Sound-Design

Introducing the most fun part of sound effects editorial, field recording! Sound supervisors always seek out new sounds, most would add, and if they had it their way, they would record all new effects for every show. While every project might not warrant sessions out in the field, films like “3:10 to Yuma” cry out for them. So, when sound soup Donald Sylvester needed new sounds to blanket the Arizona desert, he sent up smoke signals for sound effect recordist, Rob Nokes. Nokes is among the few sound effects recordists that work as much as these guys do (Mix Magazine covered a few more HERE), and without their heart, adventurous attitude, and health insurance, we as an film audience would never be treated to all of those cool new effects. ...

“Eastern Promises” hits theaters September 14th. Supervising Sound editor Michael O’Farrell helped mark the soundtrack with dialog, ADR, effects, and Foley. O’Farrell, whom supervised director David Cronenberg’s last, “A History of Violence, is currently mixing one of Judd Apatow’s next projects, the David Gordan Green directed “Pineapple Express”. Mixing for “Promises” took place at Deluxe’s Toronto based sound facility, with re-recording mixers Christian T. Cooke and Orest Sushko at the helm. Also sound thugs in the Cronenberg ranks, the team has mixed four of the director’s films. Hot off this summer’s “Harry Potter and the Order of the Phoenix,” Stuart Wilson mixed production dialog on the film. Continuing his working relationship with director Michael Winterbottom, Wilson just mixed the director’s current film “Genova” as well his last seven other efforts. Beating all the musical notes into submission, Howard Shore scored the film at London’s Abbey Road studio. Shore looks to be attached to Martin Scorsese’s next two narrative ventures, “Silence” and “The Rise of Theodor Roosevelt”. ...

I wanted to take a second to inform everyone that I originally forgot to include co-sound supervisor Wayne Griffin, in the part one “Eastern Promises” post. I corrected the error and now wanted to thank Michael O’Farrell for doing this Q and A. I saw the film last night and I got to say the bathhouse house scene that Mike teases in his answers is definitely as intense as he claims… ...

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 Hans Zimmer’s Santa Monica stomping grounds and interview with long-time scoring mixer/colaberator Al Clay, HERE. An article about documentarian Ken Burn’s(whom most of know for THIS) new PBS mini-series called “The War” is available to those who register in the magazine’s “insider network,” ...

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 with a film clip illustrating two different scores for the same scene.” ...

“Bee Movie” doesn’t come out until this November but, there is already a fun little clip available online showcasing the kind of thing us sound effect folk have to deal with everyday. Recording bugs in an ADR studio. The guys over at gizmodo.com have a little piece about the clip HERE. Posted by FILMSOUNDDAILY at [12:00 PM](/2007/08/bee-movie-promo/) 0 comments: Post a Comment Data preservation for the cinematography community.

“Halloween” haunts theaters August 31st. Sound supervisors Perry Robertson, Barney Cabral, and Scott Sanders took a stab at the editorial. All linked to Earcandy Post (an editorial/design house in the valley), the two have worked together on Rob Zombie’s last, “The Devil’s Rejects” as well as continuing a working relationship with Jason Rietman, supervising his next, “Juno”. Re-recording mixers Patrick Cyccone Jr. and Daniel J. Leahy dubbed the film at Widget Post on their ICON driven stage Cyccone one of Alxeander Payne’s usual mixer’s, dubbed the directors last 3 films including 2004’s “Sideways”. While included in Leahy’s established mixing career, one of his first gigs was 1985’s “Back to the Future”. Production mixer Buck Robinson sleighed the sound on set. Robinson, another “Reject’s” alum, splits his production mixing time during the year between features and television shoots. While staying true to the source, Composer Tyler Bates was charged with the monumental task of revising Carpenter’s iconic score. Bates has had a big year already, composing for “300” and has been quoted as providing conceptual material for Zach Snyder’s next film, “The Watchmen.” ...

I am going to see “Halloween” this weekend. I only was turned on to the 1978 original last year, so I am late to the party. Carpenter’s version is great! Scary, intense, and the score is classic. I am interested to see what Rob Zombie does with the material. Since most of the scuttlebutt has been about the film’s radical new vision, I am going to try and watch it with an open mind. I am always interested to hear about how young-in-the-tooth directors approach sound conceptually. It seems to me they would be a lot more open to exploring what sound can achieve in their films. I want to thank sound soup Perry Robertson for taking time for this Q and A and I can’t wait to hear his crew’s work this weekend! ...

Thanks to Sean Garnhart for taking time to do this Q and A. This is my first New York based interview and I am excited to branch out beyond my Los Angeles confines. The point of this blog is to showcase the talent that we sound editors, mixers, and composers work with and alongside. I again point to awareness and recognition as motivation of why I do this and I hope to continue to include more interviews and info on crews who don’t have The Terminator as governor. ...

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 their soundtracks with great licensed music and score, so I am excited to hear what they are like to work with! On a related and sadder note, the scoring stage at Todd Radford is closing soon. One of priemere feature scoring stages in LA, it has been around since 1945 and has tracked music for some of the biggest films in Hollywood. Variety ran THIS op/ed piece speculating the impact said closing will have on the biz and community…. ...