October's issue of Mix Magazine unloaded a few film sound articles online today. Mostly mini-bio's on each person along with links to past articles featured in the publication... SKIP LIEVSAY KEN HAN AND BILL MARINO HANS ZIMMER BEN BURTT … [Read more...]
The Music Soundtrack
I am glad to see the academy rolling out more of these events! "This three-evening seminar series offers a detailed look at the music scoring process from the perspective of motion picture composers themselves. Each week’s topic will be illuminated by film clips, on-stage discussions with guests (subject to availability) and questions from the audience. Each session will begin … [Read more...]
September: Mix Magazine
September's issue of Mix Magazine unloaded a bunch film sound articles online today.... "The Invasion's" Gregg Rudloff, "Captivity's" Melissa Hofmann, and "Halloween's" Perry Robertson unleash their tales of horror sound, HERE. Franklin Martin, director of the documentary "Walking on Dead Fish" carries us through post production of his film, HERE. A showcasing of composer … [Read more...]
Music Editors are People Too
There have been two great articles on music editorial this past month: The Hollywood Reporter ran a piece on TV and Film Music Editors which can be found HERE and The Editor's Guild is previewing a piece from their current magazine HERE. I am going to do a Q and A in October with the Coen Bros. music editor Todd Kasow for "No Country for Old Men." The Cohens always populate … [Read more...]
The Bourne Ultimatum
Jason Bourne breaks back into theaters August 3rd. Helping to sell all the close-quarter sounds are sound supervisors Karen Baker Landers and Per Hallberg. The film was mixed at Todd-AO WEST in Gary Summers, David Parker, Bob Beemer, and Scott Milan's dub stage. production mixer Kirk Francis shot the location dialog while composer John Powell scored the film at Abbey Road. … [Read more...]
Sound Behind the Picture: Transcribed
O'CONNELL: What percentage of what we do is artistic vs. technical? LANDAKER: It's very much artistic––at least 50-50 but more like 70-30 [artistic to technical]. You can have all the chops in the world about faders and EQ, but it's actually the fine balancing act of putting that movie together than makes it a reality. You have to have a feeling for that screen. Here is a … [Read more...]