View allAll Photos Tagged soundEditing
A close-up view of a mixing console featuring numerous knobs, sliders, and lights, indicating audio levels and settings
Jade Barcelon instructing Jane and I on how he wants us to say a commercial.
Radio Arts and Entertainment
BCIT Broadcast building
Rooftop deck with City views and outdoor music system
Talking House, San Francisco CA
More info thpro.com/
ADR is a necessary part of post production and the film. However, are previous ADR sessions have sounded somewhat "recorded" due to the fact that they've been recorded in a booth designed for...ADR. Turns out that my living room, designed to be a screening room not an ADR booth, makes a damn fine ADR recording space. While the set up was far from professional looking the tools were state of the art and the results were phenomenal.
Ray Beckett (Hurt Locker) , David Gray, Vice-President Worldwide Production Services, Dolby Laboratories, Inc. and Tony Lamberti (Inglorious Bastards)
Orange Rockerverb 100 - one of dozens of in-house amps
Talking House, San Francisco CA
More info thpro.com/
With only 30mins to edit together the film and sound Colin and Gavin have a difficult task to perform on The filming is finished and we are just waiting our slot to edit the film and sound together for Bridge Over Troubled Slaughter... but they succeeded brilliantly.
Andy Nelson, Anna Behlmer, nominated for Achievement in Sound for Star Trek with Doug Greenfield, Senior Director Production Services Group, Dolby Laboratories, Inc.