Actors and writers are the ones walking picket lines, but the dual-strikes’ collateral damage can be felt all the way to the sound booths. Without actors, the Adr mixing that can work magic in the editing room is D.O.A.
Adr, which stands for automated dialogue replacement, is the process by which actors re-record dialogue after production. If done properly, the new audio can be seamlessly spliced into the movie as though it was the track from the original on-set take. Though it’s sometimes a last resort in the interest of preserving a performance, Adr is a common means of replacing a “dirty line,” or one corrupted by unwanted background noise. It also helps to fill in the gaps if a story needs to be tweaked without dramatic edits — or God forbid, reshoots.
But with performers on strike, sound engineers and mixers also find themselves on the sidelines.
Adr, which stands for automated dialogue replacement, is the process by which actors re-record dialogue after production. If done properly, the new audio can be seamlessly spliced into the movie as though it was the track from the original on-set take. Though it’s sometimes a last resort in the interest of preserving a performance, Adr is a common means of replacing a “dirty line,” or one corrupted by unwanted background noise. It also helps to fill in the gaps if a story needs to be tweaked without dramatic edits — or God forbid, reshoots.
But with performers on strike, sound engineers and mixers also find themselves on the sidelines.
- 7/28/2023
- by Brian Welk
- Indiewire
The Motion Picture Sound Editors on Monday unveiled nomination for the 70th annual Mpse Golden Reel Awards. Winners will be announced February 26 at the Wilshire Ebell Theatre in Los Angeles.
The organization of professional sound and music editors honors the year’s outstanding feature film, television, animation, computer entertainment, and student productions.
The Mpse will also honor Jerry Bruckheimer with its 2023 Filmmaker Award, and Gwendolyn Yates Whittle with its Career Achievement Award.
Here’s the full noms list:
Outstanding Achievement in Sound Editing – Broadcast Animation
Jurassic World: Camp Cretaceous: “The Last Stand” (DreamWorks Animation)
Supervising Sound Editors: Rob McIntyre, D.J. Lynch
Sound Designer: Evan Dockter
Sound Effects Editor: Adam Cioffi
Dialogue Editor: Anna Adams
Foley Editor: Aran Tanchum
Foley Artist: Vincent Guisetti
Love, Death & Robots: “In Vaulted Halls Entombed” (Netflix)
Supervising Sound Editor: Brad North Mpse
Foley Editor: Antony Zeller Mpse
Foley Artists: Zane Bruce, Lindsay Pepper...
The organization of professional sound and music editors honors the year’s outstanding feature film, television, animation, computer entertainment, and student productions.
The Mpse will also honor Jerry Bruckheimer with its 2023 Filmmaker Award, and Gwendolyn Yates Whittle with its Career Achievement Award.
Here’s the full noms list:
Outstanding Achievement in Sound Editing – Broadcast Animation
Jurassic World: Camp Cretaceous: “The Last Stand” (DreamWorks Animation)
Supervising Sound Editors: Rob McIntyre, D.J. Lynch
Sound Designer: Evan Dockter
Sound Effects Editor: Adam Cioffi
Dialogue Editor: Anna Adams
Foley Editor: Aran Tanchum
Foley Artist: Vincent Guisetti
Love, Death & Robots: “In Vaulted Halls Entombed” (Netflix)
Supervising Sound Editor: Brad North Mpse
Foley Editor: Antony Zeller Mpse
Foley Artists: Zane Bruce, Lindsay Pepper...
- 1/9/2023
- by Patrick Hipes
- Deadline Film + TV
With a trio of nominations, Everything Everywhere All At Once leads the feature competition of the 70th Motion Picture Sound Editors’ (Mpse) Golden Reel Awards, which announced its noms on Monday.
Close behind with two nominations apiece are The Batman, Elvis, Guillermo del Toro’s Pinocchio, Moonage Daydream and Top Gun: Maverick.
A24’s genre-bending Everything is nominated in the categories of outstanding dialogue and Adr, effects/Foley and music editing in a feature film.
The Batman and Top Gun: Maverick are each nominated for dialogue/Adr and effects/Foley editing. Elvis is nominated for dialogue/Adr and music editing, and Pinocchio is nominated for music editing, as well as for sound editing in an animated movie. Meanwhile, Moonage Daydream received two noms in the documentary categories, for sound editing and music editing.
All six of the aforementioned movies are shortlisted for the Oscar in sound, along with All Quiet on the Western Front...
Close behind with two nominations apiece are The Batman, Elvis, Guillermo del Toro’s Pinocchio, Moonage Daydream and Top Gun: Maverick.
A24’s genre-bending Everything is nominated in the categories of outstanding dialogue and Adr, effects/Foley and music editing in a feature film.
The Batman and Top Gun: Maverick are each nominated for dialogue/Adr and effects/Foley editing. Elvis is nominated for dialogue/Adr and music editing, and Pinocchio is nominated for music editing, as well as for sound editing in an animated movie. Meanwhile, Moonage Daydream received two noms in the documentary categories, for sound editing and music editing.
All six of the aforementioned movies are shortlisted for the Oscar in sound, along with All Quiet on the Western Front...
- 1/9/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
The first five episodes of this season of “The White Lotus” have involved a high number of bad decisions in beautiful locations and the series’ signature angst over wealth and privilege. But it’s not until the end of Episode 5, “That’s Amore,” that the show reveals an appropriately operatic twist — spoilers ahead — with Tanya’s (Jennifer Coolidge) discovery of expat Quentin (Tom Hollander) in flagrante delicto with his nephew Jack (Leo Woodall) in the elder’s Palermo palazzo.
To be fair, Jack was introduced to Tanya and her assistant, Portia (Haley Lu Richardson), as naughty, but this new devilry is very much in the details. So is the show’s artistry, and it took a team effort on the part of the show’s camera, sound, and music to accentuate the horror of what Tanya finds and cinematically set the stage for the final two episodes of the season,...
To be fair, Jack was introduced to Tanya and her assistant, Portia (Haley Lu Richardson), as naughty, but this new devilry is very much in the details. So is the show’s artistry, and it took a team effort on the part of the show’s camera, sound, and music to accentuate the horror of what Tanya finds and cinematically set the stage for the final two episodes of the season,...
- 11/28/2022
- by Sarah Shachat
- Indiewire
The 2022 Emmy nominations for Best Series Sound Design are a varied bunch: from the eldritch gurgling of “Stranger Things” to the explosive space adventures of “Picard,” “Star Trek: Strange New Worlds,” and “Boba Fett” to the retro, timey-wimey vibes of “Loki,” all these series feature nuanced and expansive work, creating fantastic worlds and immersing viewers in thrilling action.
But then there’s “Better Call Saul,” the lone show in the category which takes place wholly on planet Earth in the 21st century (however alien the landscape of the Albuquerque desert might look sometimes). It is a huge outlier by genre. It’s not an outlier at all, though, when you look at how “Better Call Saul” uses sound in its storytelling, or at how the show’s sound drives the series forward.
Co-supervising sound designer Nick Forshager said that, for longer episodes in Season 6, the team recorded 28-30 hours of foley — which,...
But then there’s “Better Call Saul,” the lone show in the category which takes place wholly on planet Earth in the 21st century (however alien the landscape of the Albuquerque desert might look sometimes). It is a huge outlier by genre. It’s not an outlier at all, though, when you look at how “Better Call Saul” uses sound in its storytelling, or at how the show’s sound drives the series forward.
Co-supervising sound designer Nick Forshager said that, for longer episodes in Season 6, the team recorded 28-30 hours of foley — which,...
- 8/15/2022
- by Sarah Shachat
- Indiewire
The Motion Picture Sound Editors have revealed the nominees for the 2022 Mpse Golden Reel Awards, which celebrate sound artists in 17 categories spanning feature film, television, animation and other fields.
The hardware will be handed out during the guild’s 69th annual ceremony, which will be held Sunday, March 13. See the full list of nominations below.
“It’s been a fantastic year for sound, and we look forward to celebrating the incredible work sound editors have performed for movies, television, games, documentaries and other creative media last year,” said Mpse president Mark Lanza. “Building on the success of our first-ever virtual ceremony last year, we are planning an even more spectacular night of fun, surprises and great achievements in sound.”
Mpse previously announced Ron Howard for the 2022 Filmmaker Award and Anthony “Chic” Ciccolini III for the 2022 Career Achievement Award.
The Trial of the Chicago 7, Soul, The Queen’s Gambit and The Mandalorian...
The hardware will be handed out during the guild’s 69th annual ceremony, which will be held Sunday, March 13. See the full list of nominations below.
“It’s been a fantastic year for sound, and we look forward to celebrating the incredible work sound editors have performed for movies, television, games, documentaries and other creative media last year,” said Mpse president Mark Lanza. “Building on the success of our first-ever virtual ceremony last year, we are planning an even more spectacular night of fun, surprises and great achievements in sound.”
Mpse previously announced Ron Howard for the 2022 Filmmaker Award and Anthony “Chic” Ciccolini III for the 2022 Career Achievement Award.
The Trial of the Chicago 7, Soul, The Queen’s Gambit and The Mandalorian...
- 1/24/2022
- by Erik Pedersen
- Deadline Film + TV
“1917” and “Ford v Ferrari” split the top sound editing prizes Sunday night at the 67th annual Mpse Golden Reel Awards at the Westin Bonaventure Hotel. “1917” took Dialogue/Adr and “Ford v Ferrari” scored for Effects/Foley. The Elton John musical fantasy, “Rocketman,” earned Musical honors and “Jojo Rabbit” topped Music Underscore.
The other Feature awards went to “Parasite” (Foreign Language), “Toy Story 4” (Animation), and “Echo in the Canyon” (Documentary).
This sets up a competitive sound editing Oscar race between Sam Mendes’ innovative, continuous-shot World War I drama and James Mangold’s thrilling race car biopic. “The absence of visible edits meant it would have been easy to be overwhelmed with sound at times, never being able to cut to a different location to reset,” said Oliver Tarney, supervising sound editor of “1917.” “We worked hard at making sure there were always multiple layers of detail in the work we were doing.
The other Feature awards went to “Parasite” (Foreign Language), “Toy Story 4” (Animation), and “Echo in the Canyon” (Documentary).
This sets up a competitive sound editing Oscar race between Sam Mendes’ innovative, continuous-shot World War I drama and James Mangold’s thrilling race car biopic. “The absence of visible edits meant it would have been easy to be overwhelmed with sound at times, never being able to cut to a different location to reset,” said Oliver Tarney, supervising sound editor of “1917.” “We worked hard at making sure there were always multiple layers of detail in the work we were doing.
- 1/20/2020
- by Bill Desowitz
- Indiewire
Today was a busy day for some of the smaller guilds with the Visual Effects Society, the Cinema Audio Society, and the Makeup and Hairstylists Guilds all announcing their nominations for 2013.
First, we have the Ves, whose main category to look at is “Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture,” where we find Gravity and four other nominees that are just going to have to be happy with the fact that they got nominated. This is perhaps the easiest category to call in the entirety of awards season, and I don’t mean just here, but for the Oscar as well (Last year’s winner, Life of Pi, easily took this category before going on to claim the Oscar). It’s true that films like The Hobbit: The Desolation of Smaug and Star Trek Into Darkness had outstanding effects as well, but nothing even came close to the amazing,...
First, we have the Ves, whose main category to look at is “Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture,” where we find Gravity and four other nominees that are just going to have to be happy with the fact that they got nominated. This is perhaps the easiest category to call in the entirety of awards season, and I don’t mean just here, but for the Oscar as well (Last year’s winner, Life of Pi, easily took this category before going on to claim the Oscar). It’s true that films like The Hobbit: The Desolation of Smaug and Star Trek Into Darkness had outstanding effects as well, but nothing even came close to the amazing,...
- 1/15/2014
- by Jeff Beck
- We Got This Covered
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