In the News

Sound

Killer Tracks Feel Good Music Featured in KXTV’s Award-Winning “Blah Blah Land”

2017-08-09 12:14:13 artisanspr

SANTA MONICA, Calif.— Blah Blah Land, a television promo for KXTV-TV, Sacramento, featuring music from Killer Tracks, an industry leader in production music, came up big at the 2017 PromaxBDA Local Awards. The ad picked up two Gold Awards and one Bronze Award, the latter for Best Use of Original Music. Inspired by the Oscar-winning movie La La Land, the promo shows anchors from the station’s morning show bounding from their cars and performing an upbeat pop song in the middle of a traffic jam. The voiceover offers KXTV-TV’s Morning Blend as an alternative to the “blah blah land” of other stations. The spot was conceived by KXTV-TV Creative Director Drew Fowler.

The music featured in the promo is titled I’m Feelin’ Good and it comes from Feel Good Songs, a collection of catchy pop tunes produced, and available exclusively through Killer Tracks. The vocals were performed by actual KXTV staff. “We were looking for a track that embodied the spirit of La La Land, but not a direct copy,” said Fowler. “This worked perfectly.”

 

“It’s a very memorable, funny and charming promo, and it makes brilliant use of music,” added Killer Tracks Director of Marketing Andrew Donahue. “KXTV-TV’s marketing team did a fantastic job and we congratulate them on their success.” Donahue noted that all tracks in the Killer Tracks library are written specifically for production use.  As a result, it’s very easy to add new vocal tracks or make other types of customizations. The library employs top composers and producers from the film, television and recording industries, and uses state-of-the-art recording techniques so the sound is always fresh and the quality first rate.

Blah Blah Land debuted during the Academy Award show broadcast in February and screened in cinemas and on social media. KXTV-TV produced the ad in-house using its own creative and production resources. Impressively, the entire spot was shot in a single take using a 25-foot jib and a Ronin camera mount. KXTV-TV staff who appear and sing in the spot include Jason Miller, Ilana Blasingame, Rose Mendonca, Samuel Platz, Jason Knight, Hugh Gaskill, Steven Parmley, David Montgomery and Theresa Mier, as well as Fowler. Members of a local parkour gym appear as extras.

See KXTV-TV’s Blah Blah Land here.

Sample Killer Tracks’ Feel Good Songs here.

About Killer Tracks

Killer Tracks is an industry leader in production music and a global source for pre-cleared music for film, television, advertising and interactive media.  With more than 2,800 active albums from 39 diverse 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.

Posted in: Press ReleaseSoundTagged in: awardsCommercialsmusic Read more... 0 comments

Love Hope Strength Band Announces Partnership with Killer Tracks

2017-08-03 22:06:46 artisanspr

SANTA MONICA, Calif.— Killer Tracks today announces that I Can, We Can and Love +, will be released this month via the Killer Tracks Artists Series. A percentage of the revenue from the licensing of the songs will go to Mike Peters’ Love, Hope, Strength Foundation which “leverages the power of music to expand the bone marrow registry.” Two more songs will be released later this year.

The songs were written and sung by Mike Peters, whose band The Alarm produced more than 5 million records worldwide and 16 Top 50 UK singles. Peters is himself a cancer survivor and the subject of a new documentary, The Man in the Camo Jacket, directed by Russ Kendall and produced by Jonathan McHugh, Jonathan Platt, James Chippendale, Alex Colletti and Stash Slionski. The film chronicles Peters’ 8-year battle with non-Hodgkin’s lymphoma. A special screening of the film will be held on August 3rd at the Grammy Museum in Los Angeles, followed by a short musical performance and Q&A.

 

Peters and The Alarm are currently headlining this year’s Warped Tour, which includes a stop in Pomona, California on August 6. Love Hope Strength, named after The Alarm’s 1985 anthem Strength, will have representatives at each Warped Tour date conducting swab drives and donor matches. To date, Love Hope Strength has added over 150,000 individuals to the bone marrow registry, and has created over 3,100 potential life-saving matches for patients around the world.

I Can, We Can and Love +, are vintage Mike Peters: idealistic, impassioned, soaring. “They are very inspiring and motivating songs, and fantastic additions to our Artist Series,” says Killer Tracks VP of Production Carl Peel. “We are very excited to collaborate with Mike and support the work of his wonderful foundation.”

“Killer Tracks continues to support great causes and great artists,” adds McHugh. “Partnering with Mike Peters and Love Hope Strength in helping to promote his film and music has been a blessing.”

Film and television licensing of I Can, We Can and Love + is available exclusively through Killer Tracks.

For more information about The Man in the Camo Jacket and the Grammy Museum, visit http://www.grammymuseum.org/events/detail/man-in-the-camo-jacket

For more information on the Warped Tour, visit http://vanswarpedtour.com/dates/

About Love Hope Strength Foundation

The Love Hope Strength Foundation’s mission is to save lives, one concert at a time. We believe that all people deserve quality cancer care, a marrow donor if needed, and, most importantly, hope. Founded by cancer survivors James Chippendale and Mike Peters, LHS leverages the power of music to expand the marrow registry through our “Get on the List” campaign. At LHS, we believe in offering real hope to people currently living with cancer.

https://www.lovehopestrength.org

About Killer Tracks

Killer Tracks is an industry leader in production music and a global source for pre-cleared music for film, television, advertising and interactive media.  With more than 2,800 active albums from 39 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.

Posted in: Press ReleaseSoundTagged in: musicproduction music Read more... 0 comments

The Big Sound of "Dunkirk"

2017-07-27 23:34:10 ccwire-staff

To help convey the “visceral realism” of Christopher Nolan’s “Dunkirk,” the director needed an intense soundscape for the legendary evacuation of more than 300,000 British and Allied troops under German bombardment.

In fact, Nolan needed three distinctly rhythmic soundscapes for this tick-tock, overlapping, World War II actioner that covers land, sea, and air. Nolan and composer Hans Zimmer came up with the sound of a ticking watch that plays throughout, and sound editor/sound designer Richard King provided the real-world soundscapes for mounting excitement, panic, and jeopardy.

“Chris wanted a sense of velocity and everything’s happening so fast with the enemy approaching at their own speed, so there’s a time limit,” said King, Oscar winner for “Master and Commander: The Far Side of the World,” “The Dark Knight,” and “Inception.”

“Rather than observing it off in the distance, Chris really wanted to make you feel how horrible that would be, and to try and help the audience appreciate that,” King said.

Read the full story at IndieWire.

Posted in: NewsletterProduction & PostSound Read more... 0 comments

“Baby Driver” Sound Designer Julian Slater Creates a Syncopated Soundtrack for TriStar Hit

2017-07-25 11:14:11 artisanspr

CULVER CITY, CALIF.—  Baby Driver, the critically-acclaimed new film from TriStar Pictures and Writer/Director Edgar Wright, centers on a young getaway driver named Baby (Ansel Elgort) who suffers from tinnitus, a medical condition that causes him to hear a constant ringing in his ears. He copes with the problem by listening to music at high volume through earbuds. For much of the film, the audience experiences the action from Baby’s perspective. So, they hear the music that he hears (including tracks by Beck, Dave Brubeck and the Beach Boys) while the action around him happens in perfect sync.

The task of creating Baby’s aural landscape presented unique challenges and opportunities for the film’s sound team led by Julian Slater, who acted as Sound Designer, Supervising Sound Editor and Re-Recording Mixer. Slater and his crew produced hundreds of customized sound effects and carefully choreographed each one to fit perfectly with the action on screen and the groove flowing into Baby’s ears.

“The whole movie is orchestrated to whatever Baby is listening to at the moment,” Slater explains. “Gunfights are in time with the music. Car chases are cut in sync. Police sirens, barking dogs, speeding trains are at tempo. Much of it is pitched and syncopated so that the music and sound design work as one.”

The novel sound concept is introduced in the film’s opening moments. “The first thing you see is the studio logo,” Slater notes. “The sound from it transforms into a tinnitus ringing, which in turn becomes the braking sound of a car. It is in the same key as the first music cue (Bellbottoms by the Jon Spencer Blues Explosion), so it all flows.”

Soon after comes a tracking shot covering more than 3 minutes. Baby is gamboling along a downtown street listening to Bob & Earl’s Harlem Shuffle. “Edgar shot the scene in time to the music,” recalls Slater. “We added car alarms, jack hammers, traffic.” The audio effect is mirrored by the visuals as song lyrics, written into posters and graffiti, appear on cue.

Baby Driver

Slater did the sound work at Goldcrest Films in London and was assisted by, among others , FX Editors  Jeremy Price and Martin Cantwell and Dialogue/ADR Supervisor Dan Morgan. They spent months finessing and fine-tuning the sound effects and the mix. The biggest challenge, he says, was to keep it feeling light and fresh. “The tinnitus Baby suffers from increases in volume the more stressed he gets through the movie,” Slater observes. “The tinnitus, itself, changes depending on the environment and the incoming piece of music he is listening to.”

The result is a film soundtrack unlike any other. “The credit goes to Edgar Wright,” Slater says. “He had been developing this idea for years and he constructed the template that we followed. I’m extremely lucky to work with a filmmaker like Edgar who is committed to projects that are both bold and original!”

Baby Driver is in theaters now. #BabyDriver

 

About Sony Pictures Entertainment

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Entertainment Inc., which is 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. SPE’s Motion Picture Group includes film labels Columbia Pictures, Screen Gems, TriStar Pictures, Sony Pictures Animation, and Sony Pictures Classics.  For additional information, visit http://www.sonypictures.com.

 

Posted in: NewsNewsletterPress ReleaseSoundTagged in: featuressound Read more... 0 comments

Stephen Arnold Music Wins Gold at PromaxBDA Awards at Station Summit 2017

2017-07-19 08:25:18 rayecke

 

DALLAS, TX — Stephen Arnold Music, the World Leader in Sonic Branding™, was recognized for excellence with a Gold PromaxBDA Award at Station Summit 2017, held June 22, 2017 in Las Vegas at the Mirage Hotel & Casino.

The Gold award was for Stephen Arnold Music’s work on Seattle’s ABC affiliate KOMO and their “So Northwest” campaign. A customized version of Stephen Arnold Music’s popular “Everywhere I Go” market exclusive image package, “So Northwest” topped the “Music or Instrumental Theme With or Without Vocals” category at this year’s PromaxBDA Awards.

Stephen Arnold Music was a five-time finalist at the 2017 awards ceremonies in the categories of “General Branding/Image Campaign – Large Market,” “Use of Original Music in a Promo,” and three nominations in “Music or Instrumental Theme With or Without Vocals.”

“All of us at Stephen Arnold Music are honored to win this 2017 Gold PromaxBDA Award,” says Stephen Arnold, President of Stephen Arnold Music. “Our talented collaborators at KOMO were the foundation of the standout ‘So Northwest’ campaign. With so many terrific entries in this year’s PromaxBDA Awards, we are gratified to receive this recognition.”

Each year, the PromaxBDA Awards at Station Summit honor the best in local media, marketing and design, driving excellence, creativity and innovation in local television markets. Visit here to see the Official Finalists Guide.

Stephen Arnold Music’s recent work also includes China Global Television Network (CGTN), CNN, HLN, UPS, Gearbox Software, their “I’m Weather Ready” multi-platform image campaign, and more.

Experience “So Northwest” 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

Posted in: NewsletterPress ReleaseSoundTagged in: musicPromaxBDAsonic brandingStephen Arnold Music Read more... 0 comments

“Better Call Saul” Music Supervisor Thomas Golubic and Composer Dave Porter

2017-06-22 20:42:44 mgalas

Members of the “Breaking Bad” family – including characters – found themselves reunited when Vince Gilligan/Peter Gould’s “Better Call Saul” concept was greenlit. Composer Dave Porter and music supervisor Thomas Golubic were thrilled to reteam on the prequel that follows Jimmy McGill’s (Bob Odenkirk) transformation into Bad’s sleazy lawyer Saul Goodman. However, they knew their work was cut out for them.

“Ordinarily shows have a pilot where you can come up with the tone – we had to figure out the tone while the train was already running.”

Noting they’d have to redefine their musical mold forged over the “Breaking Bad” years, Porter and Golubic explored styles highlighting the deeply internal, human struggles examined in “Saul.” To distinguish the story’s smaller, more personal scale, Porter veered from “Bad’s” synth sounds and chose more organic instrumentation including guitar, piano and percussion. Recognizing early on that the characters would constantly evolve from one episode to the next, Porter also avoided utilizing reoccurring themes or motifs. Golubic found that, unlike the source music used in Walter White’s world of chaos and comedy, he could exercise a stylistic curiosity in his selections. Musical diversity that jumps from patriotic songs to salsa rhythms emphasizes the characters’ simmering changes. While the genres are broad and abstract, they are tied to each characters behaviors and personalities, grounding them in their reality.

Throughout season two, Porter and Golubic not emphasized the shifts that will eventually bring key characters to their “Breaking Bad” personas, but also the wildly different rates these characters, such as Jimmy and Mike Ehrmantraut (Jonathan Banks), make their transitions. Porter has introduced classic rock guitar, Rhodes piano, vibraphones and stronger percussion, allowing the score to become slightly heavier to mirror Jimmy’s loss of frivolity and carefreeness and Mike’s more rapid decent. Season two found Golubic contributing more world music as well as synth-heavy selections in the sourced music. For example, to emphasize and attempt at success made by Jimmy and Kim (Rhea Seehorn), Golubic used a Gypsy King’s song followed by a Bollywood number, symbolizing hopefulness and yearning.

As they have in the past, the two men manage their partnership as composer/music supervisor by sharing their ideas for each section and mutually deciding which selection best moves the story forward. Because Gilligan works edits without temp music, each segment can be approached with a clean slate.

“Vince and Peter can look at the broader picture, Dave experiences the vulnerability of the moment, and I have to look ahead ad rethink,” said Golubic. Added Porter, “It’s a balancing of viewpoints. It is very helpful.”

With producers who want to hear their interpretation before sharing their own, Porter and Golubic play through different interpretations of the scene before selecting which music makes the best dance partner. If their decisions don’t resonate with the creators, they recognize they have ultimately provided a unique perspective that is valuable to the storytelling process.

“Music is the last of the creative choices,” said Porter. “Sometimes we are able to bring something they haven’t thought of yet.”

Source: Variety411

Posted in: NewsNewsletterSound Read more... 0 comments

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.

Posted in: BusinessNewsletterSound Read more... 0 comments

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.

Posted in: NewsletterProduction & PostSound Read more... 0 comments

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

Posted in: NewsNewsletterSound Read more... 0 comments

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:
Posted in: BusinessNewsletterPress ReleaseSoundTagged in: CGTNmusicRelaunchsonic brandingStephen Arnold Music Read more... 0 comments

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

Posted in: NewsNewsletterProduction & PostSound Read more... 0 comments

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

###

Posted in: Press ReleaseSoundTagged in: Latin MusicMusic ChoiceStephen BrooksVidaPrimo Read more... 0 comments

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

Posted in: NewsNewsletterSound Read more... 0 comments

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

Posted in: NewsletterPress ReleaseSoundTagged in: awardspost productionsound Read more... 0 comments

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.

Posted in: BusinessNewsletterPress ReleaseSoundTagged in: production music Read more... 0 comments

"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

Posted in: CinematographyNewsNewsletterProduction & PostSound Read more... 0 comments

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

Posted in: NewsletterPress ReleaseProduction & PostSoundTagged in: feature filmspost productionsound Read more... 0 comments

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

Posted in: NewsletterPress ReleaseSoundTagged in: awardspost productionsound Read more... 0 comments

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.

 

Posted in: NewsNewsletterPress ReleaseProduction & PostSoundTagged in: post productionsoundstudios Read more... 0 comments

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.

Posted in: Industry NewsNewsletterPress ReleaseSoundTagged in: awardspost productionsoundtelevision Read more... 0 comments

Leave a comment