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Westlake Pro Builds World-class Sound Stages

2017-06-14 08:23:42 ccwire-staff

Thunderbolt(TM) certified rackmount system adds enhanced durability, integrated RAID capacity, and I-O flexibility to their post-production workflows

Chatsworth, CA – JMR Electronics, Inc. a leading design center and manufacturer of scalable storage solutions now provides Westlake Pro with tightly integrated LightningTM Thunderbolt rackmount workstations that combines the Apple Mac Pro®, three Avid Pro Tools® | HDX cards, RAID storage, and a fiber channel HBA that networks the workstations into the studio’s high-speed SAN implementations. These Thunderbolt certified rackmount workstations are utilized in Westlake Pro’s sound stage solution for re-recording, mixing, scoring, automated dialogue replacement (ADR), and Foley for film and TV.

Westlake Pro works with post production facilities that can support over 200 Pro Tools systems running on Mac Pros. The new Mac Pros’ cylindrical design and Thunderbolt only interface create an operational challenge at many studios. Hamid “Gadget” Hopkins, Westlake Pro executive vice president said, “Our clients’ workstations are designed as semi-permanent installs so they can readily be reconfigured when the need arises. When the new Mac Pro came out, while it provided the performance and capability we needed, its design required expansion boxes, unique racking, and many exposed cables making it a challenging system to maintain and reconfigure. That led us to investigate JMR and their ability to encapsulate all our needs into one system just like the older Mac Pro towers.”

The JMR Lightning Thunderbolt (LTNG-XQ) product family is designed for Apple Mac Pro users needing to connect to PCIe peripherals. The LTNG-XQ products are the only storage systems on the market featuring four full-bandwidth PCIe slots, using two independent Thunderbolt-2 20Gb/s bridge circuits: One Thunderbolt-2 bridge drives two slots, and a second internal Thunderbolt-2 bridge drives the other two slots. Connections to a host like the Mac Pro include using two of the three available Thunderbolt 2 bus connections to the Mac.

Continued Hopkins, “Sessions and movies continue to become more complex and that requires more tracks to handle the intricacies of sound. That complexity requires a system that can handle the speed, connectivity, and reliability requirements we have to drive 3 HDX’s and local RAID along with an extra slot for fiber access. JMR’s system uniquely offers a 4th PCIe slot that allows us to do that all in one high-performance, self-contained, integrated system. Because of the rack system design, even swapping cards in the Mac Pro is easier now.”

“JMR impressed us with their absolute willingness to come out to the studio, listen to what we wanted, and helped us to custom design and configure a system that met our needs and would work well for our clients,” concluded Hopkins. “It took 12 rack spaces to store and stack all the equipment we needed for a single system prior to implementing the JMR Lightning product. Now we have one JMR workstation that fits in a 4U rack space with everything neatly inside. The system is well thought out, rock solid, and tightly integrated. Bottom line is that we are very impressed.”

More details on the JMR Thunderbolt product family can be found at http://jmr.com/product/ltng-xq-rmmp-new.


About Westlake Pro
Westlake Pro provides solution-driven sales and technical services for the finest post-production facilities, music studios, and content creators in the world. They offer a unique understanding of client’s needs, a highly knowledgeable sales staff, and industry leading customer service, including full design and integration services. For further information, please visit https://westlakepro.com, contact sales@westlakepro.com, or call 323-845-1145.

About JMR Electronics
JMR is a leading value provider and systems integrator of scalable storage systems for high performance and capacity driven applications for multiple markets including; video and post-production, military and government, education, VOD, DCC, gaming, security, medical imaging, HPC and Web 2.0. Since 1982, JMR’s reliable and innovative RAID systems are proudly made in the U.S.A., manufactured entirely from their Chatsworth, California facilities. JMR’s complete line of affordable Lightning™ storage products; SilverStor™ SMB focused products, and BlueStor™ Cloud-ready rackmount and desktop solutions are built to handle the most demanding project needs for A/V centric markets. Reliability. Innovation. Performance. This is JMR. For further information, please visit www.jmr.com or contact sales@jmr.com, or call 818-993-4801.

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Netflix’s The Last Kingdom puts Foley to good use

2017-06-08 15:25:30 ccwire-staff

What is it about long-haired dudes strapped with leather, wielding swords and riding horses alongside equally fierce female warriors charging into bloody battles? There is a magic to this bygone era that has transfixed TV audiences, as evident by the success of HBO’s Game of Thrones, History Channel’s Viking series and one of my favorites, The Last Kingdom, now on Netflix.

The Last Kingdom, based on a series of historical fiction novels by Bernard Cornwell, is set in late 9th century England. It tells the tale of Saxon-born Uhtred of Bebbanburg who is captured as a child by Danish invaders and raised as one of their own. Uhtred gets tangled up in King Alfred of Wessex’s vision to unite the three separate kingdoms (Wessex, Northumbria and East Anglia) into one country called England. He helps King Alfred battle the invading Danish, but Uhtred’s real desire is to reclaim his rightful home of Bebbanburg from his duplicitous uncle.

Mahoney Audio Post – The sound of the series is gritty and rich with leather, iron and wood elements. The soundtrack’s tactile quality is the result of extensive Foley work by Mahoney Audio Post, who has been with the series since the first season. “That’s great for us because we were able to establish all the sound for each character, village, environment and more, right from the first episode,” says Foley recordist/editor/sound designer Arran Mahoney.

Read the fully story at posPerspective.

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Nathan Barr’s Score Highlights Family Evolution In “The Son”

2017-05-25 16:15:01 mgalas

Set in Texas in the 19th and 20th centuries, “The Son” follows the McCollough family through 150 years of history, highlighting Eli McCollough’s (Pierse Brosnan) climb from boyhood to reigning oil tycoon.  Noting the importance the score would have ushering the story through multiple decades and several culture clashes, showrunner Kevin Murphy wanted a unique sound that veered from typical the Western motifs.  Composer Nathan Barr’s work fit that bill.

Barr, recommended by “The Son” writer/producer Brian McGreevy who worked with the composer on “Hemlock Grove”, has showcased his unique style on series ranging from “Tru Blood” to “The Americans.”  During his early conversations with Murphy and “The Son” producers, Barr proposed a unique blend of instrumentation that would highlight the characters’ emotional journey as well as outline the raw quality of DP George Steel’s cinematography.  An avid instrument collector since childhood, Barr incorporated pieces he’s collected throughout his global travels, including a guitariphone (a fretless zither played with buttons) and a nyckelharpa (a traditional Swedish instrument dating back to the Vikings).

“It is as if a hurdy-gurdy and a violin had a child,” said Barr.  “It creates a beautiful, open sound.”

Barr also played traditional instruments in unique ways to modify the sound.  For example, he played prepared piano, where objects are attached to the piano strings to modify and sound, and he played the higher strings on an upright base, sourcing a range more akin to a cello than the lower notes the instrument is known for.   These elements were blended with music played on standard string instruments and music modified with plug- ins to achieve specific qualities.

Themes do play an important role in the score of “The Son”, namingly the series’ high octane main title track.  Barr used this selection as a musical definition of Eli, a piece of music that resurfaces throughout the episodes that defines the main character’s growth and developmental arc.  Male vocals also play an important role in defining character growth.  Although Barr performed the bulk of the instrumentation himself, he hired male vocalists for specific selections of the score, including ZZ Top’s Billy Gibbons who’s featured in a song in the final episode, and vocalist Frank Fairfield.  The song is so crucial to the scene, Fairfield actually appears on camera singing.

“Music is such a key to this process,” said Barr.   “Kevin really likes to lean on the score and sound effects.”

During the spotting process in the edit suite, Barr would join members of the sound department to access music’s role with the sound design and effects.  The nature of gun play, the pattering of horse hooves and other environmental elements required a leveled balance ensuring the sound design and the score complimented each other.  Silence also plays an important role in the series, where the actors’ dialogue and emotional performances take center stage.  Always focused on highlighting character arcs and storylines, Barr’s score ushers between twenty to thirty minutes of action per episode, from subtle cues to bombastic melodies.

Source: Variety411

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Stephen Arnold Music Sonically Brands Relaunch of CCTV International As CGTN

2017-05-02 08:23:27 rayecke
DALLAS, TX — The rebranding of a channel group that reaches over one billion people requires more than just a name change — China Central Television International (CCTV) is now China Global Television Network (CGTN), emphasizing an even more expansive worldview and mobile-first strategy. To make the updated focus crystal clear, Stephen Arnold Music continued its collaboration with the network to evolve its memorable musical theme.
    The new themes for the rebrand followed Stephen Arnold Music’s work with Flint Skallen on a sonic brand and comprehensive music package launched in 2015 and shared between CCTV’s five International Channels. Their engaging four-note mnemonic remains at the heart of a campaign that announces the channel group’s new name while demonstrating the network is even more easily accessible as CGTN.
    Stephen Arnold Music’s composers post-scored the music to Flint Skallen’s bold graphics, building on the sonic signature and creating fresh arrangements to accompany the design team’s visceral new images. For the latest package, Stephen Arnold Music combined traditional orchestration with modern soundscape elements that drive home the mnemonic. As the sonic logo crescendos in announcing the network’s new name, the visuals highlight the multi-platform shift at CGTN.
    “As CGTN, the DNA of the international news channels remains the same: to cover the whole globe, reporting news with a balanced view from a Chinese perspective,” says Chad Cook, Vice President, Creative for Stephen Arnold Music. “Flint Skallen’s graphics were the driving force in their evolved messaging. Stephen Arnold Music’s updated themes reinforce the network’s leadership in global newsgathering, while highlighting the brand’s newly enhanced digital media and mobile aspects.”
    Experience the CGTN Sonic Branding package here.

About Stephen Arnold Music:
Often referred to as the most-heard, least-known composers in America, Stephen Arnold Music’s creativity is experienced every day in more than 100 million homes throughout the U.S. Based in Dallas with offices in San Diego and New York, with additional recording studios in Santa Fe, “The World Leader In Sonic Branding™ has more than 20 years of success delivering impactful, brand-defining music that makes a difference for today’s top broadcast networks, cable channels, television stations, film production studios and advertising agencies. With multiple Emmys, Addys and Promax Golds to their credit, Stephen Arnold Music’s specialized approach and commitment to the power of sonic branding, state-of-the-art production and unparalleled customer service is at the core of its promise. Stephen Arnold Music continues to set the creative bar in a highly competitive content landscape.
    For more information, please visit http://www.stephenarnoldmusic.com
Creative Credits:
Client: CGTN
Project: Rebrand
Music: Stephen Arnold Music, Dallas, TX
President: Stephen Arnold
VP, Creative Services: Chad Cook
Design: Flint Skallen, Munich, Germany
Web Resources:
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Composer Jeff Russo Describes Scoring “What Remains Of Edith Finch”

2017-04-25 15:25:50 mgalas

One could say Jeff Russo is a bit of a maestro when it comes to scoring films and TV series. In the last twelve months alone, his work was been heard supporting “The Night Of”, “American Gothic”, “Channel Zero”, “Power”, “Lucifer”, “Bull” and “Legion.”   He also has two Emmy noms for “Best Score” to his name – one for each season of “Fargo” – and he’s scored the third season that will begin airing April 19th.  In fact, it was his work on “Fargo” that opened uncharted territory for him:  scoring games.

“What Remains of Edith Finch”, from developer Giant Sparrow, was initially set to be published by Sony.   While looking for someone to score the game, members of the Sony music department were enamored with the sense of place Russo captured in his score for the first season of “Fargo” and reached out to him.   Although he’d never scored a game before, Russo was attracted to the narrative of “What Remains of Edith Finch” and became attached. He remained on board for two and a half years, as the project was sold from Sony to Annapurna Interactive.  While a bulk of that extensive time delay was due to the property’s sale, there were many natural periods of down time that were the result of the project’s development.  This proved to be one of the key differences between scoring games and film or television that Russo had to adapt to.

“It was an easier schedule, but that time also made it harder,” said Russo. “Sometimes you’d have three months between (sections). It was important to go back, to listen, to tie the score together.”

The game follows Edith Finch, a twenty-something college graduate who returns to the Washington state based Finch residence after over ten years. Alone in the house as an adult, she begins to explore the rooms she was banned from as a child, insistent on unlocking the mysterious deaths of Finch family members.  The first thing Russo did was develop a theme for Edith, which he could then build upon through the course of the game.

“As she goes from room to room, she is immersed in memory,” said Russo. “I experimented with the aspects of life (each room presented): swings, a camping trip, a wedding, and pulled from the vignettes of story.”

Russo used a full orchestra to compose the score, something generally reserved for bigger budget games but something he, and the developers, was confident would best serve the story. He incorporated a wealth of woodwind sounds to build upon the melancholy tone along with horns and strings.  Synthetic sounds are also fully utilized throughout the game to help define unique aspects of the story.  Russo also created a sense of maturity in the music, helping bridge the experience of the player as they travel through the generations and see Edith’s personal development through the course of the game.

While Russo found building a score around the narration and emotional journey similar to techniques used in film and television, he did have to accommodate for user interaction. As a player enters a room, they are free to look around.  To keep the score flowing during these areas of player involvement, Russo had to build in musical loops.

“The greatest challenge with this was to figure out where (to loop the score) in the chord passage that would make it feel like a continuation, not a repeat,” said Russo.

Throughout the development process, Russo had a great amount of creative freedom to hone the score, meeting with the producers periodically to discuss sections, expectations and progress. When the entire process was nearly completed, Russo first reviewed the score with a Quicktime version of the game before testing it with and implementation of the game.  The final version of “What Remains of Edith Finch” will be available on the PS4 and PC platforms April 25, 2017.

To learn more about “What Remains of Edith Finch”, click here.

Source: Variety411

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VidaPrimo Expands Into The Living Room With Music Choice

2017-04-25 14:33:30 rpg246

Los Angeles – VidaPrimo, the premier Latin Music Video network, will distribute its vast library of video content via Music Choice, one of the world’s largest programmers and producers of music and music-related content for multichannel video programming distributor (MVPD) subscribers. The content will be available via traditional set top boxes as well as on the go via Music Choice digital properties through TVE. The announcement was made by VidaPrimo Executive Vice President and General Manager Stephen Brooks. This marks VidaPrimo’s first foray into distribution of its content through a television-centric platform.

“VidaPrimo is delighted to provide music video content for Music Choice and its new video offering,” says Brooks. “In addition to mobile, desktop and streaming platforms, VidaPrimo’s reach now includes the original ‘home screen’ platform – the television.” VidaPrimo music video content, including brand new releases and all-time hits from its over 120 Reggaeton, Trap, Cumbia, Bachata, Electronic Dance, Rock and Pop artists, will be available across several of Music Choice’s Latin video channels, including Musica Urbana and Tropicales.

The reciprocal agreement allows the partners to co-market each other’s services to build a new audience for both brands. Damon Williams, Senior Vice President, Programming Strategy and Partnerships stated: “Music Choice is thrilled to include VidaPrimo’s expansive library of content across our network. This partnership will strengthen our Latin content offering for our MVPD distributors and give us additional access to artists who are important to our efforts to connect with our audience through artist integration programs.”

For Music Choice, VidaPrimo not only represents a strong consumer brand in Latin video content, but also brings its sales expertise onto the platform, allowing brands to connect with Latin Millennial consumers on any device.

About VidaPrimo:
VidaPrimo is a global media company that provides advertisers access to an exploding marketplace of US and Latin American Millennials as they consume the hottest content in the young Hispanic culture. Through agreements with more than 120 of the hottest Latin Rhythm artists, VidaPrimo is one of the largest Latin Music Multi-Platform Networks with presence across YouTube, DailyMotion, Amazon Video Direct and its owned and operated platform on VidaPrimo.com. With 60mm+ monthly views in the US and over 400mm across Latin America, VidaPrimo reaches 25 percent of US based Hispanic Millennials and an average of 20 percent of Millennials in Latin American countries. The VidaPrimo advertising platform leverages its massive reach of engaged Latin Millennials and connects them with brands through high quality in-stream video opportunities in front of premium content. Additionally, VidaPrimo offers creative product integration, custom video production and fan activation opportunities.

About Music Choice:
Music Choice, the multi-platform video and music network, delivers its music programming to millions of consumers nationwide through their televisions, online and mobile devices. Music Choice programs dozens of uninterrupted music channels; produces originals that feature today’s hottest established and emerging artists; offers thousands of music videos; and launched Music Choice Play, the music video, lifestyle and entertainment network for Millennials. For additional information log on to http://www.Musicchoice.com / Twitter: @MusicChoice / Facebook: http://www.facebook.com/Musicchoice

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Becky Sullivan and Anna Behlmer Discuss Sound in “The Zookeeper’s Wife”

2017-04-18 14:00:14 mgalas

Animals scream from 90 acres of land. Bombers fly overhead.  A piano’s music drifts through a basement chasm.  These elements are crucial to the story of “The Zookeeper’s Wife”, yet they occur primarily off-screen: that is, the viewer never sees them.   Crafting authentic and accurate sounds for these cues fell to the capable hands of supervising sound editor Becky Sullivan, re-recording mixers Terry Porter and Anna Behlmer and the members of the film’s sound department.

A period drama based on the factual account of the Warsaw Zoological Garden owners Jan Zabinski (Johan Heldenbergh) and Antonina Zabinski (Jessica Chastain) who successfully rescued Jewish citizens by smuggeling them through an underground system on their property in WWII Poland, the sound team’s approach began with research. They had to authentically portray the sounds of nature, warfare, ghetto and domestic life through a six year period.  A WWII history buff, Sullivan turned to her personal library of sound recordings to match the fighter plans, gun fire and other battle elements.  The list of zoo sounds that open the story proved more challenging to nail down.

“We had to show the love for these animals,” said Sullivan. “They had to sound authentic but not get cartoony.  We had to create a personality for them.”

To audibly define Adam, a baby camel that frequently trailed Antonina, a wealth of camel sounds were recorded. After testing levels of chattering, they opted for small moments of vocals.  This course of spot testing sound also helped balance the gentle purring of Antonia’s lion cubs.

When Antonina saves a suffocating baby elephant, Sullivan used recordings of a baby sea lion whose breathing patterns and squeaks worked best for the injured mammal. The team then thoughtfully built the off-screen elephants’ backdrop sonically.  This included highlighting the heavy footsteps of the anxious father’s charging and the distraught mother’s eager trumpeting.

For the scenes that depict the refugees in the Zabinski’s basement, Sullivan and her team were looking for ways to dictate space, sell the danger and extend the sense of dread. Working with foley artists, they captured the sound of creaks on different types of wood.  Adding these sounds to the track, the re-recording mixers worked with reverb and delay to differentiate distance and pressure of individuals on the upper floor.  Porter applied these techniques as well as compression to the piano’s music to dictate its expansion in the basement space.   In addition to creating location-based sounds, the team ensured sounds corresponded to actors’ reactions and visual nuances.

“Niki (Caro, the film’s director) did a great job of shooting directional cues,” said Behlmer. “If something drew our attention, we watched the action and figured out how to orchestrate it.”

During the pre-mix and dubbing stage with editor David Coulson, Caro worked very collaboratively with the sound team, regularly discussed refocusing sound and adjusting sound effects to ensure they captured the emotional landscape she envisioned. This included finessing the layout of an explosion; from a plane’s overhead flight to the scattering of debris.

Source: Variety411

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Alchemy Post Sound Creates Foley for Six Tribeca Films

2017-03-29 14:41:06 artisanspr

Westchester, New York— A committed supporter of independent film and the New York production community, Alchemy Post Sound provided Foley services for six films screening at this year’s Tribeca Film Festival. They include three narrative features, a documentary feature and two shorts.

“We are excited to have contributed to several wonderful new films screening at Tribeca, one of the world’s great film festivals,” said Alchemy Post Sound COO Andrea Bloome. “We congratulate the filmmakers and their sound teams on their success.”

Tribeca Film Festival films supported by Alchemy Post Sound include:

Love After Love (U.S. Narrative Competition, World Premiere), written and directed by Russell Harbaugh, is the story of mother and her two adult sons whose world feels emotionally untethered following the death of their family’s patriarch. Eli Cohn, sound designer/re-recording mixer.

Alchemy Post Sound credits: Leslie Bloome Foley artist; Joanna Fang, Foley artist; Ryan Collison, Foley mixer; Nicholas Seaman, Foley editor.

One Percent More Humid (U.S. Narrative Competition, World Premiere), written and directed by Liz W. Garcia, centers on two childhood friends, home from college for a hot New England summer, who become entangled in a shared trauma from their past. Dennis Rainaldi, sound mixer;

Alchemy Post Sound credits: Leslie Bloome Foley artist; Joanna Fang, Foley artist; Ryan Collison, Foley mixer; Nicholas Seaman, Foley recordist.

The Dinner (Spotlight Narrative, North American Premiere), written and directed Oren Moverman, follows two brothers, a congressman and a caustic former teacher, whose sibling rivalry comes to a head over a dinner with their wives. Tony Volante, re-recording mixer/supervising sound editor.

Alchemy Post Sound credits: Leslie Bloome Foley artist; Joanna Fang, Foley artist; Ryan Collison, Foley mixer; Nicholas Seaman, Foley editor.

City of Ghosts (Viewpoints, New York Premiere), directed by Matthew Heineman, profiles the fearless citizen-journalists of “Raqqa is Being Slaughtered Silently” (RBSS) who risk their lives on a daily basis to document and expose the atrocities of the Islamic State in their home city of Raqqa, Syria. Tom Paul, supervising sound editor. Mark Filip, sound effects editor.

Alchemy Post Sound credits: Leslie Bloome Foley artist; Joanna Fang, Foley artist; Ryan Collison, Foley mixer; Nicholas Seaman, Foley editor.

Buckets (Shorts: Last Exit, North American Premiere), written and directed by Julia Jones, is the story of a girl who learns the brutal sacrifices it takes to satisfy her love. Will Mayo, sound editor.

Alchemy Post Sound credits: Joanna Fang, Foley artist; Nicholas Seaman, Foley mixer.

Where There’s Smoke (Shorts: Last Exit, World Premiere), written and directed by Evan Ari Kelman, centers on a firefighter who seeks to return to the line of duty after a tragic accident. Bobb Barito, sound editor.

Alchemy Post Sound credits: Leslie Bloome Foley artist; Joanna Fang, Foley artist; Ryan Collison, Foley mixer; Nicholas Seaman, Foley recordist.

The 16th annual Tribeca Film Festival happens April 19-30, 2017.


About Alchemy Post Sound

Alchemy Post Sound is a 3,500 square foot, dedicated Foley studio designed specifically for Foley by resident Foley Artist Leslie Bloome. The company’s Emmy Award-winning staff has created sound for numerous major feature films, long-running television series, independent films and popular games. Alchemy’s services also include music recording, live performance, video production, ADR, and sound design.

www.alchemypostsound.com

Contacts

Andrea Bloome
COO & Studio Manager
(914) 737-7350 studio
a.bloome@alchemypostsound.com

Press
Linda Rosner
ArtisansPR
310.837.6008
lrosner@artisanspr.com

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Killer Tracks Launches New Production Music Label – ICON with 16 New Album Releases

2017-03-23 08:24:34 artisanspr

SANTA MONICA, Calif.—Killer Tracks, a premiere source for pre-cleared production music, today announces its new label ICON, featuring music for movie trailers, television promos, advertising, sports, games and other media.

The initial release includes 16 albums created and produced by award-winning composers Frederik Wiedmann and Joel Goodman, founders of independent music producer ICON Trailer Music. The collection runs the gamut from rich, melodic orchestral scores—many recorded with live orchestras—to cutting edge electronica. Also included are a large selection of alternate mixes, bonus elements and trailer toolkits. All 16 albums are available immediately for licensing in the U.S. and internationally.

“We are thrilled to represent ICON in the production music market,” said Killer Tracks Director of Marketing Andrew Donahue. “Frederik and Joel are gifted, versatile composers who write music brimming with emotion and energy. Their tracks are extremely functional, and expertly crafted to work well with picture.” ICON is expected to produce approximately five new albums for the collection each year.

Partnering with Killer Tracks provides ICON with access to the world market and an association with a respected, established brand. “Killer Tracks is known for quality and has been producing music at a high level for a long time,” Goodman said. “It also has tremendous market share in the U.S. and abroad. We look forward to enjoying great exposure.”

Frederik Wiedmann, Joel Goodman

Founded by Wiedmann and Goodman in 2011, ICON initially focused on orchestral trailer music, but has recently been expanding beyond that niche, creatively and conceptually. “We spend a lot of time researching trends and market demands,” explained Wiedmann. “We anticipate where the market is headed and are working with edgier and more contemporary styles.”

ICON has also developed a reputation for high production value. Whenever possible, it records with live orchestras, choirs and musicians. It also produces music with editorial in mind, creating tracks with numerous edit points, creating alternate mixes, and providing stems and musical toolkits. “We deliver lots of components that are useful to picture editors,” Goodman notes.

 

Wiedmann and Goodman bring broad experience in scoring for film, television, documentaries, commercials and animation. Wiedmann won an Emmy Award for the animated series All Hail King Julien. His credits also include the series Miles from Tomorrowland (Disney) and Green Lantern: The Animated Series (Cartoon Network), as well as the films Justice League: Flashpoint Paradox (Warner Bros. Animation), Hostel: Part III (Sony), Mirrors II (20th Century Fox) and Hellraiser: Revelations (Weinstein Company, Dimension Films). Goodman has more than 140 film and television credits, including the acclaimed PBS documentary series American Experience for which he wrote the main theme. He has also scored more than 30 films for HBO, notably Saving Pelican #895, for which he won an Emmy Award.

Killer Tracks will be exhibiting at NAB Show, April 22-27 in Las Vegas, Booth SL-7616.

Video Links

Making of ICON Cosmic Threat Vol 13: http://www.killertracks.com/#!/Video/ICON013.aspx

Making of ICON Dark Guardian Vol 9: http://www.killertracks.com/#!/Video/ICON009.aspx

 About Killer Tracks

Killer Tracks is a global source for pre-cleared music for film, television, advertising and interactive media.  With more than 2,700 active albums from 37 global libraries, the Killer Tracks catalog spans every genre and features original works from some of the music industry’s most innovative composers, artists and producers.  The premium catalog is continuously enhanced with exclusive recordings and new music updates. Friendly, knowledgeable support is always available through a dedicated team of music search specialists and licensing experts. When music matters, rely on the production music experts at Killer Tracks.

For more information, visit www.killertracks.com or follow @killertracks on Twitter and Instagram.

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"Lion" - Building a Scene from the Ground Up

2017-02-23 15:09:03 mgalas

Imagine the scenario. You’re five-years-old, accompanying your brother to a train station. After a short nap, you find yourself alone on a deserted platform.  Bewildered and groggy, you wander on an empty train, curl up on a bench and sleep, only to wake as you’re being hurdled over 900 miles away from home.

This sequence kicks off the reality-defying adventure in “Lion”, a 2017 Oscar race contender for Best Picture, Adapted Screenplay, Cinematography, Score, Supporting Actor (Dev Patel) and Supporting Actress (Nicole Kidman). “Lion” tells the factual story of Saroo Brierley, born Sheru Munshi Khan, who, at the age of five, was separated from his loving family and hurdled from one side of India to the other. Unable to speak the local language, he spends weeks hustling as a street urchin until he’s ultimately captured and sold to adoptive parents in Australia.  His early youth becomes a buried memory until the touches of his lover and the smell of an Indian delicacy awaken memories, setting him on the unlikely quest to reunite with his birth mother twenty-five years later.

While the ending of the film depicts a true, modern-day fairy tale, Saroo’s initial separation from his family was a terrifying nightmare. Let’s pull back the layers of creating this sequence of Saroo’s separation from script to screen.

The Script Writer

Before he wrote a word of the screenplay, Luke Davies wrote several pages of a “free association” outline that highlighted the fundamentals of Saroo’s journey. After meeting with director Garth Davis and cementing the job, he hopped on a plane to India.  There he met Saroo and traveled him to the locations outlined in his memoir, “A Long Way Home.”  Davies observational research exposed him to the simple joys of life in Saroo’s native Khandwa and the chaos of Saroo’s final train stop in Kolkata.

Prior to digging into the writing process, Davies and Davis spent roughly ten days together developing the early outline of the story, utilizing Saroo’s book, their respective notes and Davies’ early draft. It was during this phase that Davies suggested opening the film with its most traumatic moment.

“I felt we could be bold because this was a fairy tale, and you don’t want tricky thrills on a fairy tale. They just plunge: ‘Once upon a time – bang,’” said Davies.  “I understood it would go against basic film financing logic, which is ‘Don’t begin your movie with a five-year-old non-professional actor speaking in Hindi for the first fifty minutes’.”

Production company See Saw Films agreed to give Davies’ strong vision a chance. Davies script begins with brief context illustrating the happiness of Saroo’s childhood: catching butterflies in a field, joyfully helping his mother at work in a rock quary, playing with his older brother Guddu along the tracks, drinking milk as a family.

“Then a moment happens where he steps on to a train,” said Davies. “It is a tiny moment, and his entire life, his entire future, changes.”

In the pages of the screenplay, Davies writing intentionally left the train sequence “poetically sparce” to focus on Saroo’s feelings of abandonment. The action shifts quickly from the fun and love the brothers share and the adventure that lay before them to solitude.  While he didn’t dilute the scene with directorial notes, Davies did specifically outline the visual angle of the rain tank looming above and Saroo’s perspective of looking up at it to illustrate how incredibly small he was in the moment.

The Director

Garth Davis is not a new face in the directorial world, having helmed shorts, commercials and television series including the Emmy nominated “Top of the Lake.” While this was his first foray in feature directing, his approach was no different than it had been on past projects: put in the hard work and walk on set prepared.

Key observations Davis made while visiting India both aided in that preparedness and informed the handling of this key scene. Familiar with the kinetic energy that permeates the land, he was struck by the eerie silence that greeted him during one early morning visit.  Walking through Khandwa, he was also aware of the hum of cicadas and the overwhelming abundance of birds.

“There were millions of birds! I’m really interested in nature.  Our sense of home is not just our family, it is our environment and the sounds and textures and smells,” said Davis. “I wanted to have all of that to take back to the modern story.”

The sound design, score and camera shooting style hinged on nature and the impact of the environment on young Saroo. Davis recruited capable department heads that would understand the importance of personifying the environment within the scene.  Prior to working with those elements, however, Davis recognized Sunny Pawar, the untrained, five-year-old actor portraying young Saroo, needed an authenticity that would translate through the scene.   Despite strong recommendations to shoot the sequence first, he saved it for last.

“I made the decision straight away, he needed to go on the journey and be exposed to acting and find that language and trust so we could do the scene properly,” said Davis.

Davis worked with New Zealand-based acting coach Miranda Harcourt to prep Sunny. They created a fifteen-page “children’s book” version of the screenplay Sonny could nightly review that exposed him to the highs and lows of the story. Davis also created a “triangle of trust” consisting of himself, a translator, and Miranda, that enabled Sunny to feel comfortable in his own skin.

“Because people were encouraging him to ‘be you’, I think we saw him grow as a human, and somewhere along the line he caught on to what we were trying to do and he started hitting his marks and stretching out.”

With Sunny now able to empathize with Saroo’s experiences, Davis could focus on the impact of the scene.

“He doesn’t see the scale of the platform with his brother. He is caught up in the conversations and the jalebis and the people but when he wakes up he realized his is in this enormous hole of a place,” said Davis.

Davis started with a noiseless sound design that lightly introduces the hum of cicadas. Their din swells as the camera personifies the water tanks looking down at him and the long shots of a vacant platform.

The Cinematographer

In determining camera placement, Greig Fraser started with what he calls a “golden rule”: the camera needed to be where Saroo was emotionally. The determination of eye line had to be made early on, for the route between the train tracks and Khandwa have a significant impact later in “Lion” as Saroo is searching for his long lost home.

“This is what was fun about shooting. Is it a memory?  Is it him actually traveling?  Is it him projecting?” mused Fraser.  “You can use height to your advantage as well.  You can be just above his eye with a bit more headroom for little Saroo, and suddenly he is small.  Then, go a little bit lower, cropping his head, and he feels like the king of the world.”

Using an Alexa 35mm camera and a set of Prime vintage lenses, Fraser carefully worked with camera placement throughout the scene. Wanting the audience to maintain a sense of hope for Saroo, the scene starts with him in full frame, and this ratio is maintained as he first starts to walk.  The impending danger builds as the angle expands, highlighting the water tanks, lit to aid in the impression they were looking down at him.  It then becomes extremely wide, revealing the massive, vacant platform.

Trains are the artery of transportation and business in India. Noting there are no permits that shut down services for film shoots, Fraser and Davis, along with location scouts, went to the sites well in advance to prep for the challenging sequence.  Working with a camera team from Australia and a grip and electrical team from India, Fraser and his crew were fastidious about continuity.  They were often on and off trains during the shoot, so they had to be aware of the direction the train was traveling in, the placement of the seat and the light falling on Sunny. To aid in capturing time changes, the team used color changeable LEDs that allowed them to tweak colors that fell on Sonny’s eyes.

“If the sun was going down and it there was a blue (quality to the light), we could punch a little blue into his eyes,” said Fraser.

Davis wanted the audience to experience the numb state Saroo eventually succumbs to over the multi-day duration of the voyage.  “After hours of crying he’s not hold on, he is just serenading to it, like a ghost on the train,” said Davis. “We would play with the idea of the ghost and allow the camera to do that.”  Starting with wider shots, the camera work eventually becomes more impressionistic, mimicking the quality of wind and light.

To ensure they could capture the scenes they needed in Kolkata without curious crowds stopping and gaping at the camera, Frasier’s team built camera hides made out of boxes and packing material that they carved peep holes into. As Sunny runs through the crowd, Fraser’s shots were from the hip, so onlookers were of no consequence.  In addition to capturing Saroo’s experience, Davis and Frasier determined it was important to illustrate a sense of distance.  A few exterior shots of the train snaking through the wide open landscape.  To accomplish these shots, Fraser turned to a drone.

“I made sure I had the ability to operate the camera myself,” said Frasier. “It was very important that the aerials retain a certain amount of control.”

The Composers

Davis and his team had completed the rough cut when Volker Bertelmann and Dustin O’Halloran jumped on board. The cut was peppered with temp tracks of their own pre-recorded compositions, giving them a marker throughout the film of the style the director was aiming for.  As they worked with Davis to secure the right sounds, they created a few motifs for Saroo’s journey based around strings, prepared piano and classical piano.  Their primary focus was to find a temperature in the score that didn’t paint emotion over the scenes or the action.

In Saroo’s departure sequence, the team carefully wove the score around silence and the sound of nature. Music is not introduced until Saroo wakes up on the train.  At that point a violin motif emerges, emphasizing his feelings of isolation. The theme continues until he reaches the train station in Kolkata.  Here, prepare piano: a process were bits of metal and other resonant material are affixed to the strings the keys hit, merges with the sounds of the station.

“There is a lot of noise going – in a way it sounds a little random and has accidents within it,” said Bertelmann. “As the film progresses, the prepared piano disappears and suddenly there is some clarity in the sound.”

“The violin motif is one of the motifs that comes back that represents the moment when he realizes he is alone,” said O’Halloran. “It moves through the crowd scene with the sound design.  The music sort of comes out of the sound of the train station.”

During the development of the score, Davis encouraged the composers not to look at the film in a linear fashion. He wanted the music to make spiritual connections with the feelings and emotions Saroo experienced as memories emerged.  The composers enjoyed not only defining re-occuring themes, but defining these themes in a way that elevated the storytelling on a subconscious level.

“There was a lot of discussion on how do we weave these two halves of the film together,” said O’Halloran. “Can we start a motif that is later more developed so that subconsciously, when that feeling happens, like when (Saroo) is picturing his mother, or when he goes back into his heart or spiritual place, there is a sound to that.”

“It describes, for me, the way the spirit of the movie is a kind of longing, that is left after you go home,” said Bertelmann.

Source: Variety411

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MPSE Filmmaker Award Winner Guillermo del Toro: An Appetite for Sound

2017-02-14 16:59:39 artisanspr

Supervising Sound Editor Scott Gershin talks about working with the acclaimed director on the soundtracks for “Pacific Rim,” “Blade II” and other films.

Studio City, Calif.— Later this month, the Motion Picture Sound Editors will present Guillermo del Toro with its annual Filmmaker Award at the 64th Annual Golden Reel Awards ceremony. The Mexican-born filmmaker is being recognized for his “outstanding contributions to the art of cinema,” and joins such distinguished past honorees as Sam Raimi, Darren Aronofsky, George Lucas, Ang Lee, Michael Bay, Steven Spielberg, Clint Eastwood, Brian Grazer and Gale Anne Hurd.

Del Toro is an apt choice for the MPSE’s highest award. A master of horror, fantasy and science fiction, the director has produced an exceptional body of work, noteworthy not only for its captivating visuals, but also for its imaginative use of sound, whether in the form of the thundering robots of Pacific Rim, the creepy predator insects of Mimic or the fantastic creatures of his masterpiece Pan’s Labyrinth. 

“Texturally and narratively, sound and image fuse in the cinematic experience,” says del Toro. “I have spent as much time on the mixing board as I have on a stage shooting or in a color correction suite grading the final film. To paraphrase Mark Twain: ‘The difference between the almost right sound and the right sound ‘tis the difference between the lightning bug and the lightning.’”

One person intimately familiar with del Toro’s predilections for cinematic sound is Supervising Sound Editor Scott Gershin (who will present del Toro with his award at the MPSE Golden Reel ceremony). A 7-time Golden Reel Award winner (with 21 nominations), Gershin has collaborated with del Toro on Pacific Rim, Hellboy II and Blade II. He has also remastered several of the director’s earlier films for home entertainment release. “I’ve worked with Guillermo for a long time and developed a good sense for what he likes,” Gershin observes. “It also happens to be what I like. We’re kindred spirits when it comes to sound.”

Gershin describes del Toro as a hands-on director who takes an interest in every detail of his films. At the same time, he allows his creative partners room to do what they do best, giving them freedom to experiment and add their personal creative touch. “He likes to do cool things and wants to get the utmost out of the music, dialogue and sound design, and he’s totally open to input from his collaborators,” Gershin says. “He’s a great partner. He gives you a huge canvas to paint on.”

Pacific Rim

As an example, Gershin points to the towering monsters and robots of Pacific Rim. “Guillermo didn’t want the Jaegers and Kaijus to sound electronic or sci-fi; the technology isn’t that far in the future,” he recalls. “He said, ‘Imagine Jaegers as a kind of warship, a destroyer, with heavy, steel plating. They’re like walking battleships.’ It was great to have that frame of reference.”

Inspired by del Toro’s enthusiasm, Gershin went to great lengths to create the sounds of those “walking battleships” “In order to get the right metal sounds, we went to the Port of Long Beach and spent a day recording cargo containers, dropping them on top of each other,” he explains. “They were very big. They made a sound like cannons.”

Del Toro is never short on ideas for sound or hesitant to share them. On Blade II, the director was obsessed with the beastly utterances of the film’s “super vampires.” “He would call me up and say, ‘I have this great idea for a vocal, can I come over and do it for you?” Gershin recalls. “I’d say ‘Sure,’ and two seconds later, there’d be a knock on my door.”

Gershin notes that working with a director with such a consuming interest in the nuances of sound can be daunting. “Guillermo can be tough and demanding,” he asserts. “He’s challenging, but in a good way. He makes me work hard.” He adds, that the hard work continues through the final mix. “He uses all the tools in the sound chain. If there are surrounds, he wants to hear them. If there’s a sub, he wants to hear that. If it’s a 7.1 Atmos mix, he wants to have fun with it and he’ll take advantage of it on a scene, by scene basis.”

It’s exactly that passion and high expectations that makes working with del Toro rewarding, says Gershin. “He makes me stretch muscles and experiment,”  he notes. “He’s also very appreciative when good sound happens. It’s all about creativity and the work. I find that very gratifying.”

Blade II

About MPSE

Founded in 1953, the Motion Picture Sound Editors is a non-profit organization of professional sound and music editors who work in the motion pictures, television and gaming industry. The organization’s mission is to provide a wealth of knowledge from award winning professionals to a diverse group of individuals, youth and career professionals alike; mentoring and educating the community about the artistic merit and technical advancements in sound and music editing; providing scholarships for the continuing advancement of professional sound education; and helping to enhance the personal and professional lives of the men and women who practice this unique craft.

 

MOTION PICTURE SOUND EDITORS

11712 Moorpark Street

Suite 102

Studio City, CA 91604

(818) 506-7731

mail@mpse.org

mpse.org

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Hollywood Studios and Others Join in Celebrating the Craft of Sound as Sponsors of the 64th Annual Golden Reel Awards

2017-02-08 15:03:18 artisanspr

Los Angeles— Leading motion picture and television studios, independent producers, sound companies and technology developers are among the sponsors of the Motion Picture Sound Editors’ 64th Annual MPSE Golden Reel Awards ceremony, slated for February 19th at the Westin Bonaventure Hotel in Los Angeles. Netflix will serve as Presenting Sponsor of the event, which recognizes excellence in sound in motion picture, television, animation, documentary and interactive entertainment.

Warner Bros. joins as Silver Sponsor, while Bronze Sponsors include Focus Features, Formosa Group, NBC/Universal, Sony Pictures Entertainment, Technicolor, The Looping Division and a joint Westlake Pro-Avid partnership. The VIP Reception will be sponsored by Disney, Dolby Laboratories and Shinola Audio. Other sponsors include McDSP (After Party), Ballast Point, Lagunitas Brewing Company and Spagirl Vodka.

“We’re excited and grateful for the show of support from the entertainment industry and beyond,” said MPSE President Tom McCarthy. “The Golden Reel Awards ceremony is always a memorable and enjoyable night as the sound community gathers to celebrate the craft of sound as a storytelling tool.”

The 64th Annual Golden Reel Awards will recognize outstanding achievement in sound in 23 categories. The ceremony will also include special awards for Director Guillermo del Toro (Filmmaker) and Supervising Sound Editor/Sound Designer Harry Cohen (Career Achievement).

Additional information on sponsorship opportunities and tickets is available at https://www.eventbrite.com/e/64th-annual-golden-reel-awards-tickets-30100328894

About MPSE

Founded in 1953, the Motion Picture Sound Editors is a non-profit organization of professional sound and music editors who work in the motion pictures, television and gaming industry. The organization’s mission is to provide a wealth of knowledge from award winning professionals to a diverse group of individuals, youth and career professionals alike; mentoring and educating the community about the artistic merit and technical advancements in sound and music editing; providing scholarships for the continuing advancement of professional sound education; and helping to enhance the personal and professional lives of the men and women who practice this unique craft.

 

MOTION PICTURE SOUND EDITORS

11712 Moorpark Street

Suite 102

Studio City, CA 91604

(818) 506-7731

mail@mpse.org

mpse.org

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Sony Pictures Post Production Services Adds IMAX Dub Stage

2017-02-01 08:17:12 artisanspr

CULVER CITY, CALIF.— Sony Pictures Post Production Services has added a mix stage dedicated exclusively to IMAX. The new stage, which is equipped with a 24-fader Avid S6 mixing console, is the only dub stage on the West Coast that uses IMAX loudspeakers and meets specifications for mixing in its immersive IMAX 12.0 sound format. The room will be used to prepare 2D and 3D theatrical features and trailers for release to IMAX® theaters worldwide.

The stage is located in the Jimmy Stewart Building on the Sony Pictures lot in Culver City. Sony Pictures engineers worked with their counterparts from IMAX Corporation to install and align the IMAX 12.0 system. “We are excited to offer this new resource to the motion picture community,” said Sony Pictures Post Production Services Executive Vice President Tom McCarthy. “We are committed to supporting all theatrical sound formats and are particularly impressed with the dynamic quality of IMAX 12.0.”

“We’re delighted to have Sony’s new mix stage, which was specifically designed and equipped for the new IMAX 12.0  and 5.0 sound formats,  become available to mix and optimize films being presented in the IMAX format,” added Bruce Markoe, Senior Vice President and Head of Post Production, IMAX Corp. “We look forward to working with their great teams to help bring our enhanced sound formats to IMAX audiences worldwide.”

Sony Pictures Post Production Services’ new stage will provide California-based studios with an alternative for preparing titles for IMAX release. “We will provide studios and production companies with an efficient solution so they can get their titles out to IMAX theaters promptly,” noted Sony Pictures Post Production Services Lead Engineer Nathan Oishi. “Having access to a local source will make it easier for studios to manage the review and approval process, and help improve quality.”

Along with the Avid S6 console, the stage features four AVID HDX-3 digital audio workstations, a Sony  SRX-R320 4K Cinema Projector, RealD 3D system, a MDI Precision White Screen, JBL and IMAX loudspeakers and a variety of other sound and picture support gear.

About Sony Pictures Entertainment

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Entertainment Inc., a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production, acquisition and distribution; television production, acquisition and distribution; television networks; digital content creation and distribution; operation of studio facilities; and development of new entertainment products, services and technologies. For additional information, go to http://www.sonypictures.com.

 

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South Lake Audio Services’ Re-Recording Mixers Keith Rogers and Scott Weber Garner CAS Award Nomination for HBO’s “Westworld”

2017-01-30 08:35:53 artisanspr

BURBANK— South Lake Audio Services Re-Recording Mixers Keith Rogers, CAS and Scott Weber have received a nomination in the Cinema Audio Society’s 53rd CAS Awards for their work on the HBO television series Westworld. They share the nomination with Production Mixer John Pritchett, CAS; ADR Mixer Mark Kondracki and Foley Mixer Geordy Sincavage. The nomination, in the category Television – 1 Hour, comes for the series’ pilot episode, The Original.

“We congratulate Keith and Scott on this wonderful honor,” said South Lake Audio Services Vice President Paul Rodriguez. “We are excited to have their hard work, dedication and creativity recognized by their professional peers. We also congratulate their support crew, who include Recordist Brittany Ellis, Mix Tech Teddy Salas, and ADR Mixers Kyle O’Neal and Colin Rogers.” Other key members of the show’s sound team include Emmy-winning Supervising Sound Editor Tom de Gorter, Dialogue Editor Fred Paragano and ADR Supervisor Matt Sawelson, all from Atomic Sound, and composer Ramin Djawadi.

This is Rogers’ ninth CAS Award nomination. He won a CAS Award in 2010 for Into the Blue 2: The Reef. He is also a 4-time Emmy Award nominee. This is Weber’s fourth CAS Award nomination. He is a 6-time Emmy Award nominee, including a win in 2008 for the television series Lost. The 53rd CAS Awards will be presented February 18th in Los Angeles.

Westworld, which just completed its first season on HBO, is a dark odyssey about the dawn of artificial consciousness and the evolution of sin. The show’s sound team plays a significant role in conjuring up its unique worlds. Rogers and Weber were tasked with building soundtracks that include, on the one hand, steam locomotives, horses and gunfights, and, on the other, a vast industrial complex where engineers tinker with robots. Rogers and Weber previously collaborated with Westworld co-creator and executive producer Jonathan Nolan on the series Person of Interest.

About South Lake Audio

South Lake Audio Services is a union-signatory sound company offering mixing and ADR services for motion pictures and television. Located at in Burbank, the company’s mix stages are equipped with latest generation Avid S6 and Icon D-Control digital consoles and Pro Tools editing systems. They also feature 4K and HD projection systems, are Dolby certified and capable of mixing in 5.1 and 7.1 surround sound.

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AES LA/SMPTE Hollywood Section meeting showcasing sound for Netflix hit series “Stranger Things”

2017-01-20 08:08:56 artisanspr

On January 31 at the Sportsmen’s Lodge in Studio City, a joint AES/SMPTE meeting will showcase the intricate sound editorial and re-recording of the Netflix mini-series Stranger Things. Come and learn how the sound team creates the unique 5.1-channel soundtrack, including the eerie music that is key to the show’s look and feel. A second season from The Duffer Brothers is scheduled to start later this year, with its haunting Eighties-style, synth-based musical score.

The editorial team for Stranger Things is headed up by supervising sound editor Brad North, who works closely with sound designer Craig Henighan, sound-effects editor Jordan Wilby and music editor David Klotz; the re-recording crew, working at the Technicolor Seward stage, comprises Joe Barnett handling dialog and music, and Adam Jenkins handling sound effects.

“We drew our inspiration – subconsciously, at least – from such sci-fi films as Alien, The Thing and Predator,” Craig Henighan recalls. Part sci-fi, part horror and part family drama, Stranger Things is often considered as an homage to Eighties movies like Close Encounters of the Third Kind and ET.

About Stranger Things:

On November 6, 1983, in the small town of Hawkins, Indiana, 12-year-old Will Byers vanishes mysteriously. His mother becomes frantic and tries to find Will while police chief Jim Hopper begins investigating, and so do Will’s friends: Dustin, Mike and Lucas. The very next day, a psychokinetic girl who knows Will’s whereabouts is found by the boys. As they uncover the truth, a sinister government agency tries to cover it up, while a more insidious force lurks just below the surface.

Our panel:

After graduating from the University of Miami in 1990, Joe Barnett relocated to Los Angeles to work in the machine room at EFX Systems, then as a re-recording mixer at Digital Sound and Picture, where he helped pioneer the marriage of servers, workstations and consoles. Having, in 2000, joined Todd-AO in the dialog chair, he became the company’s first mixer to gaff a “console-less” Pro Tools stage at its Lantana facility. During 14 years at Todd-AO, he mixed everything from episodic TV to feature films. In 2015, he signed with Technicolor to helm a brand new dub stage centered around an Avid S6 console. Now teamed with Adam Jenkins, Joe is focused primarily on the exploding high-end OTT market on such projects as Daredevil, Luke Cage, Stranger Things and the just released OA.

Originally from Toronto, and now based in Los Angeles since 2006, Craig Henighan is a sound designer/supervising sound editor and re-recording mixer whose film/TV credits include Deadpool, Stranger Things, Black Swan and The Secret Life of Walter Mitty.

Adam Jenkins began his career at Todd AO in 1981, working as a film loader and recordist before progressing to mixing in 1989. Since then, he has worked as the sound-effects mixer on well over 100 films and many TV projects. In August 2012, he joined Technicolor, where the fusing of audio technologies – specifically workstation and console platforms – allowed him to craft material sonically in ways not possible just a few years ago. His love for mixing stems from the opportunity to work in a number of genres with a wide range of sonic landscapes. “Making a completely manufactured sound-effects track feel like an organic, natural part of the film – be it in a romantic comedy, science fiction, or a shoot ’em up,” he says. “It is always a challenge that I welcome.”

David Klotz is an Emmy-award winning music editor for film and TV, who began his career at PolyGram Filmed Entertainment coordinating scoring sessions. In 1999, he began music supervising (Memento) and, in 2003, started working as a music editor on the TV shows Buffy The Vampire Slayer and Firefly. In 2005, he formed his own music editorial company working on HBO’s Entourage, Fox Television’s Prison Break and the feature films Iron Man, Eat Pray Love and the Glee 3D Movie. He won MPSE Awards for his work on Glee and Game of Thrones. He won two Emmys for Game of Thrones (2012 and 2015) and one for American Horror Story (2013). A musician and songwriter, he co-wrote and performed the theme song to the 2001 Robert Rodriguez blockbuster, Spy Kids. Recent credits include Stranger Things and Season 6 of American Horror Story.

Having attended Full Sail University, Brad North moved to Los Angeles and interned at Wilshire Stages, where he edited sound effects for a couple of IMAX movies and other features. After editing and mixing feature films at a small post-production company, in 2004 he landed at Universal, where he worked as a sound-effects editor on features and TV shows. He ended up becoming the sound supervisor on House, for which he earned an Emmy, three Golden Reels, two HPA Awards and several other nominations. Now at Technicolor, his resume includes Justified, From Dusk Till Dawn, Banshee, Bosch, Quarry and Stranger Things. He is currently working on Bosch and American Gods, which will debut on Starz later this year.

Jordan Wilby graduated from UCSB in 2001; his love of underground electronic music and sound design led him to LA in 2002, subsequently completing LA Recording School’s Recording Engineer Program in 2004. Internships at the Sony Scoring Stage and Hammerhead Sound followed soon after, as well as working on such films as The Incredibles and The New World. He was then hired at Technicolor, and worked his way up to SFX editor by 2007. During the past 10 years he sound edited and designed a variety of shows and projects in TV, film, and video games. In addition to SFX editing on Stranger Things, he is currently sound designer/lead SFX editor on several of Marvel’s Netflix properties, including Daredevil, Jessica Jones, Iron Fist, and The Punisher. He has received two Emmy and a Golden Reel nomination.

About the Audio Engineering Society

The Audio Engineering Society was formed in 1948 and now counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. Currently, its members are affiliated with more than 75 AES professional sections and more than 95 AES student sections around the world. Section activities may include guest speakers, technical tours, demonstrations and social functions. Through local AES section events, members experience valuable opportunities for professional networking and personal growth. More information at http://www.aes.org.

About the SMPTE® Hollywood Section

The Hollywood Section of the Society of Motion Picture and Television Engineers® (SMPTE®) was originally organized as the West Coast Section in 1928. Today, it encompasses more than 1,200 SMPTE Members in the Greater Los Angeles area with a common interest in motion-imaging technology and is its own SMPTE Region. The Hollywood Section offers free meetings on a monthly basis that are open to SMPTE Members and non-members alike. Information about meetings is posted on the Section website at www.smpte.org/hollywood.

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How They Animated ‘Sing’ With a Live-Action Vibe Like ‘The Commitments’ Video

2016-12-28 12:34:38 ccwire-staff

Although it came as no surprise to the Illumination animators in Paris that live-action director Garth Jennings wanted them to approach their first musical extravaganza, “Sing,” more like “The Commitments” than “Despicable Me,” only with animals, they had no idea what they were in for. Long takes, wild camera work, off-beat song and dance performances and naturalistic acting required greater teamwork and more time than any of their previous movies.

“It was an acting breakthrough because of Garth,” animation director Pierre Leduc told IndieWire. “He pushed us to add more feeling to the characters and to push the way they moved in a more particular way.”

And what a diverse ensemble had to work with, thanks to both Jennings and Illumination founder/producer Chris Meledandri: Buster Moon (Matthew McConaughey), the impresario koala; Rosita (Reese Witherspoon), a domestic pig with great singing chops; Mike, a crooning mouse (Seth MacFarlane); Ash (Scarlett Johansson), a punk porcupine; Johnny, a young gangster gorilla (Taron Egerton); Meena (Tori Kelly), a teenage elephant with stage fright; and Gunther (Nick Kroll), the dancing pig.

Read the full story at IndieWire.

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Abel Korzeniowski Used Dual Storyline to Build Lush Score for “Nocturnal Animals”

2016-12-22 11:49:02 mgalas

It had been seven years since composer Abel Korzeniowski worked with director Tom Ford. Korzeniowski had scored Ford’s debut, “A Single Man” and was thrilled to reteam on the director’s sophomore outing.  When he received Ford’s script which he based off Austin Wright’s novel “Tony and Susan”, he was overwhelmed by the story’s power.

“Nocturnal Animals” tells the story of Susan Morrow (Amy Adams) who married into wealth and owns a high-brow art gallery. Although she suspects her husband is having an affair, she is complacent in her life until she receives a manuscript from her ex-husband Tony Hastings (Jake Gyllenhaal).  Entitled “Nocturnal Animals”, the manuscript follows an imagined and violent tale that highlights the misadventure of a young family that cumulates in multiple grisly murders.  Korzeniowski saw “Nocturnal Animals” combined two stories: the personal drama and a thriller, into one movie.  Early on he referenced Hitchcock, who was a master at creating a quality that something was coming without drawing suspicion to that element.  To ensure he placed an equal amount of work on the two stories, he wrote the score “in reverse”, from the end to the beginning.  The process began, as ventures on a Tom Ford movie do, with strong collaboration with the director.

“We didn’t start with a straight spotting, we started with a moment,” said Korzeniowski. “Tom’ process of discovery began with starting with the main themes, then seeing where that would lead.”

Further complicating the scoring process was the evolution the film was simultaneously making. Korzeniowski noted the scenes would be reshaped throughout the production process as Ford worked on finding the right balance of emotion and information within them. The restructuring did ultimately help Korzeniowski define the music used at the beginning of the film.  Thinking of the three witches that are featured in the prologue of “Hamlet”, the opening sequence tells of what is to come but the viewer doesn’t understand it at the time.  More on that in a minute.

What was present from the very beginning of Korzeniowski’s process was the use of a lush orchestra. The challenge that would accompany grand orchestration would be careful construction of expression: finding those moments that would be better defined by an ensemble and the moments that would be served by a full orchestra.

“I wanted to underline the expression of the screen; the joy, the pride, the energy, but I wanted it to be truthful, not gimmicky,” said Korzeniowski. “I had to find the balance.”

Moments where Korzeniowski scaled the music down allowed the strong emotions on the screen to come through. One example occurs with Edward Sheffield (Jake Gyllenhaal), the character in the manuscript, finds the bodies of his wife and daughter.  A solo violin heightens the raw intensity Gyllenhaal brings to the moment. “When there are intimate cues, there is not as much to hide the action behind,” notes Korzeniowski.

If composing a score wasn’t challenging enough, Korzeniowski had two additional complications to contend with. Once the process began, Ford informed Korzeniowski he’d like him to work close by, meaning Korzeniowski would have to relocate his studio to London.  While it was a little obstructing to move his entire studio to London, he managed to relocate to an area on Sutton Square.  Once he was up and running, Ford visited every other day.

The second complication was demos. While Korzeniowski agrees that demos are “painful” because the sound is never truthful to what the actual recording is, they are a necessary part of the process.  Demos give the director an idea of the music before it goes into final recording.  Korzeniowski was aware of the reaction Ford would have to the synthetic sound of a demo – the emotion the lush orchestrail sound provides would be lost. Even though he was in a time crunch, Korzeniowski invited musicians over to his studio and conducted small recording sessions that he then passed on to Ford.

Back to the opening sequence, which highlights some Ruben-eque naked women dancing with sparklers and party hats. Korzeniowski had asked Ford what the sequence meant to him, but Ford refused to share his intention.  To Korzeniowski, the sequence was meant to highlight the life Susan had abandoned.  The music exemplifies the women, unashamed in their girth and nudity, living life to the fullest.

“They are everything Susan is not,” said Korzeniowski. “She gave up happiness, gave up what made her fulfilled in life and instead chose security.”

Source: Variety411

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Stephen Arnold Music Releases ‘The Six Strings of Christmas - Volume Two’ -- 14 New Tracks of Virtuoso Guitar Holiday Classics Will Help Little Kids Rock® Expand School Music Programs

2016-12-22 10:41:57 ccwire-staff

DALLAS, TX – Little Kids Rock is entering the 2016 Christmas season on a high note, thanks to its ongoing partnership with Stephen Arnold Music, who have just released The Six Strings Christmas – Volume Two featuring 14 titles with an unforgettable spin on classic holiday songs. One hundred percent of the proceeds go to the growing nonprofit organization that has enriched the lives of more than 500,000 public schoolchildren in 127 school districts around the U.S. since 2002.

By training and equipping public school teachers with musical instruments and a complete curriculum, Little Kids Rock helps provide classes, guitars, keyboards and amps to deserving children nationwide. Rooted in Stephen Arnold Music’s years of experience creating sonic branding and original music, The Six Strings of Christmas – Volume Two is a memorable way to enjoy these enduring holiday season tunes.

“As the reach of Little Kids Rock grows, this year we wanted to do even more for this amazing organization,” says Stephen Arnold, President of Stephen Arnold Music. “Recording The Six Strings of Christmas Volume Two was a wonderful experience. It allowed us to collaborate with the many world-class players that we call our friends, while going deeper into the great holiday season songbook. Knowing that these recordings are helping kids to learn an instrument and develop their own passion for music makes it truly special.”

Each track is a virtuoso guitar performance – four, six, eight, and twelve-string instruments are all represented. The songs are arranged and performed by top studio musicians and talent who have worked with Stephen Arnold Music throughout the year on their many demanding projects.

With Volume Two, listeners hear acoustic takes on “We Wish You a Merry Christmas,” “Frosty the Snowman,” “White Christmas,” “Santa Claus is Coming to Town” and nine more magical holiday melodies. Recorded at Stephen Arnold Music’s studios in Dallas, TX, each track captures the nuanced performances of some of the world’s top guitarists.

Available on iTunes, The Six Strings of Christmas retails for $9.99, with all proceeds going to Little Kids Rock. Also available on iTunes is the beloved Volume One, released in 2012, which features fresh takes on “Joy to the World,” “Ave Maria,” “Little Drummer Boy,” “O Come Emmanuel,” “The First Noel,” “Auld Lang Syne” and ten more selections.

“Every year, Little Kids Rock depends on our philanthropic partners to meet and exceed our fundraising goals,” says Keith Hejna, Communications Officer for Little Kids Rock. “With The Six Strings of Christmas – Volume Two Stephen Arnold Music has reaffirmed its commitment to training and equipping the heroic public school teachers who use music to enrich kids’ lives.”   

For many in the broadcast industry, Stephen Arnold Music’s is known for their sonic branding/original music for such clients as Nexstar Broadcasting, Fox Business Channel, CNN, The Weather Channel, CCTV and a full 35 percent of all U.S. local TV markets. With The Six Strings of Christmas series, the company continues to apply its musical expertise to making a difference.

Here’s what Little Kids Rock achieves with each sale of The Six Strings of Christmas:

  • 1 album = Provides a child with three months of music lessons
  • 5 albums = Helps put a brand new acoustic guitar into a child’s hands
  • 10 albums = Supplies a keyboard and amp to a public school music class

To hear audio samples of the tracks and watch video of some of the performances on “Six Strings of Christmas,” go here: http://www.stephenarnoldmusic.com/thesixstringsofchristmas/

About Stephen Arnold Music:

Often referred to as the most-heard, least-known composers in America, Stephen Arnold Music’s creativity is experienced every day in more than 100 million homes throughout the U.S. Based in Dallas with offices in San Diego and New York, with additional recording studios in Santa Fe, “The World Leader In Sonic Branding™ has more than 20 years of success delivering impactful, brand-defining music that makes a difference for today’s top broadcast networks, cable channels, television stations, film production studios and advertising agencies. With multiple Emmys, Addys and Promax Golds to their credit, Stephen Arnold Music’s specialized approach and commitment to the power of sonic branding, state-of-the-art production and unparalleled customer service is at the core of its promise. Stephen Arnold Music continues to set the creative bar in a highly competitive content landscape.

For more information, please visit http://www.stephenarnoldmusic.com

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Alchemy Post Sound Supports Ten Sundance World Premieres with Foley

2016-12-20 15:12:14 artisanspr

Westchester, New York— Alchemy Post Sound provided Foley sound services for ten films premiering at the 2017 Sundance Film Festival. Among them are five films included in the U.S. Dramatic Competition, two films included in the U.S. Documentary Competition, one film in Premieres and two films included in the festival’s NEXT lineup. The Sundance Film Festival screens in January 19-29.

Alchemy Post Sound has a history of supporting independent film through its work as a premiere provider of Foley sound services. “We are passionate about quality filmmaking and are always excited to work with new and emerging filmmakers,” said Alchemy Post Sound COO Andrea Bloome. “We are very proud of our association with these nine great films and congratulate the filmmakers and their sound teams on their success.”

Sundance films supported by Alchemy Post Sound include:

“Rebel in the Rye” “Brigsby Bear”

Rebel in the Rye (Premieres/World Premiere) Director and screenwriter Danny Strong’s portrait of the life and mind of reclusive author J.D. Salinger.

Brigsby Bear (U.S. Dramatic Competition/World Premiere) Director Dave McCary’s comedy about a children’s TV show produced for an audience of one.

“Golden Exits” “Novitiate”

Golden Exits (U.S. Dramatic Competition/World Premiere) Director/screenwriter Alex Ross Perry’s drama about a young foreign girl whose arrival disrupts the lives and emotional balance of two Brooklyn families.

Novitiate (U.S. Dramatic Competition/World Premiere) Director/screenwriter Maggie Betts’ story of a young woman training to be a nun during the Vatican II era.

“Patti Cake$” “The Yellow Birds”

Patti Cake$ (U.S. Dramatic Competition/World Premiere) Director and screenwriter Geremy Jasper’s tale of an aspiring rapper fighting through a world of strip malls and strip clubs in an unlikely quest for glory.

The Yellow Birds (U.S. Dramatic Competition/World Premiere) Director Alexandre Moors’ war drama about two young men who fight in the Iraq War.

“Trophy” “City of Ghosts”

Trophy (U.S. Documentary Competition/World Premiere) Director Shaul Schwarz’s in-depth look into the powerhouse industries of big-game hunting, breeding and wildlife conservation in the U.S. and Africa.

City of Ghosts (U.S. Documentary Competition/World Premiere) Director Matthew Heineman’s documentary which follows the extraordinary journey of “Raqqa is Being Slaughtered Silently,” a group of anonymous citizen journalists who banded together after their homeland was overtaken by ISIS.

“Dayveon” “Thoroughbred”

Dayveon (NEXT) Director Amman Abbasi’s story of a 13-year-old boy who becomes involved with a local gang in rural Arkansas.

Thoroughbred (NEXT) Director/screenwriter Cory Finley’s thriller of two teenage girls in suburban Connecticut who rekindle their unlikely friendship after years of growing apart and learn that neither is what she seems to be.

About Alchemy Post Sound

Alchemy Post Sound is a 3,500 square foot, dedicated Foley studio designed specifically for Foley by resident Foley Artist Leslie Bloome. The company’s Emmy Award-winning staff has created sound for numerous major feature films, long-running television series, independent films and popular games. Alchemy’s services also include music recording, live performance, video production, ADR, and sound design.

www.alchemypostsound.com

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South Lake Audio Re-Recording Mixers Keith Rogers and Scott Weber Reunite with Executive Producer Jonathan Nolan for HBO’s futuristic “Westworld.”

2016-12-16 14:07:00 artisanspr

BURBANK—The drama series Westworld, which just completed its first season on HBO, is described as a dark odyssey about the dawn of artificial consciousness and the evolution of sin, exploring a world in which every human appetite, no matter how noble or depraved, can be indulged. The contrast between (and sometimes intermingling of) the near future and the distant past fuels the drama and is a large part of the show’s fascinating appeal.

Westworld’s sound team plays a significant role in conjuring up its two divergent worlds. Re-recording mixers Keith Rogers and Scott Weber from South Lake Audio Services (which works out of Roundabout Entertainment in Burbank) were tasked with building soundtracks that include, on the one hand, steam locomotives, horses and gunfights, and, on the other, a vast industrial complex where engineers tinker with robots.

“That’s the joy of this show,” says Producer Bruce Dunn, who supervises post production. “We are truly working on two completely different genres in each episode, a full bore Western and a clinical, futuristic tech world. It’s a lot of fun to play with that as it moves back and forth, or, especially, when the two meld together.”

Other key members of the show’s sound team include Emmy-winning Supervising Sound Editor Tom de Gorter from Atomic Sound and composer Ramin Djawadi. The final mix was completed on Roundabout’s Stage F.

Rogers and Weber previously collaborated with Westworld co-creator and executive producer Jonathan Nolan on the series Person of Interest, and that familiarity helped them hit the ground running with Nolan and co-creator and executive producer Lisa Joy. “We’ve worked with Jonathan, Lisa, and their production team for more than five years and are in sync with their ideas and what they want to create in terms of a sonic image,” Rogers notes. “Jonathan’s priority is storytelling, and he loves to use sound to support what he is trying to get across in his stories.”

Citing the show’s length—most of the show’s ten episodes ran just under an hour—and the producers’ high expectations for quality, Rogers says the process of mixing Westworld is very demanding. But, he adds, they also have more time than most television dramas with a full five days to deliver each episode. “Because we have time we treat each episode like a feature,” he observes. “I pre-dub the dialogue, the ADR and the group elements before we add sound effects and music. That allows us to fine tune the elements. We are able to listen to each track, balance things and make sure they are correct. As we move forward, we balance the rest of the show around the dialogue.”

For the Old West scenes, de Gorter’s crew delivered a myriad of sound effects and sound design elements, many of which were originally recorded and derived from actual period sources. “There are authentic sounds of horses, wagons and guns,” notes Weber. “There are no cars, so the ambience is birds and wind in the trees. In the bar, we have glass clinks and the crowds. It’s a lot of cool stuff.”

The soundscapes for the laboratory environments and not only far different, they require an imaginative touch in order to create a technological world, not of today, but of tomorrow. “The equipment needs to sound familiar but a little more advanced than what we have now,” explains Dunn. “How does a robot sound? The first episode features a broken down, 35 year-old robot. The sound team created sound treatments for an old robot’s eye blinks. They created tones for Tech World that vary from floor to floor, so Manufacturing sounds different from Behavior. There is a distinct sound for every place. If you listen to the mix closely, it’s all there.”

Rogers says they took pride in polishing the details. Many sounds play in the background and may go unnoticed, but are critical to creating a sense of place. “The subtleties are immense and it creates a lot of opportunities to experiment with sound,” he says. “It’s a sound designer’s dream.”

Westworld’s blending of two worlds poses unique challenges in the mix, says Weber, but he credits the producers for providing them with the latitude to succeed. “It’s a privilege to work with people who devote the time and resources to sound to ensure it is done right and sounds right,” he says. “They provide a great creative environment and the freedom to do our best work.”

WESTWORLD season one is available on HBO GO, HBO NOW and HBO ON DEMAND.

About South Lake Audio

South Lake Audio Services is a union-signatory sound company offering mixing and ADR services for motion pictures and television. Located at in Burbank, the company’s mix stages are equipped with latest generation Avid Icon D-Control digital consoles and Pro Tools editing systems. They also feature 4K and HD projection systems, are Dolby certified and capable of mixing in 5.1 and 7.1 surround sound.

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