The Little Stranger director Lenny Abrahamson

By Iain Blair

Lenny Abrahamson, the Irish director who helmed the cult indies Frank, Garage, What Richard Did and Adam & Paul, burst onto the international scene in 2015 with the harrowing drama Room. The claustrophobic tale — of a woman and her young son kept prisoner in a 10×10-foot garden shed — picked up four Oscar nominations in the categories of Best Picture, Continue reading

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The Meg: What does a giant shark sound like?

By Jennifer Walden

Warner Bros. Pictures’ The Meg has everything you’d want in a fun summer blockbuster. There are explosions, submarines, gargantuan prehistoric sharks and beaches full of unsuspecting swimmers. Along with the mayhem, there is comedy and suspense and jump-scares. Best of all, it sounds amazing in Dolby Atmos.

The team at E² Sound, Continue reading

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Mission Impossible — Fallout writer/director Christopher McQuarrie

By Iain Blair

It’s hard to believe, but it’s been 22 years since Tom Cruise first launched the Mission: Impossible franchise. Since then, it’s become a global cultural phenomenon that’s grossed more than $2.8 billion, making it one of the most successful series in movie history.

With Mission Impossible — Fallout, Continue reading

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Sony creates sounds for Director X’s Superfly remake

Columbia Pictures’ Superfly is a reimagining of Gordon Parks Jr.’s classic 1972 blaxploitation film of the same name. Helmed by Director X and written by Alex Tse, this new version transports the story of Priest from Harlem to modern-day Atlanta.

Superfly’s sound team from Sony Pictures Post Production Services — led by supervising sound editor Steven Ticknor, Continue reading

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Color for Feature Films

By Karen Maierhofer

Just as with episodic series, making the right color choices can greatly impact a film and its storytelling. While the look and mood of a project is set by the director and DP, colorists face creative decisions while delivering those desired results, even when nature or other factors prevent it from being captured on set. Continue reading

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Color for Feature Films

By Karen Maierhofer

Just as with episodic series, making the right color choices can greatly impact a film and its storytelling. While the look and mood of a project is set by the director and DP, colorists face creative decisions while delivering those desired results, even when nature or other factors prevent it from being captured on set. Continue reading

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Creating the 3D stereo mix for Ron Howard’s Solo: A Star Wars Story

At Stereo D, a company that converts 2D theatrical content into stereoscopic 3D imagery, creating 3D editions of blockbuster movies takes hundreds of people working under the leadership of a dedicated stereo producer and stereographer team. For Solo: A Star Wars Story, the studio’s Tim Broderick and Yo Aoki talked to us about their collaboration and how they supported Ron Howard’s 3D vision for the film. Continue reading

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Prolific writer/director Paul Schrader on his latest, First Reformed

By Iain Blair

With his latest film in theaters now, a look back at director and screenwriter Paul Schrader’s movie credits shows just what a force he has been over the years in Hollywood — and especially in the ambitious, serious and hugely influential cinema of the ‘70s and ‘80s.

He wrote Martin Scorsese’s Taxi Driver, Continue reading

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Optical Art DI colorist Ronney Afortu on In the Fade

Chicago-born, Germany-raised Ronney Afortu has been enjoying a storied career at Hamburg-based studio Optical Art. This veteran senior DI colorist has an impressive resume, having worked on the Oscar-nominated film Mongol, with Oscar-winning director Bille August on Night Train to Lisbon, Continue reading

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