Garrett.

Emmy Award-winning director/producer/screenwriter Jay Roach received the CAS Filmmaker Award, with remarks from Oscar-nominated actor Bryan Cranston and sound designer/re-recording mixer John Ross, CAS.

The CAS Motion Picture — Live Action Award went to The Revenant, with production mixer Chris Duesterdiek; re-recording mixers Jon Taylor, CAS, Frank Montaño and Randy Thom, CAS;  scoring mixer Conrad Hensel; ADR mixer Michael Miller, CAS; and Foley mixer Geordy Sincavage. The CAS Motion Picture — Animation Award went to Inside Out, with original dialog mixer Doc Kane; re-recording mixers Tom Johnson and Michael Semanick; scoring mixer Joel Iwataki; and Foley mixer Mary Jo Lang, CAS.

The Revenant (L-R): Geordy Sincavage; Candice Todesco; Jon Taylor, CAS; Randy Thom, CAS; Chris Duesterdiek; and Charlie O’Shea.

The CAS Television Movie or Miniseries Award went to Fargo: “Season 2 Episode 5” and production mixer Michael Playfair, CAS; and re-recording mixers Kirk Lynds and Martin Lee. The CAS Television Series — One-Hour went to Game of Thrones: “Hardhome” and production mixers Ronan Hill, CAS, and Richard Dyer, CAS; re-recording mixers Onnalee Blank, CAS, and Mathew Waters, CAS; and Foley mixer Brett Voss, CAS. The CAS Television Series — 1/2-Hour Award went to Modern Family: “Connection Lost” and production mixer Stephen A. Tibbo, CAS; plus re-recording mixers Dean Okrand, CAS, Brian R. Harman, CAS, and David Michael Torres. The CAS Television Non-Fiction, Variety or Music Series or Specials Award went to Live From Lincoln Center: Danny Elfman’s Music From the Films of Tim Burton, and re-recording mixer Ken Hahn, CAS, and production/house sound mixer Paul Be.

Modern Family (L-R): Presenters Phillip and Mo Collins, Penny Coghlan (supervising sound editor); David Michael Torres, Brian R. Harman, CAS., Dean Okrand, CAS; Srdjan “Serge” Popovic (boom operator); Stephen A. Tibbo, CAS; and William Munroe (boom operator).

Matt Yocum, a student at Savannah College of Art and Design, was given the CAS Student Recognition Award with a check for $2,500. CAS Technical Achievement Awards were presented to Sound Devices SL-6 and iZotope RX5-Advanced for Post Production.

Celebrity presenters included former Screen Actors Guild president Ed Asner, Emmy-nominated actor Walton Goggins, actress/writer Mo Collins, actor Charley Koontz, actress Dana Gourrier and comedian Carlos Alazraqui.

MPSE
The 63rd MPSE Golden Reel Awards featured 24 categories encompassing feature films, long/short-form TV, animation, documentaries and other media. Held on February 27 in downtown Los Angeles, opening remarks came from outgoing MPSE president Frank Morrone and incoming president Tom McCarthy.

Doug Hemphill and Lee Smith with Richard King

During the ceremonies, the annual MPSE Filmmaker Award was given to director Sam Raimi by re-recording mixer Marti Humphrey and sound designer/supervising sound editor Jussi Tegelman. Supervising sound editor/sound designer Richard King was presented with an MPSE Career Achievement Award by picture editor Lee Smith and re-recording mixer Doug Hemphill.

MPSE Best Sound Editing: Feature English Language — FX/Foley was a tie, with joint honors going to Mad Max: Fury Road and The Revenant. For Mad Max: Fury Road,  supervising sound editors Mark Mangini, MPSE, Scott Hecker, MPSE, and Wayne Pashley, MPSE; supervising Foley editor Stuart Morton; sound designers David White and Julian Slater; Foley artists John Simpson and Blair Slater; and sound effects editors Fabian Sanjurjo, Cate Cahill, Chris Aud, Chuck Michael, Rick Lisle, Andrew Miller, Emma Mitchell, Alicia Slusarski, Mario Gabrielli, Nigel Christensen, Phil Barrie, Michael Mitchell and Jared Dwyer.

For The Revenant it was supervising sound editors Martín Hernández, Randy Thom, MPSE, and Lon Bender, MPSE; sound designer Jon Title; Foley supervisor Geordy Sincavage; additional supervising sound editor Todd Toon, MPSE; sound effects editors Mark Larry, Dino DiMuro, Adam Kopald, Pernell L. Salinas, Bill Dean, D. Chris Smith, MPSE, Hector Gika, David McMoyler and Stephen Robinson; Foley editors Nancy MacCleod, Ryan Wassil and Aran Tanchum; plus Foley artists Katy Rose, Gretchen Thomas, Rick Owens, Vincent Guisetti, Catherine Harper, Gregg Barbanell and Andrea Gard.

Inside Out

The MPSE Best Sound Editing & Music: Animation — Feature Film went to Inside Out supervising sound editors Shannon Mills and Ren Klyce; supervising dialogue editor Daniel Laurie; supervising music editor Stephen M. Davis; sound designer Ren Klyce; Foley artists John Roesch and Alyson Dee Moore; sound effects editors David C. Hughes, Malcolm Fife and Jeremy Bowker; plus Foley editor Tom Brennan.

The MPSE Best Sound Editing & Music: Documentary — Feature Film went to Kurt Cobain: Montage of Heck and supervising sound editor Cameron Frankley, sound effects editor Dan Kenyon and music editor Jon Michaels.

The MPSE Best Sound Editing: Feature Film — Music Score went to Star Wars: The Force Awakens supervising music editor Ramiro Belgardt and music editor Paul Apelgren. The MPSE Best Sound Editing: Feature Film — Music in a Musical went to Love & Mercy and music editor Nicholas Renbeck. The MPSE Best Sound Editing: Feature English Language — Dialogue/ADR went to Bridge Of Spies supervising sound editors Richard Hymns and Gary Rydstrom; supervising dialogue editor Brian Chumney; and supervising ADR editor Steve Slanec.

Presenters included producer Ra’uf Glasgow, actress Briana Brown, supervising sound editor Alan Murray, actress Julia Parker, actor Joe Spano, producer Andrew Sugarman, supervising sound editor Cameron Frankley, Warner Bros. executive Bill Angorola, music editor Thomas Milano and production sound editor/CAS President Mark Ulano.

A complete list of MPSE Golden Reel Awards can be found on the organization’s website: www.mpse.org.

Mel Lambert is principal of Content Creators, an LA-based copywriting and editorial service. He can be reached at mel.lambert@content-creators.com. Follow him on Twitter @MelLambertLA.

Our Main Image: Inside Out (L-R): Presenter Onnalee Blank, CAS, Michael Semanick, Doc Kane, Mary Jo Lang, CAS, Tom Johnson, Joel Iwataki and presenter/actor Walton Goggins. 

MPSE Photos: Tilt Photo