The 20th Century fanfare. The Thx Deep Note. The MGM lion’s roar. Iconic sounds have long been part of branding in the film industry. So when Netflix started creating original movies and shows, executives knew creating a sonic logo would be a crucial piece of their efforts — one that almost resulted in the company being forever associated with a bleating goat.
A recent episode of the “Twenty Thousand Hertz” podcast took a deep dive into the yearlong effort to create what Netflix terms the “ta-dum” sound — the short piece of sound that plays along with the Netflix logo before the company’s original series and films. The project was headed by Tod Yellin, the streamer’s VP of product, who said he sought to commission a sound that “makes you think of ‘Wow, I’m going to get a treat, I’m about to get an amazing story, that’s relevant to me,...
A recent episode of the “Twenty Thousand Hertz” podcast took a deep dive into the yearlong effort to create what Netflix terms the “ta-dum” sound — the short piece of sound that plays along with the Netflix logo before the company’s original series and films. The project was headed by Tod Yellin, the streamer’s VP of product, who said he sought to commission a sound that “makes you think of ‘Wow, I’m going to get a treat, I’m about to get an amazing story, that’s relevant to me,...
- 8/5/2020
- by Chris Lindahl
- Indiewire
It was a clear victory for sci-fi sound editing Sunday night at the 65th annual Mpse Golden Reel Awards at the Westin Bonaventure. “War for the Planet of the Apes” was the surprise winner for Dialogue/Adr, splitting honors with “Blade Runner 2049,” which grabbed the Effects/Foley prize. The big loser was “Dunkirk” (which won the BAFTA sound award earlier Sunday). However, Christopher Nolan’s World War II survival epic took home the Music Score award and remains the sound editing Oscar favorite.
In addition, “The Greatest Showman,” “Coco,” “Loveless,” and “Jane” earned sound editing awards for Musical, Animation, Foreign Language, and Documentary. The big TV winner was “Game of Thrones” (“The Spoils of War”) for Dialogue/Adr and Effects/Foley. Other TV honorees included “Black Mirror” (“USS Callister”) for Episodic Long Form Dialogue/Adr; “Godless” (“Homecoming”) and “Ozark” (“The Toll”) for Episodic Long Form Effects/Foley; “The Get...
In addition, “The Greatest Showman,” “Coco,” “Loveless,” and “Jane” earned sound editing awards for Musical, Animation, Foreign Language, and Documentary. The big TV winner was “Game of Thrones” (“The Spoils of War”) for Dialogue/Adr and Effects/Foley. Other TV honorees included “Black Mirror” (“USS Callister”) for Episodic Long Form Dialogue/Adr; “Godless” (“Homecoming”) and “Ozark” (“The Toll”) for Episodic Long Form Effects/Foley; “The Get...
- 2/19/2018
- by Bill Desowitz
- Indiewire
It's all about the sound! The Motion Picture Sound Editors unveiled the winners of the 2016 Golden Reel Awards and "Mad Max: Fury Road" and "The Revenant" tied for the Best Sound Editing: Feature English Language . FX/Foley. For my Oscar predictions, I chose "Mad Max" for both Sound Editing and Mixing! See my full Oscar predictions here.
Here's the full list of winners of the Golden Reel Awards:
Feature Film
Best Sound Editing in Feature Film: Music Score
Star Wars: The Force Awakens (Walt Disney Studios Motion Pictures)
Supervising Music Editor: Ramiro Belgardt
Music Editor: Paul Apelgren
Best Sound Editing in Feature Film: Music in a Musical
Love & Mercy (Roadside Attractions)
Music Editor: Nicholas Renbeck
Best Sound Editing: Feature English Language . Dialogue/Adr
Bridge Of Spies (Walt Disney Studios Motion Pictures)
Supervising Sound Editors: Richard Hymns, Gary Rydstrom
Supervising Dialogue Editor: Brian Chumney
Supervising Adr Editor: Steve Slanec
Best Sound...
Here's the full list of winners of the Golden Reel Awards:
Feature Film
Best Sound Editing in Feature Film: Music Score
Star Wars: The Force Awakens (Walt Disney Studios Motion Pictures)
Supervising Music Editor: Ramiro Belgardt
Music Editor: Paul Apelgren
Best Sound Editing in Feature Film: Music in a Musical
Love & Mercy (Roadside Attractions)
Music Editor: Nicholas Renbeck
Best Sound Editing: Feature English Language . Dialogue/Adr
Bridge Of Spies (Walt Disney Studios Motion Pictures)
Supervising Sound Editors: Richard Hymns, Gary Rydstrom
Supervising Dialogue Editor: Brian Chumney
Supervising Adr Editor: Steve Slanec
Best Sound...
- 2/28/2016
- by Manny
- Manny the Movie Guy
Hollywood’s sound pros nominated Birdman and Dawn of the Planet of the Apes for three awards apiece as the Motion Picture Sound Editors unveiled nods for its 62nd Mpse Golden Reel Awards, honoring the best feature film, television, animation and computer entertainment work of the year.
“2014 was a fantastic year for sound,” said Mpse president Frank Morrone. “The advent of new distribution channels, streaming services and gaming platforms is creating additional opportunities for sound artists to practice their craft beyond the traditional venues of film and television. This year’s nominations reflect that change, spanning an amazing diversity of mediums and genres, all executed at the highest level of creativity. We are truly inspired and impressed by the work of our colleagues.”
This year’s Golden Reels will additionally honor Noah director Darren Aronofsky with the Mpse’s annual Filmmaker Award. Oscar winner Skip Lievsay, known for his work...
“2014 was a fantastic year for sound,” said Mpse president Frank Morrone. “The advent of new distribution channels, streaming services and gaming platforms is creating additional opportunities for sound artists to practice their craft beyond the traditional venues of film and television. This year’s nominations reflect that change, spanning an amazing diversity of mediums and genres, all executed at the highest level of creativity. We are truly inspired and impressed by the work of our colleagues.”
This year’s Golden Reels will additionally honor Noah director Darren Aronofsky with the Mpse’s annual Filmmaker Award. Oscar winner Skip Lievsay, known for his work...
- 1/14/2015
- by Jen Yamato
- Deadline
We talk with the Oscar nominated sound team behind Director Peter Berg’s film Lone Survivor which is based on the 2007 nonfiction book of the same name by Marcus Luttrell and Patrick Robinson. Featured interviews include Supervising Sound Editor Wylie Stateman, Re-recording Mixer Andy Koyama, Re-recording Mixer Beau Borders, Sound Designer Harry Cohen, Sound Editor Dror Mohar, Supervising Dialogue and Adr Editor Renee Tondelli, and Sound Editor Brandon Spencer. Synopsis Marcus Luttrell, a Navy Seal, and his team set out on a mission to capture or kill notorious al Qaeda leader Ahmad Shahd, in late June 2005. After running into mountain herders and capturing them, they were left with no choice but to follow their rules of engagement or be imprisoned. Now Marcus and his team are left to fight for their lives in one of the most valiant efforts of modern warfare. To read more go to The Sound of...
- 2/23/2014
- by Michael Coleman
- Hollywoodnews.com
Even though the release of Prometheus has been a polarizing one for movie fans, the overall consensus is that it is a brilliantly made movie from a technical perspective. Even the haters and mediocre reviews point out the striking visuals and classy use of 3D. What often gets lost in this discussion is the sound design and mix, which is as important to making a film as any visual elements. The good folks at Soundworks Collection have released a brief-yet-detailed look into the sound of Prometheus, presented by Dolby. Included in the video are Supervising Sound Editors Mark Stoeckinger and Victor Ennis, Sound Re-recording Mixers Ron Bartlett and Doug Hemphill, Sound Designers Ann Scibelli and Alan Rankin, and Sound Effects Researcher Charlie Campagna. Fans of sound design will enjoy hearing about the creative and often low-tech elements that inspired the high-tech sound mix. The sound team talks about how they preserved the sound from Ridley Scott‘s...
- 6/11/2012
- by Kevin Carr
- FilmSchoolRejects.com
The Soundworks Collection has revealed the latest installment in their continued series of featurettes dedicated to the sound of motion pictures, this time examining the work put into Ridley Scott's Prometheus, a film sure to be on the tip of Internet tongues all week. In this featurette you'll hear from supervising sound editors Mark Stoeckinger and Victor Ennis, sound re-recording Mixers Ron Bartlett and Doug Hemphill, sound Designers Ann Scibelli and Alan Rankin and sound effects researcher Charlie Campagna. The video runs just under 13 minutes and you'll see what role a Coke can, Pop Rocks and a Xerox machine played into the sound design along with a Blue Front Amazon Parrot that actually helped provide the sound for the much-talked about and most horrific scene in the film as well as beeps and even some of the film's creatures. There's also a segment where Campagna starts talking about getting...
- 6/11/2012
- by Brad Brevet
- Rope of Silicon
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