Monday, December 19, 2016

Alchemy Post Sound Supports Ten Sundance World Premieres with Foley

Westchester, New York— Alchemy Post Sound provided Foley sound services for ten films premiering at the 2017 Sundance Film Festival. Among them are five films included in the U.S. Dramatic Competition, two films included in the U.S. Documentary Competition, one film in Premieres and two films included in the festival’s NEXT lineup. The Sundance Film Festival screens in January 19-29.
Alchemy Post Sound has a history of supporting independent film through its work as a premiere provider of Foley sound services. “We are passionate about quality filmmaking and are always excited to work with new and emerging filmmakers,” said Alchemy Post Sound COO Andrea Bloome. “We are very proud of our association with these nine great films and congratulate the filmmakers and their sound teams on their success.”
Sundance films supported by Alchemy Post Sound include:

MTI Film Continues to Streamline Film Restoration with DRS™Nova 2.3

Digital film restoration software adds new features for tracking, stabilization, de-warping, dirt mapping and more.

HOLLYWOOD— MTI Film today announces the release of DRS™Nova 2.3, a significant update to its industry-standard software for digital film restoration. The new release includes a host of new and enhanced features created in response to requests from restoration professionals worldwide.  All are aimed at making such tasks as dust-busting, image stabilization and de-warping faster and easier.

“We listened to people who use the product every day,” said MTI Film Director of Product Development Randy Reck. “This latest release is focused on streamlining routine tasks and making the software more responsive to the way artists work.”

DRS™Nova 2.3

Thursday, December 15, 2016

South Lake Audio Re-Recording Mixers Keith Rogers and Scott Weber Reunite with Executive Producer Jonathan Nolan for HBO’s futuristic “Westworld.”

BURBANK— The drama series Westworld, which just completed its first season on HBO, is described as a dark odyssey about the dawn of artificial consciousness and the evolution of sin, exploring a world in which every human appetite, no matter how noble or depraved, can be indulged. The contrast between (and sometimes intermingling of) the near future and the distant past fuels the drama and is a large part of the show’s fascinating appeal.

Westworld’s sound team plays a significant role in conjuring up its two divergent worlds. Re-recording mixers Keith Rogers and Scott Weber from South Lake Audio Services (which works out of Roundabout Entertainment in Burbank) were tasked with building soundtracks that include, on the one hand, steam locomotives, horses and gunfights, and, on the other, a vast industrial complex where engineers tinker with robots.

“That’s the joy of this show,” says Producer Bruce Dunn, who supervises post production. “We are truly working on two completely different genres in each episode, a full bore Western and a clinical, futuristic tech world. It’s a lot of fun to play with that as it moves back and forth, or, especially, when the two meld together.”

Wednesday, December 14, 2016

Sounds of Silence: Alchemy Post Sound Teams with Supervising Sound Editor Jacob Ribicoff to Create a Gentle Soundscape for “Manchester by the Sea”

Westchester, New York— Writer-Director Kenneth Lonergan’s new drama Manchester by the Sea has been winning glowing reviews and multiple awards, including five Golden Globe nominations, for its emotionally riveting story of Lee Chandler (Casey Affleck), a Massachusetts man who takes guardianship of his adolescent nephew, Patrick (Lucas Hedges), after the boy’s father dies. Recently named Best Film of 2016 by the National Board of Review, the movie is a deeply poignant, unexpectedly funny exploration of the power of familial love, community, sacrifice and hope.

For the film’s sound team, led by Supervising Sound Editor/Re-Recording Mixer Jacob Ribicoff and including Foley specialist Alchemy Post Sound, the emotional weight of the story and Lonergan’s restrained direction posed unique creative challenges. Ribicoff, who served in the same role for Lonergan’s previous film Margaret, calls Manchester by the Sea a “quiet film” driven by character and dialogue and with sound cast in a delicate, but essential, supporting role.

Monday, December 12, 2016

Cognition Completes VR Post for “Underwater”

Soma Fashion Network’s 360 video was produced for the HTC Vive.
HOLLYWOOD— Cognition recently applied its color-grading magic and technical expertise to Underwater, a new 360 video created by Soma Fashion Network for the HTC Vive virtual reality system. The facility’s engineering team designed a custom workflow that allowed senior colorist Mike Eaves to grade the video in real time and view the results in 360 space. The groundbreaking process paves the way for other VR projects and keeps Cognition at the forefront of the new medium.

AKA Strikes Gold at the Davey Awards!

Agency’s campaign for CHARLIE AND THE CHOCOLATE FACTORY receives multiple honors in competition honoring small agency creativity.

NEW YORK— It was a sweet night for AKA NYC at the 12th Annual Davey Awards as the entertainment marketing agency captured three Gold Awards for its work on behalf of the upcoming Broadway musical CHARLIE AND THE CHOCOLATE FACTORY.

Finback Document an Ancient Way of Life Under Threat in the Arctic National Wildlife Refuge

The directing team’s new short film for Patagonia and the Alaska Wilderness League focuses on the Gwich’in people’s struggle against commercial exploitation of their ancestral lands.

Los Angeles— The just released short film, The Refuge, focuses on the Gwich’in people of Alaska and Northern Canada and their more than three decade fight to protect the Coastal Plain of the Arctic National Wildlife Refuge from oil drilling and other threats. It focuses, in particular, on the story of two Gwich’in women who are helping to lead the effort to save their ancestral home and the wildlife on which their life depends.

Thursday, December 8, 2016

Motion Picture Sound Editors (MPSE) to Honor Sound Designer Harry Cohen with Career Achievement Award

2017 MPSE Golden Reel Awards Slated for February 19th

Studio City, California – December 8, 2016 – The Motion Picture Sound Editors (MPSE) today announces that Supervising Sound Editor and Sound Designer Harry Cohen, MPSE, will be honored with its 2017 MPSE Career Achievement Award.

An 18-time MPSE Golden Reel Award nominee, Cohen has contributed to more than 150 movies and television shows. He has frequently collaborated with director Quentin Tarantino, including on the films The Hateful Eight, Django Unchained, Inglourious Basterds and Kill Bill: Vol. 1 & 2. He has also worked alongside directors Oliver Stone, Ridley Scott, Rob Marshall, Edward Zwick, Roland Emmerich and Paul Verhoeven, among many others. His most recent project was Deepwater Horizon for director Peter Berg.

Harry Cohen
“Harry is an endlessly resourceful and imaginative artist who is always inventing new ways to use sound to tell stories,” said MPSE President Tom McCarthy. “He has enriched the movie-going experience for audiences worldwide. We are very pleased to honor the creativity and dedication of a sound pro who embodies the spirit of the MPSE and its members.” Cohen will receive the award at the 64th MPSE Golden Reel Awards ceremony on February 19th at the Westin Bonaventure Hotel in Los Angeles.

The MPSE Career Achievement Award recognizes sound artists who have distinguished themselves by meritorious works as both an individual and fellow contributor to the art of sound for feature film, television and gaming and for setting an example of excellence for others to follow. Cohen joins a distinguished list of sound innovators, including 2016 Career Achievement Recipient Richard King, Skip Lievsay, Randy Thom, Larry Singer, Walter Murch and George Watters II.

“I am surprised and honored to by recognized by the friends and colleagues in the MPSE,” said Cohen. “Sound editors work under the radar and are largely invisible to the public, but those of us who practice the craft know how hard it is to produce a great soundtrack.” Serves Gourmet Commercials at Fast Food Prices

Food content gurus Todd Coleman and Jonathan Cohen are disrupting the over-cooked world of food advertising with juicy concepts and tasty prices.

NEW YORK—A Brooklyn-based creative content producer has an offer food brands can really sink their teeth into. They’ll produce a 30-second television commercial with sparkling creative and high production value at a bargain basement price. Their name says it all:

The upstart company with the tongue-in-cheek name is the brain child of Todd Coleman and Jonathan Cohen, principals of Delicious Contents, which has produced a ton of web content for major food companies like Chobani, McCormick and Conagra, in addition to working with big agencies including Grey, New York, and JWT on food accounts. Along with creative flair, the company applies  elevated production value, making their work stand apart from other web content. Clients have come to view their shoots as on par with more costly commercial productions. Producing actual broadcast work seemed like the logical next step.

Monday, December 5, 2016

Motion Picture Sound Editors to Honor Guillermo del Toro with Filmmaker Award

2017 MPSE Golden Reel Awards Slated for February 19th 

Studio City, California –  The Motion Picture Sound Editors (MPSE) today announces that it will honor Guillermo del Toro with its annual Filmmaker Award. The acclaimed director of such films as Hellboy (2004), Pan’s Labyrinth (2006), Pacific Rim (2013), Crimson Peak (2015) and the forthcoming The Shape of Water is being recognized for his outstanding contributions to the art of cinema. He will receive the award at the MPSE Golden Reel Awards ceremony February 19th in Los Angeles.

A master of horror, fantasy and science fiction, del Toro is a prolific and endlessly fascinating director, whose accomplishments also extend to screenwriting and producing. “Guillermo del Toro’s relentless imagination and energy provide inspiration to all of us in the entertainment industry,” said MPSE President Tom McCarthy. “He is constantly surprising, challenging and delighting audiences worldwide. We are extremely proud to recognize his contributions to our industry and culture with our Filmmaker Award.”

Guillermo del Toro

VFX Supervisors Jeff Wozniak and John T. Miller Join FuseFX’s Growing Operation in New York

VFX veterans oversee work on “Bull,” “The Son,” “Sneaky Pete” and other TV projects.

NEW YORK—Continuing to broaden its East Coast footprint, FuseFX has added two veteran visual effects supervisor to its New York team. Jeff Wozniak brings experience in both television and features—the latter including blockbusters such as Star Trek, Transformers and The Avengers—across an entertainment industry career dating to 1994. He is supervising visual effects production for two new series, Bull (CBS) and The Son (AMC), as well as the Amazon Studios feature The Wall.

John Miller has worked in visual effects and post-production in the New York area for more than 20 years, serving in artistic, managerial and production roles. His recent credits include the main-on-end title sequence for Avengers: Age of Ultron and visual effects for Captain America: The Winter Soldier, as well as the documentary television series Battles BC. At FuseFX, he is serving as On-Set Supervisor and VFX Supervisor for the new Amazon crime drama Sneaky Pete. He is also contributing to the series ABC Notorious.

Jeff Wozniak
FuseFX New York has also added VFX Producer Lauren Montuori.  Her career in visual effects spans more than 10 years in the New York area, and includes work on the films The Girl on the Train and Winter’s Tale.

“We’ve been building our New York operation organically with talent that is experienced, highly skilled and well-established in the market,” said FuseFX President David Altenau. “Jeff, John and Lauren are the latest examples of that philosophy. We’re excited to add their drive, passion and dedication to our team.”

Wozniak said that he is thrilled to join FuseFX and is a longtime admirer of its work. “I appreciate FuseFX’s laser-like focus on quality and efficiency, and the way the company is able to synthesize those core values,” he observes. “They have an extremely well-developed pipeline that allows artists, supervisors and producers more time to focus on delivering a great product, and ultimately achieving the client’s vision.”

Technicolor PostWorks Colors a Changing World for Nat Geo’s “Years of Living Dangerously”

Colorist Anthony Raffaele crafts unique looks for documentary series on climate change.

NEW YORK— Currently airing on the National Geographic Channel, the documentary series Years of Living Dangerously recently returned to Technicolor PostWorks New York to finish the eight 1-hour episodes that comprise its second season. Created by former 60 Minutes producers Joel Bach and David Gelber, the show won a 2014 Emmy Award for Outstanding Documentary or Nonfiction Series and has earned wide praise for its thought-provoking stories on the human and environmental costs of climate change. It is also notable for its outstanding production value from the epic imagery captured by production teams operating around the globe to the detailed color treatments applied during post.

Each episode of the series looks into a different aspect of climate change in a different part of the world with a different celebrity acting as interviewer and guide. In the new season, David Letterman travels to India to learn about government plans for renewable energy; Jack Black looks into what sea level rise portends for the city of Miami.

Creative Director/Flame Artist Les Umberger Joins Nine Mile Circle

ATLANTA—Boutique post-production house Nine Mile Circle has added creative director, Flame artist and finishing editor Les Umberger to its creative team. Umberger is an Emmy Award-winning artist who brings experience with major brands and top agencies through past stints at West Coast shops Digital Domain and R!OT. His presence will allow Nine Mile to offer clients comprehensive post-production packages, encompassing creative editorial, color grading, visual effects, editorial finishing and sound at a level on par with companies in Los Angeles, New York and Chicago.

Umberger has been working with Nine Mile Circle on an informal basis for several months, including projects for Holiday Inn (Ogilvy & Mather, Atlanta) and Ford (GTB, Detroit).  He has also collaborated with editor and Nine Mile founder Kyle Kramb on an ongoing campaign for fast food chain Krystal  (Bright Red/TBWA, Tallahassee). “Les brings an elevated level of creativity to our visual effects and finishing services,” says Kramb. “He also fits the character of Nine Mile. He has a relaxed personality, but he takes his craft very seriously and has high expectations for the quality of the work. It’s a great combination.”

Kyle Kramb and Les Umberger

Tuesday, November 29, 2016

One Year On from Major Expansion, Sixteen19 Continues to Lead the Way

State-of-the-art boutique post company celebrates a year in Chelsea with launch of second 4K theater.

NEW YORK—Sixteen19, a growing powerhouse on the post-production scene, marked one year at its new headquarters in Chelsea with the launch of its second 4K DI finishing theater. The theater will enable the company’s premier group of artists and technicians – led by co-founders Pete Conlin and Jonathan Hoffman, and Senior colorist Andrew Francis  – to build on a breakthrough year marked by physical expansion, high-profile projects and in-roads into new markets.

The new 4K theater serves as a centerpiece of Sixteen19’s new flagship facility, opened in late 2015. The 20,000 square foot space features high-end technology consistent with the unmatched boutique service Sixteen19 has delivered for productions since the company’s founding in 2010. In addition to the two DI theaters, the Chelsea location also boasts 40 edit suites, three color suites, and two visual effects suites. High-speed bandwidth capacity reflects the increasingly global nature of post-production, allowing seamless connectivity with Sixteen19’s Los Angeles, Atlanta, and London outposts, as well as shooting locations around the world. Finally, clients’ work is covered by advanced security systems in line with major studio compliance standards.

Pete Conlin and Jonathan Hoffman

Monday, November 28, 2016

Taiwan’s Huallywood Film Studios teams with WCPMedia to Create Next Generation Media Infrastructure for Motion Picture and Television Production

WCP cloud-based platform will serve as the asset management and distribution backbone to giant studio complex being built by Taiwan Land Development Corporation.

Taipei, Taiwan—Huallywood Film Studios, the giant studio park currently under construction in Hualien County (Taiwan), has forged an alliance with Swiss-headquartered WCPMedia Services to deploy its cloud-based media asset management infrastructure in Taiwan.

Huallywood Film Studios aims to be positioned as a global Media & Entertainment ecosystem where the best companies in the industry will cooperate to create and exchange content, related services and skills. Huallywood will be, therefore, a company which will use technology and cloud-based solutions to extend its reach everywhere and anytime to interact and cooperate with its customers.

Mr. Chiu fu-sung (Chairman, Taiwan Land Development Corporation); Ronald Tomson (CEO, TIDC); Giovanni Contri (VP of Operations, WCPMedia Services).

Sherpas Cinema Projects Greatness for Audi

Film created by Zulu Alpha Kilo, director Dave Mossop and GO2 Productions features groundbreaking projection mapping imagery shot and lit only by moonlight.

Los Angeles—In Projection of Greatness, a new 90-second film for Audi, the Q7’s ascent of a snow covered mountain turns magical with the live action projection of its soul, Conceived by Toronto agency Zulu Alpha Kilo, directed by Dave Mossop of Sherpas Cinema and Accomplice Media, and featuring projection mapping by GO2 Productions, the stunning display was captured entirely in-camera, with no CGI manipulation in post.

The aim of the film is to showcase the all-new Q7’s impressive mix of power, style and innovation, and how its greatness “projects” onto any terrain. It opens on a silver SUV making its way along a twisting, snow-covered mountain road under moonlight. The stars and the flying snow transform the vehicle into a fully animated version of itself that streaks up the side of the mountain.

Monday, November 21, 2016

Technicolor PostWorks Blends Art and Technology in Delivering PBS’s “Soundbreaking”

Facility handles sound and picture post for acclaimed 8-part documentary on the history of recorded music.

NEW YORK—Recently posted at Technicolor PostWorks New York, the new 8-part PBS documentary, Soundbreaking: Stories from the Cutting Edge of Recorded Music provides a fascinating portrait of the melding of art and technology in the development of popular music.

Produced by Show of Force and directed by Maro Chermayeff and Jeff Dupre, the series reaches back to the 1920s, when music was first committed to vinyl, but focuses in particular on the period from the 1960s to the present and the revolution that was set in motion by the late Sir George Martin and the Beatles through their innovative use of multi-tracking.

For Technicolor PostWorks’ post-production team (who worked under the direction of series Post Producer Daniel Gilbert), finalizing sound and picture required considerable time and ingenuity. The series draws on incredibly rich and diverse source material, from newly-captured interviews with more than 150 luminaries of the music world to thousands of bits of archival media—behind-the-scenes clips; broadcast, documentary and concert footage; music videos, and much more—as well as hundreds of classic music recordings. All of that needed to be knitted into a story that looks and sounds seamless.

“It was a challenge, because we were working with elements from all over the world,” recalls Colorist and Online Editor Mike Nuget. “We had video from Europe that had to be converted to an American standard, and film-original material from the 20s and 30s, through today, that needed clean-up. Formatting, frame sizes and overall quality were things we had to deal with daily.  It was like taking a visual journey through time, decade by decade, through the eyes of video and film equipment.”

Achieving consistency was further complicated by the series’ unusual narrative structure. Rather than relate the history of recording chronologically, it breaks the story into themes, such as the advents of multi-tracking and electric instruments, and shows how those developments played out over time. The story moves backward and forward in time and between materials captured in diverse circumstances with very different recording gear.

“We might cut from an interview with a member of Radiohead from 2015 talking about something that happened in the 1970s to a clip from that era, and we wanted both parts to feel like they were in the same world, the Soundbreaking world” Nuget explains.

Nuget helped bring cohesiveness to the material by developing generalized looks and applying them broadly. “There was a lot of black & white footage, and I purposely gave it all a certain edgy look, and we carried that throughout the whole series,” he says. “The interviews were shot over the course of several years by many different people. That was by far the most challenging thing thrown at me.”

Re-recording mixers Martin Czembor and Paul Furedi faced similar challenges in bringing consistency to the soundtrack. “We might have a Madonna track from the 80s,” notes Czembor. “If you listened to it when it was originally recorded, you got a full experience, but, now, if we set it next to a Kanye West track, it can sound lacking because sonically so much has changed. Our role was to bring sounds from different eras together in a way that is smooth and coherent in order to show how they connect.”

Not surprisingly, sound plays an integral role in telling the story. In the soundtrack, elements are often woven together to illustrate the creative process. “There is a section where George Martin’s son is talking about how some of the Beatles’ songs were built, and he throws up a few faders so that you can hear how the parts come together,” Czembor says. “We go from the individual tracks and build into the whole song. It’s fascinating.

“We do a similar thing with Adele’s producer to show what she does with a song. We blend material from the recording studio, cinema verite scenes and the finished song. Those sequences are powerful because they get more across than you could possibly do with words and music alone.”

Even as the soundtrack was being finalized, new materials kept arriving. Czembor explains that the producers were determined to find the best recording for each music track featured in the series. That often involved searching the archives of record companies and producers, followed by sometimes protracted efforts to secure rights. If a new gem became available at the last minute, it was blended into the mix.

“The passion with which the Show of Force folks and Martin himself strove to procure the highest quality sources of this amazing material was impressive,” recalls Furedi.  “The quest for quality and the push for greatness were major themes that carried through all eight episodes of Soundbreaking and echoed throughout the audio post-production process.”

One of Czembor’s favorite sequences in the series involved Frank Sinatra and his groundbreaking microphone technique. “It weaves between interviews describing the uniqueness of his approach with Sinatra singing a love song,” Czembor recalls. “It was wonderful. It was challenging to mix but also fascinating and it was fun to try to get all that across.”

 About Technicolor PostWorks New York
Technicolor PostWorks New York is the East Coast’s most comprehensive digital motion picture and post-production facility, employing an exceptional team of creative artists, engineers and project managers to serve our clients through the film and TV finishing process.
Technicolor PostWorks New York offers one complete source for every post requirement, including in-context digital dailies, film imaging and restoration, collaborative non-linear editorial and HD/UHD broadcast finishing, 4K digital cinema, global content lifecycle support, and comprehensive film and TV sound services on nine mix stages.
For more information, visit

Sony Pictures Post Production Services Adds Home Theater Dub Stage

For Next Generation Immersive Sound Formats

CULVER CITY, CALIF.—Responding to the growing popularity of home theater systems with immersive sound, Sony Pictures Post Production Services has added a new mix stage dedicated to next-generation home theater audio formats. Located on the Sony Pictures lot in Culver City, the new stage is designed to simulate a home theater environment and equipped to master feature film and television projects in Dolby Atmos®, Auro-3D and other immersive sound formats. This new room has been used to prepare several feature titles for Blu-ray Disc, 4K Ultra HD Disc, and digital delivery.

 “This new stage keeps us at the forefront in immersive sound, providing an ideal workflow and environment for mastering for home theaters,” said Sony Pictures Post Production Services Executive Vice President Tom McCarthy. “We are empowering mixers to maximize the creative potential of these new sound formats and deliver rich, enveloping soundtracks that consumers can enjoy in the home.”

Cartoni USA Interview: "Superstore" DP Jay Hunter relies on Cartoni’s Airfloater to make handheld style shooting painless.

Jay Hunter is a celebrated director and cinematographer whose work runs the gamut from features and scripted series to documentaries and reality TV. A true innovator, he has crafted unique aesthetics for television shows such as On the Lot and films including Joss Whedon’s Much Ado About Nothing. Jay’s current project is the NBC comedy Superstore, about the employees of a big box retailer. For that series, he makes viewers feel like they’re part of the action through a visual style that looks handheld, but is not. Jay’s camera operators work with camera support systems that include Cartoni’s Airfloater. The patented head perfectly simulates handheld camera movement, while relieving operators of the burden of holding heavy camera systems on their shoulders.
Jay Hunter recently spoke with Cartoni USA about his career, Superstore and the Cartoni Airfloater.
Jay Hunter

VFX Supervisors Dan Levitan and Sam Edwards Join FuseFX

Veteran supervisors are overseeing work on “Criminal Minds: Beyond Borders,” “Good Girls Revolt” and other projects.

LOS ANGELES—FuseFX has added two highly experienced visual effects supervisors to its creative team in Los Angeles. Dan Levitan brings more than 80 credits as a supervisor and artist on motion picture and television projects spanning two decades. At FuseFX, he is VFX Supervisor for the CBS crime drama Criminal Minds: Beyond Borders, in addition to co-Supervising the ABC drama Notorious.

Sam Edwards joins FuseFX with an equally strong resume that includes work on such films as Avatar and The Curious Case of Benjamin Button, as well as an Emmy nomination for the Fox series Cosmos: A Spacetime Odyssey. His current projects include Amazon’s Good Girls Revolt and Making History, a Fox series slated to debut in 2017.

Dan Levitan
“Our Los Angeles operations continue to grow and contribute to some of the best shows on television,” says FuseFX President David Altenau. “We are very excited to welcome Dan and Sam who bring incredible experience and talent, as well as a passion for excellence. They will help to ensure that we continue to deliver spectacular results for our clients.”

Levitan’s credits as VFX Supervisor include War Dogs; Hail, Caesar!; Horrible Bosses 2; The Hangover (Parts 2 and 3); Reign of Fire; Heaven is for Real and Gangster Squad, among others. Previously, he spent many years as a supervisor at Hammerhead Productions, Disney, Cinesite, Warner Bros., Digital Dimension and elsewhere.

Hula Post Supports OWN’s “Queen Sugar”

Reprising its role from “Selma,” Hula provides technology and support to director/producer Ava DuVernay and editor Spencer Averick for new, 13-part television series.

HOLLYWOOD— Queen Sugar¸ the new OWN series from Warner Horizon Television and Harpo Productions and executive producers Oprah Winfrey and Ava DuVernay, tells the story of three estranged siblings who, after a family tragedy, reunite to run an 800-acre sugar farm in Louisiana. Based on the best-seller by Natalie Baszile, the show is a rich and deeply moving tale of people overcoming risk and reinventing themselves.

The series’ editorial team was led Spencer Averick, whose many collaborations with DuVernay date back to the 2008 documentary This Is the Life and also include 2015 Academy Award Best Picture nominee Selma. Also returning from the Selma team was Hula Post, which again supplied editorial systems and support. Additionally, for Queen Sugar, Hula provided office space in Burbank for the series’ writers.

Wednesday, November 9, 2016

Killer Tracks Releases “Legacy”

Twelve new tracks redefine trailer music with unique blend of live orchestra and vocals.

SANTA MONICA, Calif.—Killer Tracks announces Legacy, a groundbreaking new addition to its production music catalog. Recorded live with an 81-piece orchestra, the collection of 12 original tracks represents the collaborative effort of four gifted composers and some of the industry’s most talented contemporary vocalists. The result is a lush and invigorating musical journey blending rich orchestral arrangements and soaring vocals in trailer formats that will set the standard for the genre for years to come.

More than six months in the making Legacy is among Killer Track’s most ambitious recording projects to date. “We assembled a group of composers, singers and musicians who are among the best in the business and tasked them with creating a new sound,” says Killer Tracks executive producer Ryan Perez-Daple (pictured left). “They pushed limits and you can hear it.”

Killer Tracks composers featured in the project include Gregg Lehrman, Boris Nonte, Cyrus Reynolds and Billy Van. Vocalists include Keely Bumford, Sarah Westen Rasmussen, Ali Meredith-Lacey, Anthony Starble, Alexandra Schultz, Jay Stolar, Phillip Howard and Jeffrey Kolhede.

Tuesday, November 8, 2016

SMPTE® Hollywood Section to Focus on Cybersecurity at November Meeting

LOS ANGELES — The Hollywood Section of the Society of Motion Picture and Television Engineers® (SMPTE®), the organization whose standards work has supported a century of technological advances in entertainment technology, today announced that its November meeting will focus on cybersecurity.

Today, Hollywood faces growing and increasingly complex security threats. “New digital workflows and the expanding use of cloud-based storage, mobile devices, and social media have changed the way entertainment industry companies conduct business, and they have also made these companies more vulnerable to cyber-attack, whether for financial gain or political motivations,” said Marty Meyer, chair of the SMPTE Hollywood Section. “It is imperative for engineers to develop and implement effective security strategies proactively.”

During the Nov. 15 meeting, the panel discussion “Hacking Hollywood: How Safe Is Your Data?” will feature experts from law enforcement and private industry. They will discuss the phenomenon of cyber-crime and explain how companies can understand the risk and stay safe. They will also provide an overview of cybersecurity-related educational, certification, and employment opportunities available to engineers. The event is sponsored by Hewlett-Packard Enterprise Services and Verizon Digital Media Services.

(l to r) Mike Petrocelli, Philip A. Jones, Steve Wong

Monday, November 7, 2016

Cognition Delivers “Marauders” in ACES

Lionsgate thriller becomes the first film finished in facility’s new DI theater.
HOLLYWOOD— Marauders, a tense, noir-ish thriller released by Lionsgate Premiere and director Steven C. Miller, recently became the first feature finished in Cognition’s new 4K digital intermediate theater. Senior colorist Mike Eaves collaborated with Miller and award-winning cinematographer Brandon Cox to finalize the look of the film with editorial and color grading completed on an SGO Mistika platform using an ACES workflow.