Category Archives: Audio
303 articles found
London VFX and post facility Smoke & Mirrors is installing the Emotion File Finish application known as eFF from Emotion Systems for addressing loudness problems in file-based media. Emotion says it has worked closely with S&M as "an integral partner" …
Soundelux has hired Michel Benavente, whose most recent screen credit is ADR supervisor on Moneyball. His credits as supervising sound editor include No Strings Attached, Paul Blart: Mall Cop, and Idiocracy. His next project is director Tim Story's Think Like …
Composer Trent Reznor and his production and engineering collaborator Alan Moulder switched mixing consoles partway through their work on the soundtrack for The Girl with the Dragon Tattoo, which Reznor wrote with Atticus Ross. For the previous Reznor/Ross film score …
Solid State Logic, the world’s leading manufacturer of professional analogue and digital audio consoles, has announced that the new RTAS versions of the acclaimed SSL Duende Native plug-in collection are available now from the SSL web site.
Over the last ten years the phrase "royalty-free music" has become the most popular Google search phrase used by content creators looking for production music. So what exactly are they looking for? It's a little hard to say, because the term "royalty-free music" is a misnomer. More important is what it means to you as a producer.
The Wilderness is a New York-based facility known for its commercial, music video and film title work. Co-founders Gabe Imlay and Juliet Rios have directed a range of campaigns heavy on animation, motion graphics and live-action. But Imlay is also a composer, which may explain why SoundCloud, a social network where composers and the audibly obsessed can post their works in progress, recently came calling for a short film that delivered an even richer message with its soundtrack.
We talked to The Poltergeist and The Hunt for Red October sound designer, who has been licensing his vast library of custom and commissioned recorded effects since the early 1990s, about the joys of resurrecting the Moog, finding sounds that defy description and recording surround sound in the field.
Adobe CS 5.5 further develops themes that came on strong in version 4 and especially version 5 of the software - support for working with native file formats, the accelerated Mercury Playback Engine, and management of the metadata that comes with the rapidly expanding range of footage types users have to contend with on the desktop and in the timeline.
As part of the three-man dubbing team on Salt, Scott Millan was the music man, charged with weaving the compositions of James Newton Howard seamlessly into a narrative that was driven by music, balancing the needs of the score with the demands already placed on the audience by dialogue and special-effects sound work. On the eve of the Oscars, Film & Video spoke with Millan about getting his start in TV, working with director Phillip Noyce, and why this movie should be played loud.
When your movie is all about a runaway train, you need sound effects that convey the mass, momentum and danger of that disaster in waiting. For Mark Stoeckinger, sound effects editor on Unstoppable, the challenge was to work with director Tony Scott to convey something of the experience of being next to the tracks when a huge locomotive barrels by at high speed.