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What is the POST Sound Supervisor and their duties? #Foley w Tim Kimmel sound fx ep 2 #basicfilm, production mixer , designer, sfx, cgi ,#sound #adr - POST w Tim Kimmel episodes 1 to 27. post sound supervisor #GameofThrones, The Glades , #CSIMiami
When to bring on the Sound Supervisor #basicfilm #Foley w Tim Kimmel SFX development ep6
Meet Martin, our Sound Supervisor for The Studio.
Three-time Academy Award winning sound supervisor Richard King discusses his remarkable collaboration with the director Christopher Nolan, which began with The Prestige and has continued through this summer’s Dunkirk. Richard talks about creating the sirens of the German dive-bomber planes, and addresses some of the controversies of Nolan’s mixes. He also touches on working with other directors including Paul Thomas Anderson, Sam Shepard, and Nicolas Roeg. Richard also answers questions from other sound designers. SUBSCRIBE NOW: 🤍 Learn More: 🤍 About The Podcast: Sound artists talk with the Dolby Institute's Glenn Kiser and SoundWorks Collection's Michael Coleman about the challenges and opportunities they faced while building the soundscapes you enjoy. About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular. Connect with Dolby: Visit Dolby WEBSITE: 🤍 Like Dolby on FACEBOOK: 🤍 Follow Dolby on TWITTER: 🤍 Follow Dolby on INSTAGRAM: 🤍 Follow Dolby on LINKEDIN: 🤍 Conversations With Sound Artists: Sound Supervisor Richard King | Podcast | Dolby 🤍 Dolby 🤍
Overview of the process of sound designing and mixing a video, commercial, TV show or film. What tools do sound designers use? What is a sound mix, foley, and ADR? What makes movies and commercials sound so good? Subscribe for more videos! Dive deeper into the world of professional filmmaking at everpost.com/blog
Matthew Wood Sound Supervisor and voice actor Skywalker Sound SF California
Shhhhh... did you hear that? Well of course you did. Meet Jordan, the man responsible for all the glorious and interesting sounds you are bound to experience in 2019! Check out our website here: 🤍 Check out our social medias here: Facebook: 🤍 Instagram: 🤍 Twitter: 🤍
We remember Gene Kelly as a graceful dancer, but he was also an incredible singer, whose street light song number in the 1952 movie "Singin' in the Rain" will be forever remembered in cinematic history thanks to the advent of sound recording. The movie was an ironic parody of the transitional period to sound in film. While people rushed to theaters to see their favorite stars speak-sometimes to their disappointmentthe coming of sound was a great leap in film that we often now take for granted. As if you'll see and hear from sound supervisor Tao Jing, sound effect is an indispensable part of movie storytelling.
What does a Supervising Sound Editor (Film and TV) do? After filming has wrapped, sound effects have been added, the music recorded or licensed, and all cuts and changes have been approved, a movie enters the production stage called picture lock. That’s when the supervising sound editor begins the painstaking process of fashioning a final soundtrack from a film’s many sonic components. These include production sound (the dialogue and ambient noises captured during shooting), foley (reproduced sounds), ADR (automated dialogue replacement), walla (crowd noises), sound effects, and music. While supervising sound editors may do a certain amount of editing themselves, their primary job is to oversee the work of a full team of dialogue editors, sound effects editors, and music editors, ensuring that post-production sound stays on schedule. Once the effects and dialogue are pristine and perfectly situated within the film, the supervising sound editor stitches them together with the composer’s score and the music supervisor’s song selections, creating a complete sound experience to accompany the moving picture. The work is done using a DAW (digital audio workstation), which stores all the sounds in separate files and allows the editor to synchronize each one with particular frames in the film. When the sound editor’s job is finished, the completed soundtrack is sent off to a re-recording mixer to be balanced and mastered, a process for which the supervising sound editor is likely to be present. Join us for a webinar with Katy Wood, Onnalee Blank, and Marla McGuire Moderated By Katie Pagacz Katie is a sound student, recently getting into the realm of audio post-production for film and television at Sheridan College in Oakville, Ontario. She’s heading into her final year of the Honours Bachelor of Film and Television program. While Katie has gone through dozens of phases and considered many career paths—singer/songwriter, tattoo artist, pastry chef, makeup artist, comedian, anesthesiologist, and so much more!—she is delighted to have been bitten by the audio bug and is determined to follow this whole thing through to the end, hoping to someday be a Supervising Sound Editor on feature films. Katy Wood is a freelance sound supervisor and sound editor originally from New Zealand. Her career in sound for film and television has spanned more than 20 years and four countries. She has worked extensively in the United States, New Zealand, Australia, and the United Kingdom. Katy has covered all aspects of sound production and post-production on projects ranging from large feature films, such as The Lord of the Rings trilogy, American Sniper, Ant-Man and the Wasp, Just Mercy, and Birds Of Prey to compelling documentaries like Disarm, Girl Rising and No Dress Code Required. She has a Master's Degree in Film and Television Specializing in Sound from the Australian Film Television and Radio School. In addition, Katy has taught courses on sound post-production in Australia, Mexico, the US, and Chile. Onnalee Blank, CAS – Re-Recording Mixer, Warners Brothers Onnalee was a ballet dancer before getting into audio. Since then, Onnalee has won several Emmys and Cinema Audio Society (CAS) awards for her work as dialog and music mixer on Game of Thrones. The Underground Railroad’s Joi McMillon, Onnalee Blank Featured in THR’s ‘Behind the Screen’ Episode Marla McGuire has worked as a sound editor and supervising sound editor for over 20 years in television and film and has worked on over 70 feature and episodic titles. As such she has seen the many changes the industry has gone through. From 24- track tape to the various digital workstations battling to become the industry standard, she’s experienced the evolution to where we are today with pro-tools. She started her career working as part of the production sound team on TV movies. This has proven to be invaluable to her career in post sound. She has recently served as the supervising sound editor for the long-running series Scandal and How to Get Away with Murder, as well as the highly acclaimed Showtime limited series Your Honor. Marla has been nominated for two Primetime Emmys for her work on Dead by Sunset and See Jane Run, as well as three MPSE Golden Reel Awards for Jean-Claude Van Johnson, Prep & Landing, and Commander in Chief.
HEARING PICTURES Sound Supervisor Tao Jing on the Charm of Sounds in Film
See the full range of RME Microphone Preamps here; 🤍 Pete Cowasji is a UK-based TV Sound Supervisor whose work includes the likes of Top Gear, Geordie Shore, Dirty Sanchez and Ex on the Beach. With over 20 years in the industry, Pete's carved out a niche for himself as a go-to-guy for fixed-rig and multi-camera operations, planning and implementing sound for a number of the UK's most popular reality TV shows. As a longtime user of RME, we were keen to find out more about how Pete first came across RME Audio hardware, and to get a run-through of his latest setup which involves 4 x RME DMC-842s with Neumann digital microphones (AES42). Massive thanks to Pete Cowasji and all of The Sound Hounds! Timestamps 0:00 - Intro 0:25 - About Pete Cowasji & The Shound Hounds 2:05 - Analogue, MADI & AES42 4:58 - On the RME DMC-842 6:19 - Recording reality TV 6:54 - Why RME Audio? 8:55 - Monitoring with TotalMix FX 10:40 - Clocking and Sound Quality 12:05 - RME reliability 12:56 - Synthax Audio UK's role as a distributor For more info on Pete Cowasji / The Sound Hounds', visit their website here; 🤍 If you’re in the UK and would like to know more about any of the audio interfaces, sound cards, microphone preamps or AD/DA converters produced by RME Audio, head over to our website at 🤍 We also provide a free extended 5 year warranty on all RME Audio products, so long as you purchase through one of our authorised UK dealers; 🤍 Our Links: Website: 🤍 Facebook: 🤍 Twitter: 🤍 Instagram: 🤍 LinkedIn: 🤍
What’s up YouTube/ Producer family I would like to say thank you for watching and giving me you’re time! continue to support and be blessed and stay tuned for weekly videos! FOR MORE MUSIC HEAD TO THE WEBSITE AND GET THE TIPS AND KNOWLEDGE YOU NEED TO PROTECT WHAT YOU WORK HARD FOR! WEBSITE: 🤍 BEATSTORE: 🤍 SPOTIFY:🤍 Remember you’re past gives you permission to be in present so push forward and work hard but also work smart. If you love what you hear or see and would love to colab,talk, do some work or have questions? EMAIL ME 🤍miziahbeats🤍gmail.com Or follow me on IG: 🤍 p.s love you’ll be safe and be blessed!
Bernt Eklund works as a sound supervisor at Cinepost studios in Stockholm. He is originally a musician and his career in mixing was born att the mixing table. Right now he is one of the owners of Cinepost and is in charge of sound at the company. With years of experience and and a portfolio of excellent films he is one of the most renowned sound supervisors in the country. Bernt has worked with crime films such as Beck and recently the movie in space there are no feelings (i rymden finns inga känslor).
In this asoundeffect.com AirCon Special, Oscar-nominated and Emmy and MPSE Award-winning supervising sound editor/sound designer/re-recording mixer Craig Henighan ('Stranger Things', 'Roma', 'Black Swan') talks about combating creative burnout, how he evolved the sound of 'Stranger Things,' offers advice on using plugins and how to keep sci-fi sounds fresh and interesting, and how remote collaboration is changing the sound community.
Bernt Eklund works as a sound supervisor at Cinepost studios in Stockholm. He is originally a musician and his career in mixing was born att the mixing table. Right now he is one of the owners of Cinepost and is in charge of sound at the company. With years of experience and and a portfolio of excellent films he is one of the most renowned sound supervisors in the country. Bernt has worked with crime films such as Beck and recently the movie in space there are no feelings (i rymden finns inga känslor).
Leonard Marcel as Sound Designer and Sound Supervisor has produced sound tracks for over 65 feature Films in Los Angeles. Marcel is now living in San Rafael CA, next door to San Francisco. His new studio in the Bay Area is San Pedro Studios. sanpedrostudios.com
Bernt Eklund works as a sound supervisor at Cinepost studios in Stockholm. He is originally a musician and his career in mixing was born att the mixing table. Right now he is one of the owners of Cinepost and is in charge of sound at the company. With years of experience and and a portfolio of excellent films he is one of the most renowned sound supervisors in the country. Bernt has worked with crime films such as Beck and recently the movie in space there are no feelings (i rymden finns inga känslor).
Visit 🤍 for more careers info. Dean really enjoyed sport at school and says that it was sport that got him through school. After school he went to college to study media production. It was here that he went on a trip to the Countdown set, which sparked his decision to work in television. He enjoys the job security of working on a long running series and feels that the regular hours give him the perfect work life balance.
These videos are companions to the book, Sound Design For Low & No Budget Films, which is available at Amazon and Routledge. Steve Avila is a Sound Effects Supervisor at Monkeyland Audio in Glendale, CA.
#닥터애비뉴, #성재현대표, #제네렉, #Genelec, #사운드슈퍼바이저, #Dravenue, #영화녹음실, #광고녹음실 #인터뷰 닥터애비뉴의 금요일의 음악 (Sam Sung) Sam Sung who Sound Supervisor of Dr.Avenue is Interview
Entrevista a Robert Edwards, o sound supervisor do Festival Eurovisão. Sabe mais: 🤍 Segue-nos: 🤍 Vê tudo: 🤍
Bernt Eklund works as a sound supervisor at Cinepost studios in Stockholm. He is originally a musician and his career in mixing was born att the mixing table. Right now he is one of the owners of Cinepost and is in charge of sound at the company. With years of experience and and a portfolio of excellent films he is one of the most renowned sound supervisors in the country. Bernt has worked with crime films such as Beck and recently the movie in space there are no feelings (i rymden finns inga känslor).
This video is to show the corrections I made to my sound after having a meeting with the sound supervisor.
Bernt Eklund works as a sound supervisor at Cinepost studios in Stockholm. He is originally a musician and his career in mixing was born att the mixing table. Right now he is one of the owners of Cinepost and is in charge of sound at the company. With years of experience and and a portfolio of excellent films he is one of the most renowned sound supervisors in the country. Bernt has worked with crime films such as Beck and recently the movie in space there are no feelings (i rymden finns inga känslor).
Demo reel com alguns trabalhos de supervisão de som voltados ao cinema e/ou dramaturgia.
Course Link: 🤍 In any business, supervision can be a bit tricky sometimes. You need to have some supervision skills to be a good supervisor. In this video, you will learn the 5 most important skills that you'll need to be good at supervision. You will also get some supervision tips from this video. Visit our website to learn more. Website link: 🤍 Training Express is offering an online supervisor training course for you to enhance your skills as a supervisor and boost your career growth. Course Link: 🤍 - E-mail: info🤍trainingexpress.org.uk Follow us:- Facebook: 🤍 Twitter: 🤍 Linkedin: 🤍 Pinterest: 🤍 Tumblr: 🤍
Demo Reel from when I graduated college in 2008.
Director J.J. Abrams appears in person along with cast and crew to present a screening of Super 8. Discussion following with director J.J. Abrams, actors Elle Fanning, Gabe Basso, Ryan Lee, and Michael Giacchino, visual effects supervisor Dennis Muren and sound designer Ben Burtt.
See the full range of Ferrofish AD/DA Converters here; 🤍 Pete Cowasji is a UK-based TV Sound Supervisor whose work includes the likes of Top Gear, Geordie Shore, Dirty Sanchez and Ex on the Beach. With over 20 years in the industry, Pete's carved out a niche for himself as a go-to-guy for fixed-rig and multi-camera operations, planning and implementing sound for a number of the UK's most popular reality TV shows. In this follow up to our previous chat with Pete (where he spoke to us about his vast collection of RME Audio devices), Pete gives us his views on recording with the Ferrofish A32 and Pulse 16, a range of professional multi-channel AD/DA converters also distributed by Synthax Audio UK. Check out part one of this interview here; 🤍 Massive thanks to Pete Cowasji and all of The Sound Hounds! For more info on Pete Cowasji / The Sound Hounds', visit their website here; 🤍 Our Links: Website: 🤍 Facebook: 🤍 Twitter: 🤍 Instagram: 🤍 LinkedIn: 🤍
Over the first quarter of this year, Sohonet asked top talent working across Film, TV and advertising what it takes to realise an ambitious and creative vision in 2021. They told us about carrying a vision from prep through post, collaborating over it – even when you can’t be in the same room – and the craft involved in bringing the vision to reality. In this interview, we talk to Oscar-winning sound supervisor Nina Hartstone (Bohemian Rhapsody, Gravity, Cats) - At Sohonet, we help the world’s most talented creators to stay true to the soul of their projects meaning no more compromising on artistic output or extending the production timeline. ClearView, our Emmy-winning solution, helps you to connect, collaborate and create from anywhere in the world, in real-time. Stay focused on realising your vision, in every stage of the production journey you’re involved in. For tips and advice to help you achieve your own vision, look here: 🤍 Sohonet has been connecting the media and entertainment industry for 26 years, providing managed services and building tools designed to address the evolving challenges in the world of film, tv and entertainment. To learn more, visit our website: 🤍
Forgive me for the video definition, this is meant as an audio reel. All audio was rerecorded and mixed by Timothy Munger
Sound is 50% of the experience of any movie. Creating the sound mix for a movie is one the most subtle and important parts of post production. . . . “For Love” . . . CREDITS STARRING Joe Fuller, James Minter & Jocelyn Tanis Written by Jake Sigafoos & Peter John Ross Cinematography by Jerod Nawrocki Directed by Peter John Ross Editor Ritz Mavlankar Sound Supervising Editor Ritz Mavlankar Grip Mike Maletic Co-Producer Jake Sigafoos Executive Producer Peter John Ross “For Love” written and performed by Wiksell/Mallory Props and Set Design Ken Wilson Catering Deb Soper Production Assistants James Ruscilli & Suzanne Smith . . . Special Thanks Soundscalpel.com Production Partners Media CINESTUDY is brought to you in part by Blackmagic Designs Smallrig #cinestudy 🤍cinestudy.org © Copyright Sonnyboo™ All Rights Reserved ® ———————————————– #cinestudy #sonnyboo
Troy Koch is the Sound Supervisor and Composer on the independent film "East of Nowhere". In this video, he talks about setting the mood of the scene through the sound. Music in this video: "Drug Bust" Performed by Viscera Written by Troy Koch, Ryan Woebbeking and Matt Rodriguez "No Signal" Written and Performed by Troy Koch To help get this film to Sundance, please support at the link below: 🤍
Doc Justice is an accomplished Audio Supervisor and Production Sound Mixer with hundreds of credits to his name, including scripted, unscripted, competition, and just about any other type of show you can imagine. He is the founder and owner of Halter Technical, creators of extraordinary audio products built for sound professionals in tv and film. He is from Philadelphia, and he’ll let you know about it.
Raymond Herrera Sound Designer/Composer Demo Reel
Check out my latest project as a Director, VFX Supervisor, Compositor, Editor and Colorist. I’m very proud of this one. Congratulations to the incredibly talented team and crew that made this film possible (check out the credits at the end of the film or below). If you would like to know more about Zeiss CinCraft Scenario, here’s more info: Meet the only real-time camera tracking system that works indoors and outdoors, on film sets, with green and blue screens and in LED volumes. That uses natural markers, reflective markers, and even digital markers on LED screens. That provides camera tracking data for real-time use and records it for post-production. And that integrates lens characteristics to skip the cumbersome lens calibration process. Meet ZEISS CinCraft Scenario. Learn more: 🤍 Full credits: Credits Directed by Hugo Guerra Art Direction by Marius Jerschke, Hugo Guerra Original Story by Marius Jerschke Script by Marius Jerschke, Hugo Guerra, Script Support by Ana Marques, Sundeep Reddy Director of Photography: Maher Maleh Colorist: Hugo Guerra Cast (in order of appearance) Presenter: Frederik Wettey Cameraman: Andreas Brand Sound engineer: Alex Zündt Focus Puller: Marvin Puscher??? Styling / Wardrobe: Renata Barancova Makeup Artist: Michaela Häusler VFX Supervisor: Bjorn Omar Gudmundsson Grip: Marius Jerschke Green screen man: Hugo Guerra Grip: Ralph Mahr or Philipp Geis??? 2nd AC: Tom Evans DIT: Emanuel Engels Video Assistant: Luzina Rößner VFX Artist: Abel Thornton 2nd Grip: Ralph Mahr or Philipp Geis??? Assistant Director: Jonathan Werner Film Crew: Producer: Andreas Brand Onset VFX Supervisor: Bjorn Omar Gudmundsson Assistant Director / Production Manager: Jonathan Werner Camera Tracking: Tom Evans, Vojta Horky, Abel Thornton 1st AC: Karim Rahmani 2nd AC: Marvin Puscher VFX Assist / BTS Photographer: Ana Marques DIT: Emanuel Engels Video Assistant: Luzina Rößner Script Supervisor: Marius Jerschke Behind the scenes Director of Photography: Alice Le Treut Hyperbowl GmbH: Tobias JoeckleJulian KrügerLauritz RaischJohannes Wagner Zündt’s Filmgeräte Verleih GmbH: Gaffer: Ralph Zündt Best Boy: Kevin Petersdorf Grip / Dolly: Ralph Mahr Light Helping Hand: Philipp Geis Sound Engineer: Alex Zündt Styling / Wardrobe: Renata Barancova Makeup Artist: Michaela Häusler Cooking Brothers: Sebastian Gödecke 2nd Unit (pack shot) Directed by Marius Jerschke Director of Photography: Alice Le Treut Studio and Light : Andreas Bogenschütz Assistant: Jonathan Demuth VFX Bureau, Ltd: Overall VFX Supervisor: Hugo Guerra CG Supervisor: Martin Mayer Compositing: Hugo Guerra, Bjorn Omar Gudmundsson Motion Graphics: Marius Jerschke Sound and Music by Blut GmbH: Music: Jakob Klotz, Michael Robb Sound Design: Niklas Rademacher Sound Mixing: Constantin Tannhäuser, Niklas Rademacher ZEISS: Product Manager: Sundeep Reddy, Tom EvansProduct Specialist: Abel Thornton Special Thanks: Foundry Benq Europe And Thanks to Hyperbowl Team Jen Goldfinch Ana Marques Vicente Lochschmidt Rita Bovina ZEISS Team: Christophe Casenave Andreas Horn Jonathan Demuth Henna Byun Benjamin Hagen #vfx #zeiss #cinematography
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