Curtis Fritsch, Erik Valenzuela and Marcus Pardo are part of the audio post team at Burbank-based AlphaDogs. They all agree that one of the best parts of the job is the collaborative process — working with clients to realize their audio vision to the fullest potential.
Projects taking place at AlphaDogs include everything from indie feature sound design to documentary clean-up to promo sweetening and audio for reality TV, which is a big part of their work.
AlphaDogs’ suite of tools includes Izotope RX for audio cleanup and restoration; Waves Diamond Bundle for EQs, compression and limiting; Cedar DNS One for dialog noise suppression; Dolby Media Meter and the LM-100 for the CALM Act TV Dialog standard; the Surcode for surround Continue reading →
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 →
It’s rare for a director to stop a shoot for the benefit of the sound team, but then again it’s not every day that you have a rare WWII Tiger 1 tank on the set… the only operable Tiger 1 tank still in existence. Bringing in the real tank shows just how important authenticity was to Fury director David Ayer, who had the actors’ uniforms made from cloth that WWII soldiers would have worn. Fury follows a WWII Sherman tank crew that undertakes a deadly mission behind enemy lines.
Fury’s Ayer didn’t just have an eye for detail — he had an ear for it too. He wanted a soundtrack that communicated the individual character of each tank, from the engines to the treads. “He asked everyone on set to be quiet as we recorded the Tiger 1 tank,” reveals Eilam Hoffman of Sound 24, a post sound studio based within Pinewood Studios in Buckinghamshire. England. Continue reading →
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 →
Company:Nomad, with offices in Santa Monica, New York and London.
Can you describe Nomad a bit?
Nomad is primarily focused on traditional offline editing. We also offer finishing and have graphic artists and sound designers at our disposal to give a creative vision its life.
What I love about Nomad as a company, besides the level of work we do, is that the culture from top to bottom promotes learning and creativity in every aspect of the job, all the way from management to the vault. Everyone is so supportive here.
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 →
CAN YOU DESCRIBE YOUR COMPANY?
Hobo is an audio post house offering mixing and sound design services.
Any company is really only as good as the people it employs and our company is made up of some of the most creative, disciplined and dedicated people around. We emphasize pride in our work, respect for each other, an open environment where everyone can communicate their ideas freely, and an unyielding commitment to client satisfaction.
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 →
If you like your pirate stories with peg legs, eye patches, and other cartoon-like pirate stereotypes, then the Starz original series Black Sails isn’t for you. Anything Jack Sparrow-y is strictly prohibited.
“The show’s creators wanted this world to be real, and dirty. There is nothing Continue reading →
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.