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| 02|14|2011 |
By Bryant Frazer
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.... »
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| 02|10|2011 |
By Bryant Frazer
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.... »
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| 07|07|2010 |
By Bryant Frazer
F&V took a look inside post-production on Predators by talking to editor Dan Zimmerman and re-recording mixer/dialogue editor Brad Engleking about living up to Robert Rodriguez’s mantra — at Troublemaker, filmmaking takes place “at the speed of thought.”... »
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| 10|22|2009 |
By Dan Daley
Glee has a split personality, says supervising sound editor John Benson, who spots the show at Technicolor Sound Services with co-supervising sound editor Gary Megregian and producer Alexis Martin. “The show is a constant contrast between the fantasy of the musical performances and the reality of a high-school drama,” he explains, emphasizing that the two never overlap. That makes the transitions from reality to fantasy and back as critical to the show’s audio as the music itself.... »
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| 05|28|2009 |
By Dan Daley
Some of Hollywood’s top post houses are creating high-tech Mini-Mes, allowing directors to work on a film’s sound at their own offices while supplying gear and technical talent tailored to each project.... »
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| 12|04|2008 |
By Bryant Frazer
Music mixer Tony Volante had to create cinematic sound that would maintain the integrity of documentary-style production audio tracks.... »
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| 08|28|2008 |
By Dan Daley
The collaboration between film directors and sound mixers is a balance between objective and subjective responses. Mostly, a sound mixer’s responsibilities are technical, like notching the music and SFX frequencies around the dialog to maintain intelligibility. But the mixer often has some latitude to make artistic decisions, like muting an instrument or putting a Foley track through a guitar fuzz box. F&V asked some top sound mixers to share some of the most creative contributions they’ve made to feature films, and about working with some of the best-known directors in the business.... »
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| 12|20|2007 |
By Dan Daley
Jerry Bruckheimer likes ‘em big and loud. Movies, that is, and National Treasure: Book of Secrets is expected to meet expectations in terms of dB and SPL. But within that cacophonous jungle of sound is plenty of room for nuance, says George Watters II, supervising sound editor at Buena Vista Studios, where the film was edited.
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| 01|11|2007 |
By Dan Daley
There's a reason why David Letterman is the only network talk-show host with a best-selling music-compilation CD out. Harvey Goldberg, who has mixed the music for the show exclusively for the last five years, thinks he knows why.... »
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| 12|07|2006 |
By Dan Daley
Oscar-winning re-recording mixer Michael Minkler, who worked on Chicago, Rent and A Chorus Line, says getting the music into the movie was a challenge this time.... »
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