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  1. The 13th annual Hollywood Professional Association (HPA) Awards took place tonight, honoring the accomplishments of industry luminaries, behind-the-scenes artists and outstanding engineering teams. The HPA Awards set the bar for creative and technical achievement, recognizing individuals and companies for outstanding contributions made in the creation of feature films, television, commercials, and entertainment content enjoyed around the world. Awards were given to talented individuals and teams working in twelve creative craft categories, including color grading, sound, editing and visual effects for commercials, television and feature film. Victoria Alonso, EVP Production of Marvel, was honored with the HPA Charles S. Swartz Award, and special awards were presented for Engineering Excellence. The many social movements, including #metoo, of the past year that effectively harnessed the power of technology to bring positive change to our industry were also acknowledged during the show. The winners of the 2018 HPA Awards are: Creative Categories Outstanding Color Grading – Feature Film WINNER: “Alpha” Maxine Gervais // Technicolor – Hollywood “Avengers: Infinity War” Steven J. Scott, Charles Bunnag // Technicolor – Hollywood “Red Sparrow” Dave Hussey // Company 3 “The Shape of Water” Chris Wallace // Deluxe – Toronto “The Greatest Showman” Tim Stipan // Company 3 Outstanding Color Grading – Television WINNER: “The Crown – Paterfamilias" Asa Shoul // Molinare “Damnation – Sam Riley’s Body” Paul Allia // Picture Shop “The Marvelous Mrs. Maisel – Pilot” Steven Bodner // Light Iron “Game of Thrones – Beyond the Wall” Joe Finley // Sim “The Crossing – Pilot” Tony Smith // Picture Shop Outstanding Color Grading – Commercial WINNER (TIE): Volkswagen – "Kids’ Dreams" Adam Scott // The Mill WINNER (TIE): Zara – "Spring/Summer 2018 Main" Tim Masick // Company 3 Bottega Veneta – "Spring/Summer 2018 Trailer" Tim Masick // Company 3 Tile – "Lost Panda" Tom Poole // Company 3 Audi – "Final Breath" Sofie Borup // Company 3 Outstanding Editing – Feature Film Sponsored by Blackmagic Design WINNER: “A Quiet Place” Christopher Tellefsen, ACE “Coco” Steve Bloom “You Were Never Really Here” Joe Bini “Mission: Impossible – Fallout” Eddie Hamilton, ACE “Believer” Demian Fenton Outstanding Editing – Television (30 Minutes and Under) Sponsored by Blackmagic Design WINNER: “VICE – After the Fall” Kelly Kendrick // Vice “The End of the F***ing World – Episode One” Mike Jones “Vida – Episode 6” JoAnne Yarrow “Barry – Chapter Eight: Know Your Truth" Kyle Reiter “Vice Principals –The Union of the Wizard and The Warrior" Justin Bourret Outstanding Editing – Television (Over 30 Minutes) Sponsored by Blackmagic Design WINNER: “The Defiant Ones – Part 2” Doug Pray, Lasse Järvi “Stranger Things – Chapter Nine: The Gate” Kevin D. Ross, ACE “Game of Thrones – The Dragon and the Wolf” Crispin Green “Westworld – The Passenger” Anna Hauger, Mako Kamitsuna, MPEG, Andrew Seklir, ACE “Counterpart – The Crossing" Dana E. Glauberman, ACE Outstanding Sound – Feature Film WINNER: “The Shape of Water” Christian Cooke, Brad Zoern, Nelson Ferreira, Nathan Robitaille // Deluxe - Toronto “Ant-Man and The Wasp” Katy Wood, Addison Teague, Juan Peralta, Tom Johnson // Skywalker Sound “Avengers: Infinity War” Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound “Blade Runner 2049” Mark Mangini, Ron Bartlett, Theo Green, Doug Hemphill, Mac Ruth // Formosa Group “Black Panther” Benjamin A. Burtt, Steve Boeddeker, Brandon Proctor // Skywalker Sound Outstanding Sound – Television WINNER: “Altered Carbon – Out of The Past” Brett Hinton, Mark Allen, Owen Granich-Young, Andy King, Keith Rogers // Atomic Sound “Yellowstone – Daybreak” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. “Waco – Operation Showtime” Craig Mann, Kelly Oxford, Laura Wiest, Karen Vassar Triest, David Brownlow, Beau Borders // Technicolor – Hollywood “Dark – Secret” Alexander Würtz, Achim Hofmann, Jorg Elsner, Christian Bichoff // ARRI Media GmbH Ansgar Frerich // Basis Berlin “Yellowstone – Kill the Messenger” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. Outstanding Sound – Commercial WINNER: OXFAM – “The Heist No One is Talking About” Neil Johnson // Factory Studios KIA – “Fueled by Youth” Nathan Dubin // Margarita Mix SANE – “Let Me Talk” Anthony Moore, Jack Hallett // Factory Studios Monster – “Opportunity Roars” Tom Jucarone // Sound Lounge ICRC – “Hope” Anthony Moore // Factory Studios Outstanding Visual Effects – Feature Film WINNER: “Avengers: Infinity War” Matt Aitken, Charles Tait, Paul Story, Sidney Kombo-Kintombo, Marvyn Young // Weta Digital “Maze Runner: The Death Cure” R. Christopher White, Daniel Macarin, Phillip Leonhardt, Paul Ramsden, Jeremy Fort // Weta Digital “Blade Runner 2049” Richard Clegg, Axel Akesson, Wesley Chandler, Stefano Carta, Ian Cooke-Grimes // MPC “Rampage” Erik Winquist, Benjamin Pickering, Stephen Unterfranz, Thrain Shadbolt, David Clayton // Weta Digital “Thor: Ragnarok” Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak // Framestore Outstanding Visual Effects – Television (Under 13 Episodes) WINNER: “Game of Thrones – Beyond The Wall” Joe Bauer, Steve Kullback, Ted Rae // HBO Eric Carney // The Third Floor David Ramos // El Ranchito “Altered Carbon – Out of The Past” Everett Burrell, Tony Meagher, Steve Moncur, Christine Lemon, Paul Jones // DNEG “Outlander – Eye of The Storm” Richard Briscoe // Outlander Production Daniel Norlund, Filip Orrby // Goodbye Kansas Aladino Debert, Greg Teegarden // Digital Domain “Black Mirror – Metalhead" Russell McLean // House of Tomorrow Michael Bell, Pete Levy, Steven Godfrey, Stafford Lawrence // DNEG “Westworld – The Passenger” Jay Worth, Bruce Branit // Deep Water FX Bobo Skipper // Important Looking Pirates Kama Moiha // COSA VFX Mike Enriquez // DNEG Outstanding Visual Effects – Television (Over 13 Episodes) WINNER: “Agents of SHIELD – Orientation: Part 1” Mark Kolpack, Sabrina Arnold // Marvel Kevin Yuille, David Rey, Hnedel Maximore // FuseFX “Supergirl – For Good” Armen V. Kevorkian, Gevork Babityan, Kris Cabrera, Jerry Chalupnik, Jason Shulman // Encore VFX “Hawaii Five-O – A’ole e ‘olelo mai ana ke ahi ua ana ia” Adam Avitabile, Daniel Toomey, Michael Kirylo, Ryan Smolarek, Wayne Hollingsworth // Picture Shop “Legends of Tomorrow – The Good, The Bad and The Cuddly” Armen V. Kevorkian, Andranik Taranyan, Jason Shulman, Dan Aprea, Lycee Anaya // Encore VFX “NCIS: LA – A Line in the Sand/Ninguna Salida" Dylan Chudzynski, Michael Carter, Joe Suzuki, Jacob Kuhne // DigitalFilm Tree The following special awards, which were previously announced, were also presented this evening: HPA Engineering Excellence Award The winners of the 2018 HPA Award for Engineering Excellence are: · Blackmagic Design - DaVinci Resolve 15 DaVinci Resolve 15, released at NAB this year, offers a major step forward for the post-production workflow, a significant shift in technically and creatively matched toolsets as well as overall efficiency. The platform, designed to provide a full suite of post-production tools, from ingest to delivery, directly integrated in a single ecosystem, includes significant improvements in quality, functionality and time to delivery. Exchange formats, translation and conform can be eliminated, and last-minute change efficiently managed for feature film, episodic TV and short form productions. · Canon - Visual and Technical Monitoring of HDR Images Canon has seen the need for not only visually seeing HDR images on set, in editorial, and in finishing but also for engineering tools to know exact values of the HDR images and its pixels; compare SDR and HDR images; compare different HDR deliverable systems; out of gamut warnings; and connection to various manufacturers camera metadata. This complete system from Canon ensures that HDR and SDR image creation is easily and accurately be accomplished. · Cinnafilm, Inc. – PixelStrings PixelStrings is a cloud-based video conversion service focusing on ultimate playback quality for media. Leveraging the award-winning framerate conversion, retiming, artifact/noise/telecine correction, and transcode technologies from Cinnafilm, this PaaS enables the mass creation of best-possible video versions while leveraging infinite, GPU-enabled cloud compute power. The platform is a growing hub of other best-of-breed media technologies and is a simple pay-as-you-use toolset available 24/7 though a browser. PixelStings enables the freedom of a predictable OpEx process. · IBM Aspera & Telestream - Telestream Vantage with Lightspeed Live Capture IBM Aspera and Telestream have developed a game-changing solution for high-speed capture and production of live, broadcast quality video from remote locations for faster production turnaround. The API integration of Aspera’s FASPStream streaming technology with Telestream Vantage and Lightspeed Live enables open-file workflows so production teams can work on live video feeds from remote locations in real time, with dramatically lower costs compared to satellite delivery, fiber or on-location production and more flexible deployment options. The HPA Engineering Excellence Award is recognized as one of the most important technology honors in the industry, spotlighting companies and individuals who draw upon technical and creative ingenuity to develop breakthrough technologies. Submissions for this peer-judged award may include products or processes and must represent a step forward for its industry beneficiaries. Honorable Mention was awarded to Samsung for Samsung Onyx. Charles S. Swartz Award The Charles S. Swartz Award is awarded to a person, group, or company that has made a significant artistic, technological, business or educational impact across diverse aspects of the media industry. The award recognizes broad, impactful and lasting contributions that have advanced and/or provided some unique purpose to the larger media content ecosystem. This year’s honoree is Victoria Alonso, respected producer and Executive Vice President, Production for Marvel Studios. More information about the HPA Awards and the Hollywood Professional Association can be found at http://www.hpaonline.com/. The HPA Awards, which are produced by Homerun Entertainment, are made possible through the generous sponsorship of Diamond Title Sponsor Blackmagic Design; Platinum Sponsor IMAX; Bronze Sponsors Avid and Sony Pictures Post; and Foundation Members Avid, Dolby, EFILM, Encore, and Stereo D.
  2. The Hollywood Professional Association (HPA) has announced the 2018 nominees for the HPA Awards creative categories. The Awards are considered the standard bearer for creative excellence and technical innovation in an industry embracing an expanding array of groundbreaking technologies and creativity, honoring achievement and artistic excellence by individuals and teams who bring stories to life and outstanding content to audiences around the world. Launched in 2006, the HPA Awards recognize outstanding achievement in editing, sound, visual effects and color grading for work in television, commercials, and feature films. The winners of the 13th Annual HPA Awards will be announced at a gala ceremony on 15 November 2018 at the Skirball Cultural Center in Los Angeles, CA. Outstanding Color Grading – Feature Film “Avengers: Infinity War” Steven J. Scott, Charles Bunnag // Technicolor – Hollywood “Red Sparrow" Dave Hussey // Company 3 “The Shape of Water” Chris Wallace // Deluxe – Toronto “Alpha” Maxine Gervais // Technicolor – Hollywood “The Greatest Showman” Tim Stipan // Company 3 Outstanding Color Grading – Television “Damnation – Sam Riley’s Body” Paul Allia // Picture Shop “The Marvelous Mrs. Maisel – Pilot” Steven Bodner // Light Iron “The Crown – Paterfamilias" Asa Shoul // Molinare “Game of Thrones – Beyond the Wall” Joe Finley // Sim “The Crossing – Pilot” Tony Smith // Picture Shop Outstanding Color Grading – Commercial Bottega Veneta – "Spring/Summer 2018 Trailer" Tim Masick // Company 3 Tile – "Lost Panda" Tom Poole // Company 3 Volkswagen – "Kids Dream" Adam Scott // The Mill Audi – "Final Breath" Sofie Borup // Company 3 Bottega Veneta – "Spring/Summer 2018 Main" Tim Masick // Company 3 Outstanding Editing – Feature Film Sponsored by Blackmagic Design “A Quiet Place” Christopher Tellefsen, ACE “Coco” Steve Bloom “You Were Never Really Here” Joe Bini “Mission: Impossible – Fallout” Eddie Hamilton, ACE “Believer” Demian Fenton Outstanding Editing – Television (30 Minutes and Under) Sponsored by Blackmagic Design “The End of the F***ing World – Episode One” Mike Jones “Vida – Episode 6” JoAnne Yarrow “VICE – After the Fall” Kelly Kendrick // Vice “Barry – Chapter Eight: Know Your Truth" Kyle Reiter “Vice Principals –The Union of the Wizard and The Warrior" Jeff Seibenick Outstanding Editing – Television (Over 30 Minutes) Sponsored by Blackmagic Design “Stranger Things – Chapter Nine: The Gate” Kevin D. Ross, ACE “The Defiant Ones – Part 2” Doug Pray, Lasse Järvi “Game of Thrones – The Dragon and the Wolf” Crispin Green “Westworld – The Passenger” Anna Hauger, Mako Kamitsuna, MPEG, Andrew Seklir, ACE “Counterpart – The Crossing" Dana E. Glauberman, ACE Outstanding Sound – Feature Film “Ant-Man and The Wasp” Katy Wood, Addison Teague, Juan Peralta, Tom Johnson // Skywalker Sound “The Shape of Water” Christian Cooke, Brad Zoern, Nelson Ferreira, Nathan Robitaille // Deluxe - Toronto “Avengers: Infinity War” Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound “Blade Runner 2049” Mark Mangini, Ron Bartlett, Theo Green, Doug Hemphill, Mac Ruth // Formosa Group “Black Panther” Benjamin A. Burtt, Steve Boeddeker, Brandon Proctor // Skywalker Sound Outstanding Sound – Television “Yellowstone – Daybreak” Allan Murray, Tim LeBlanc, Dean Zupancic // Warner Bros “Waco – Operation Showtime” Craig Mann, Kelly Oxford, Laura Wiest, Karen Vassar Triest, David Brownlow, Beau Borders // Technicolor – Hollywood “Dark – Secret” Alexander Wurtz, Achim Hofmann, Jorg Elsner, Ansgar Frerich, Christian Bichoff // Basis Berlin “Yellowstone – Kill the Messenger” Allan Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. “Altered Carbon – Out of The Past” Brett Hinton, Mark Allen, Owen Granich-Young, Andy King, Keith Rogers // Atomic Sound Outstanding Sound – Commercial OXFAM – “The Heist No One is Talking About” Neil Johnson // Factory Studios KIA – “Fueled by Youth" Nathan Dubin // Margarita Mix SANE – “Let Me Talk” Anthony Moore, Jack Hallett // Factory Studios Monster – “Opportunity Roars” Tom Jucarone // Sound Lounge ICRC – “Hope” Anthony Moore // Factory Studios Outstanding Visual Effects – Feature Film “Maze Runner: The Death Cure” R. Christopher White, Daniel Macarin, Philip Leonhardt, Paul Ramsden, Jeremy Fort // Weta Digital “Blade Runner 2049” Richard Clegg, Axel Akesson, Wesley Chandler, Stefano Carta, Ian Cooke-Grimes // MPC “Rampage” Erik Winquist, Benjamin Pickering, Stephen Unterfranz, Thrain Shadbolt, David Clayton // Weta Digital “Thor: Ragnarok” Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak // Framestore “Avengers: Infinity War” Matt Aitken, David Conley, Charles Tait, Paul Story, Marvyn Young // Weta Digital Outstanding Visual Effects – Television (Under 13 Episodes) “Altered Carbon – Out of The Past” Everett Burrell, Tony Meagher, Steve Moncur, Christine Lemon, Paul Jones // DNEG “Outlander – Eye of The Storm" Richard Briscoe // Outlander Production Daniel Norlund, Filip Orrby // Goodbye Kansas Aladino Debert, Greg Teegarden // Digital Domain “Black Mirror – Metalhead" Russel McLean, Michael Bell, Pete Levy, Steven Godfrey, Stafford Lawrence // DNEG “Game of Thrones – Beyond The Wall” Joe Bauer, Steve Kullback, Ted Rae, Eric Carney // HBO David Ramos // El Ranchito “Westworld – The Passenger” Jay Worth, Bruce Branit // Deep Water FX Bobo Skipper // Important Looking Pirates Kama Moiha // COSA VFX Mike Enriquez // DNEG Outstanding Visual Effects – Television (Over 13 Episodes) “Supergirl – For Good” Armen V. Kevorkian, Gevork Babityan, Kris Cabrera, Jerry Chalupnik, Jason Shulman // Encore VFX “Agents of SHIELD – Orientation: Part 1” Mark Kolpack, Sabrina Arnold // Marvel Kevin Yuille, David Ray, Hnedel Maximore // FuseFX “Hawaii Five-O – A’ole e ‘olelo mai ana ke ahi ua ana ia” Adam Avitabile, Daniel Toomey, Michael Kirylo, Ryan Smolarek, Wayne Hollingsworth // Picture Shop “Legends of Tomorrow – The Good, The Bad and The Cuddly” Armen V. Kevorkian, Andranik Taranyan, Jason Shulman, Dan Aprea, Lycee Anaya // Encore VFX “NCIS: LA – A Line in the Sand/Ninguna Salida" Dylan Chudzynski, Michael Carter, Joe Suzuki, Jacob Kuhne // DigitalFilm Tree As previously announced, Victoria Alonso has been named the recipient of the Charles S. Swartz Award. Alonso is a respected producer and is Executive Vice President, Production for Marvel Studios. The winners of the coveted Engineering Excellence Award, Blackmagic Design (DaVinci Resolve 15), Canon (Visual and Technical Monitoring of HDR Images), Cinnafilm, Inc. (PixelStrings), and IBM Aspera & Telestream (Telestream Vantage with Lightspeed Live Capture powered by Aspera), were announced earlier this year. All awards will be bestowed at the HPA Awards gala. The HPA Awards gala ceremony is expected to be a sold-out affair and early ticket purchase is encouraged. Tickets for the HPA Awards are on sale now, online at www.hpaawards.net or by calling +1 (818) 273-1482. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com or by calling the HPA at +1 (818) 273-1482. The HPA Awards take place with the support of diamond title sponsor Blackmagic Design, platinum sponsor IMAX, bronze sponsors Avid and Sony Pictures Post Production Services, supporting sponsors Cinionic, EFILM, FuseFX, Sim, Stephen Arnold Music, and Wipster, and foundation members Avid, Dolby, Efilm, Encore, and Deluxe. For sponsorship information, contact Joyce Cataldo at jcataldo@hpaonline.com.
  3. You read that correctly. For a limited time, I am producing custom soundtracks for FREE for (inspired) Filmmakers and Game Developers. Click the link for more details. https://jordanwinslow.me/free-music-soundtrack-for-film-video-game/
  4. Hey Everyone, I'm an experimental composer and sound artist from Utah. I produce in a similar vein to Trent Reznor, Mica Levi, Radiohead, and other sort of esoteric artist. If anyone is looking for a score or music for your project, I'd love to talk with you. Reels, credits, and other info is available on my website. Thanks for looking. Hope to hear from some of you. Devon
  5. The Hollywood Professional Association (HPA®) has opened its Call for Entries in Creative Categories for the 12th annual HPA Awards. These awards are considered standard-bearing honors for groundbreaking work and artistic excellence, recognizing creative artistry in color grading, editing, sound, and visual effects in feature film, television, and commercials. The HPA Awards shine a spotlight on talent, innovation and engineering excellence in the professional media content industry. The 12th annual gala awards presentation will be held on the evening of November 16, 2017 at the Skirball Cultural Center in Los Angeles, California. Entries are now being accepted in the following competitive categories: Outstanding Color Grading - Feature Film Outstanding Color Grading - Television Outstanding Color Grading - Commercial Outstanding Editing - Feature Film Outstanding Editing - Television Outstanding Editing - Commercial Outstanding Sound - Feature Film Outstanding Sound - Television Outstanding Sound - Commercial Outstanding Visual Effects - Feature Film Outstanding Visual Effects - Television Outstanding Visual Effects - Commercial Entries for the Creative Categories will be accepted between May 15 and July 10, 2017, and Early Bird Entries (reduced entry fee for the Creative Categories) will be accepted through June 12, 2017. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 7, 2016 through September 5, 2017. Entrants do not need to be members of the Hollywood Professional Association or working in the U.S. As announced previously, the Call for Entries remains open for the Engineering Excellence Award, which will be bestowed at the November gala until May 30th, 2017. Additional special honors, including the HPA Lifetime Achievement Award, will be announced in June. Seth Hallen, President of the HPA and a founding member of the HPA Awards Committee, commented, “The HPA Awards have grown into an unmissable evening, bringing the creative community together. The judging is peer driven, so these honors resonate to winners and nominees alike. In the past 12 years, we have judged and honored the most compelling creative work. And, every year, in every category, the submissions are of the highest caliber. I sincerely encourage individuals and companies to enter the HPA Awards. It’s where we show the world the talent, fierce dedication and hard work behind the story. We look forward to another very special event on November 16th." Complete rules, guidelines and entry information for the Creative Categories and all of the HPA Awards are available at: www.hpaawards.net. For a list of the previous years' winners, click here. The HPA Awards are made possible through the generous sponsorship of Foundation Members Avid, Co3, Deluxe, Dolby, EFILM, and Encore; and Platinum Sponsors IMAX and Sohonet. For sponsorship or program advertising opportunities, contact Jeff Victor at jvictor@hpaonline.com or calling 213.614.0860. Opening of ticket sales will be announced shortly.
  6. Hello all, I've run across an odd reel of 16mm and am trying to identify the type of sound track. It looks like the reel has 6 tracks of optical sound squished into the optical track, but that's absurd and ridiculous. Has anyone encountered this before or have a better idea what I'm looking at? Assuming this is what it looks like, anyone know what sort of setup would have been used to create or or play it back originally?
  7. Hollywood Professional Association Unveils HPA Awards Nominees Creative nominations announced for editing, sound, visual effects and color grading 28 September 2016 (Los Angeles, CA) - The Hollywood Professional Association® (HPA) today announced the nominees for its 2016 HPA Awards. Considered the standard-bearer for excellence and innovation in an industry embracing an expanding array of groundbreaking technologies and creativity, the HPA Awards honor creative achievement and artistic excellence. Launched in 2006, the HPA Awards recognize outstanding achievement in editing, sound, visual effects and color grading for work in television, commercials, and feature films. The winners of the 11th Annual HPA Awards will be announced at a gala ceremony on 17 November 2016 at the Skirball Cultural Center in Los Angeles, CA. The 2016 HPA Award nominees are: Outstanding Color Grading - Feature Film "Carol" John Dowdell // Goldcrest Post Productions Ltd "The Revenant" Steven J. Scott // Technicolor Production Services "Brooklyn" Asa Shoul // Molinare "The Martian" Stephen Nakamura // Company 3 "The Jungle Book" Steven J. Scott // Technicolor Production Services Outstanding Color Grading - Television "Vinyl - E.A.B" Steven Bodner // Deluxe/Encore NY "Fargo - The Myth of Sysiphus" Mark Kueper // Technicolor "Outlander - Faith" Steven Porter // MTI Film "Gotham - By Fire" Paul Westerbeck // Encore Hollywood "Show Me A Hero - Part 1" Sam Daley // Technicolor PostWorks NY Outstanding Color Grading - Commercial Fallout 4 - "The Wanderer" Siggy Ferstl / Company 3 Toyota Prius - "Poncho" Sofie Borup // Company 3 Nascar - "Team" Lez Rudge // Nice Shoes Audi R8 - "Commander" Stefan Sonnenfeld // Company 3 Apple Music - "History of Sound" Gregory Reese // The Mill Pennzoil - "Joyride Circuit" Dave Hussey // Company 3 Hennessy - "Odyssey" Tom Poole // Company 3 Outstanding Editing - Feature Film "The Martian" Pietro Scalia, ACE "The Revenant" Stephen Mirrione, ACE "The Big Short" Hank Corwin, ACE "Sicario" Joe Walker, ACE "Spotlight" Tom McArdle, ACE Outstanding Editing - Television "Body Team 12" David Darg // RYOT Films "Underground - The Macon 7" Zack Arnold, Ian Tan // Sony Pictures Television "Vinyl - Pilot" David Tedeschi "Roots - Night One" Martin Nicholson, ACE, Greg Babor "Game of Thrones - Battle of the Bastards" Tim Porter, ACE Outstanding Editing - Commercial Wilson - "Nothing Without It" Doobie White // Therapy Studios Nespresso - "Training Day" Chris Franklin // Big Sky Edit Saucony - "Be A Seeker" Lenny Mesina // Therapy Studios Samsung - "Teresa" Kristin McCasey // Therapy Studios Outstanding Sound - Feature Film "Room" Steve Fanagan, Niall Brady, Ken Galvin // Ardmore Sound "Eye In The Sky" Craig Mann, Adam Jenkins, Bill R. Dean, Chase Keehn // Technicolor Creative Services "Batman VS Superman: Dawn of Justice" Scott Hecker // Formosa Group Chris Jenkins, Michael Keller // Warner Bros. Post Production Services "Zootopia" David Fluhr, CAS, Gabriel Guy, CAS, Addison Teague // Walt Disney Company "Sicario" Alan Murray, Tom Ozanich, John Reitz // Warner Bros. Post Production Services Outstanding Sound - Television "Outlander - Prestonpans" Nello Torri, Alan Decker // NBCUniversal Post Sound "Game of Thrones - Battle of the Bastards" Tim Kimmel, MPSE, Paula Fairfield, Mathew Waters, CAS, Onnalee Blank, CAS, Bradley C. Katona, Paul Bercovitch // Formosa Group "Preacher - See" Richard Yawn, Mark Linden, Tara Paul // Sony Sound "Marco Polo - One Hundred Eyes" David Paterson, Roberto Fernandez, Alexa Zimmerman, Glenfield Payne, Rachel Chancey // Harbor Picture Company "House of Cards - Chapter 45" Jeremy Molod, Ren Klyce, Nathan Nance, Scott R. Lewis, Jonathan Stevens // Skywalker Sound Outstanding Sound - Commercial Sainsbury's - "Mog's Christmas Calamity" Anthony Moore, Neil Johnson // Factory Save the Children UK - "Still The Most Shocking Second A Day" Jon Clarke // Factory Wilson - "Nothing Without It" Doobie White // Therapy Studios Honda - "Paper" Phil Bolland // Factory Honda - "Ignition" Anthony Moore // Factory Outstanding Visual Effects - Feature Film "Star Wars: The Force Awakens" Jay Cooper, Yanick Dusseault, Rick Hankins, Carlos Munoz, Polly Ing // Industrial Light & Magic "The Jungle Book" Robert Legato, Andrew R. Jones Adam Valdez, Charley Henley // MPC Keith Miller // Weta Digital "Captain America: Civil War" Russell Earl, Steve Rawlins, Francois Lambert, Pat Conran, Rhys Claringbull // Industrial Light & Magic "The Martian" Chris Lawrence, Neil Weatherley, Bronwyn Edwards, Dale Newton // Framestore "Teenage Mutant Ninja Turtles: Out of the Shadows" Pablo Helman, Robert Weaver, Kevin Martel, Shawn Kelly, Nelson Sepulveda // Industrial Light & Magic Outstanding Visual Effects - Television "Supergirl - Pilot" Armen V. Kevorkian, Andranik Taranyan, Gevork Babityan, Elaina Scott, Art Sayan // Encore VFX "Ripper Street - The Strangers' Home" Ed Bruce, Nicholas Murphy, Denny Cahill, John O'Connell // Screen Scene "Black Sails - XXI" Erik Henry // Starz Matt Dougan // Digital Domain Martin Ogren, Jens Tenland, Nicklas Andersson // ILP "The Flash - Gorilla Warfare" Armen V. Kevorkian, Thomas J. Conners, Andranik Taranyan, Gevork Babityan, Jason Shulman // Encore VFX "Game of Thrones - Battle of the Bastards" Joe Bauer, Eric Carney // Fire & Blood Productions Derek Spears // Rhythm & Hues Studios Glenn Melenhorst // Iloura Matthew Rouleau // Rodeo FX Outstanding Visual Effects - Commercial Sainsbury's - "Mog's Christmas Calamity" Ben Cronin, Grant Walker, Rafael Camacho // Framestore Microsoft Xbox - "Halo 5: The Hunt Begins" Ben Walsh, Ian Holland, Brian Delmonico, Brian Burke // Method Studios AT&T - "Power of &" James Dick, Corrina Wilson, Euna Kho, Callum McKeveny // Framestore Kohler - "Never Too Next" Andy Boyd, Jake Montgomery, Zachary DiMaria, David Hernandez // JAMM Gatorade - "Sports Fuel" JD Yepes, Richard Shallcross // Framestore Recipients of a number of special awards have been previously announced by the HPA. Herb Dow, ACE, will be honored with the 2016 Lifetime Achievement Award. Michelle Munson, CEO of Aspera, will receive The Charles S. Swartz Award, and The Mill BLACKBIRD has been tapped to receive the HPA Judges Award for Creativity and Innovation. Winners of the coveted Engineering Excellence Award include Aspera, Grass Valley, RealD and SGO. Grass Valley and Canon USA received Honorable Mention in the Engineering Excellence category. The HPA Awards gala ceremony is expected to be a sold out affair and early ticket purchase is encouraged. Tickets for the HPA Awards are on sale now and can be purchased online at www.hpaawards.net. For all inquiries and sponsorship information, call the HPA at +1 (213) 614-0860 or email at info@hpaawards.net. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com. Blackmagic Design, NAB Show, AVID, Company 3, Deluxe, Dolby, EFilm, Encore, IMAX, Sohonet and Sony are among the sponsors of the 2016 HPA Awards. ### About the HPA® Awards The HPA Awards were created to foster awareness and recognize the achievements of the individuals and companies that have contributed to groundbreaking technologies and creative excellence within the professional media content industry, and build involvement in the Hollywood Professional Alliance. The HPA is a partner of the Society of Motion Picture and Television Engineers® (SMPTE®). Information about the HPA Awards is available at http://www.hpaonline.com. The HPA Awards will be presented with generous support from Foundation Members and sponsors. About the Hollywood Professional Association Hollywood Professional Association (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content. Through their partnership with the Society of Motion Picture and Television Engineers® (SMPTE®), the leader in the advancement of the art, science and craft of the image, sound, and metadata ecosystem, the HPA continues to extend its support of the community it represents. Information about the HPA is available at www.hpaonline.com. About the Society of Motion Picture and Television Engineers® (SMPTE®) Winner of an Oscar® and multiple Emmy® Awards, the Society of Motion Picture and Television Engineers® (SMPTE®) is a global leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem. A professional membership association that is internationally recognized and accredited, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. For a century, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines. Nearly 7,000 members - motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students - who meet in Sections worldwide, sustain the Society. Through the Society's partnership with Hollywood Professional Association (HPA®), this membership is complemented by the professional community of businesses and individuals who provide the expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television programs, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at http://www.smpte.org/join. Media Contact: ignite strategic communications christine purse | kate eberle +1 818 980 3473 | chris mobile: +1 323 806 9696 chris@ignite.bz | kate@ignite.bz
  8. This forum is abound with requests for cheep 16mm cameras. Very few however broach the subject of sound. I'm looking for a camera with sound sync and a reflex view finder. I have four 100' roles in my freezer so it would be beneficial to be able to use them as apposed to a camera that only shoots 400' roles. I've shot two short films using the Canon Scoopic. Both projects where dialogue free. From what I've been told there's no good way to sync sound to them. In fact, I was told if you tried the sound would become desynced. is this true? I'm looking for a camera under $500 that has sound sync and a reflex view finder. I'm currently looking at a Bolex M5 with a reflex zoom lens but it's a bit more than i'd like to spend.
  9. I've been lurking here for some time, reading and doing some research. I have thousands of hours of Super 8mm home movie footage taken from 1967 to 1990 that I am looking to get transferred. I'm dealing with amateur footage that is naturally shaky from the handheld camera, has occasional focus problems, lots of panning around etc. LOTS of poorly lit indoor shots. The film itself is *ok* but it has some dirt, scratches, etc., that you would expect from 30-40 year old films that have been handled / stored by Average Joes. It also has lots of splices. After doing some research here, I came to the conclusion that my choices for the best scan of these old Super 8mm home movies was between the LaserGraphics ScanStation and the DCS Xena Dynamic Perf 4K. I took some sample 50ft reels to Frame Discreet in Toronto and got them to do a flat scan at 5K and 2K resolution, in 16-bit DPX and ProResHQ 4444. I was very impressed with the quality. I did a number of frame-by-frame tests, and I could not justify the additional scanning cost, or the storage/data handling requirements of going with a 5K scan instead of a 2K scan - at least on the Scanstation. I have a couple of questions: How does the DCS Xena Dynamic Perf 4K compare with the ScanStation for Super 8mm home movies with lots of poorly lit indoor shots, splices, shaky footage, and the rest of the problems listed above? Are there any other scanners I should be considering? I really liked the fact that I could scan the entire film area, including the sprocket holes with the ScanStation. I hate cropping and actually kind of enjoy the "raw" look that the entire film with sprocket holes provide. Does the DCS Xena Dynamic Perf 4K scanner allow this? The Super 8mm film with sound was shot at 18fps and I'd like to get both a DPX + WAV as well as a ProResHQ 4444 outputs. Although I could find workarounds, it would make my life a lot easier if the image dequence/video was set to 18fps and the corresponding audio was synched accordingly. The ScanStation seems to do this fine, but just checking to make sure that the DCS DCS Xena Dynamic Perf 4K can do this as well. I did not like the sound quality of the samples I got, but I have no idea if it was due to a) the camera's sound recording ability at that time, B) the film and any possible degradation of the magnetic soundtrack, c) the scan from the ScanStation or some combination thereof. For the record, I did a few different configurations of sound formats, all lossless (i.e. WAV). I tried various combinations of bit depth and sampling rate, ranging from 24 to 32-bits, and 48 to 192 kHz. Does the DCS Xena Dynamic Perf 4K have better sound capture from old magnetic Super 8mm film? I don't hear too much discussion about Super 8mm home movie sound capture quality. Is this as good as it gets? Below are two sample screenshots from the footage I got back from the ScanStation @ 2K. I took screenshots from an indoor frame and an outdoor frame for comparison. To show off the scan in its best, I tried to pick out frames that were the most steady, for the clearest image.
  10. LOS ANGELES (August 15, 2016) - The 38th edition of The Reel Thing, a three-day symposium addressing audio/visual restoration and archiving, will explore the constantly evolving ecosystem of film and digital restoration and preservation. This year's program will examine legacy film restorations and showcase modern technologies being used to futureproof collections and keep them viable for future display and distribution formats. The event will take place August 18-20 at the Academy's Linwood Dunn Theater in Hollywood. In addition to discussions with industry leaders, premiere screenings of several restored films are scheduled, including the original, uncensored version of John Huston's BEAT THE DEVIL; Marlon Brando's single directorial project ONE-EYED JACKS; and Robert Altman's MCCABE AND MRS. MILLER. Created and co-founded by Grover Crisp, executive vice president of asset management for Sony Pictures, and Michael Friend, director of digital archives and asset management at Sony Pictures, the event supports the programs and services of the Association of Moving Image Archivists (AMIA). "At The Reel Thing, our presenters continue to demonstrate the recovery of the achievements of the first century of cinema even as we assess the challenges presented by the first decades of digital moving image culture," says Friend. "Ever-more effective tools are being devised to address the mechanical and optical challenges of film restoration, and significant new technologies for the long-term preservation of digital data are rapidly evolving. At the center of this activity, technicians, archivists and the rest of the subjective human audience for cinema continue to examine, refine and redefine our understanding of the notion of preservation for both analog and digital moving image art." "It is an exciting time for the archival community as we address the changing technologies that help to preserve collections and our cultural heritage, whether it is film, audio, video or any flavor of digital you choose," notes Crisp. "Our audience is interested in the problems and potential solutions surrounding how we can cope with the issues we encounter in this still hybrid analog/digital landscape we find ourselves in." Presentations at The Reel Thing will feature expert-guided discussions on such topics as UHD/HDR, scanning, color correction, frame rate adjustment, color space and gamut. Case studies on the approach to preserving legacy films in higher quality standards and the processes applied will highlight several panels. Audio restoration will also be explored, looking at the latest technologies in sound. Speakers are expected to include: Michael Pogorzelski, Academy Film Archive; John Polito, Audio Mechanics; David Marriott, Lynette Duensing and Craig Rogers, Cinelicious; Lee Kline and Ryan Hullings, The Criterion Collection; Chris Reynolds, Deluxe Entertainment Services Group; Steve Kochak, Digital Preservation Laboratories, Inc; Wojtek Janio, Fixafilm; Andrew Oran, FotoKem; Gilles Barberis, L'Immagine Ritrovata; and Snowden Becker, UCLA, among others. For more information and to register for The Reel Thing, go to www.the-reel-thing.org. The symposium offers several registration options, as well as discounts for certain industry groups and students.
  11. Hello everyone, I have researched online and can't come to any solid conclusions about how sound design and/or mixing is done when you're working optically. For instance: I'm making a movie and seriously considering taking it the full photochemical route, ie. shooting on 35mm scope, processing the film at Fotokem, getting a work print made (no DI), cutting the film on a flatbed, conforming the negative, timing the answer print, and striking a release print. The idea is to keep my movie completely off a computer. But the thing I can't seem to wrap my brain around is the audio part of the process. How do I sync the separately and digitally recorded dialog to my work print? How do I mix in the music I want? Most importantly, the sound effects? I tend to have substantial sound design in my films, sometimes 150 tracks or more, and spend around 80% of my post production process on sound. Is there a way to do this optically? Should I just go with a DI? I hear a lot of terms like sepmag, and 35 sound mag, but I'm not really sure what they are or how you edit with them. Thanks in advance for your help. Colin
  12. Looking For Microphone Boom Arm: Similar but not limited to Mole Richardson 103B
  13. Hi I'm putting together a crew for an upcoming feature fillm with a good production budget. I'd really like to team up with an experienced Director of Photography, an awesome line producer and good sound crew. This is a fall production starting in October. Interested parties can send reels and resumes to dvpauditions@gmail.com. Regards
  14. So here's something I haven't seen before: A client sent us some Super 8 Sound film shot in the 1980s, but the audio is consistently about 1 second out of sync throughout the reel. How is this possible? The sound record head was a fixed distance (18 frames) from the gate in all sound cameras, and it's clear that this is sync sound with appropriate ambient noise (not post-dubbed on a projector or editor). The subjects are holding the typical cheap condenser microphone that came with most of these cameras. You can hear them bump the mic against a table about a second before you see them do it. I could see a sloppy manufacturer having the head be maybe a frame or two out of place, but given the way S8 Sound carts were constructed, there's not enough of a window for the record head to be a full 18 frames *more* away from the gate than it already is. Any ideas? I'm stumped. (and just to verify it's not our scanner, we've scanned several other films known to be in perfect sync and they're absolutely fine). -perry
  15. Hello. I am recording sound on a Nagra 4.2 for a film. It records on 1/2" tape and is crystal sync'd at 60hz. Being that I need to transfer the tape to digital format and need it to sync up with my 16mm film shot at 24fps and converted to 23.97fps for digital editing I need the analog tapes to be resolved so that there is lip sync. This requires the transfer have a resolver capable of this sync time (54.94hz, slowed down from 60hz). Does anybody happen to know any labs that do this in the US? I appreciate your time
  16. Hello Everyone, I have been attempting to learn more about electrical/battery power and sound, but haven't been able to find the right online resources. I was wondering what an AC, whether 1st or 2nd, should know about sound and power? As of now, I know some basics on both topics, but am always looking to learn more in order to be better prepared. Thank You, Joseph Robinson
  17. Hi everybody. Am not a sound guy, and my knowledge is very limited. But I'm putting together a nice gear set for my Black Magic Pocket Camera. And now I'm on SOUND. I've bought the Rode NTG2. And now I need advice on a cost-effective PREAMP. I've found the PULSE DUAL CHANNEL AMPLIFIER: http://www.astounded.com/pulse-mpre-dual-dual-channel-microphone-preamplifier.html And might 'sound' crazy, but I've got the idea to use this pedal as it might be a good solution: http://www.gear4music.com/Guitar-and-Bass/Behringer-PB100-Preamp-Booster-Pedal/6BK?origin=product-ads&utm_source=google&utm_medium=cpc&utm_term=&utm_campaign=PLA+Behringer&utm_content=Yb7xhCqt|dc_pcrid_39000656599_plid__kword__match__#full-des I wonder which you would advise me. Or any others, since they could be poewered by a 9V battery, making my kit really portable. I'll shoot a documentary, so sound quality is primordial. I know from various posts the sound input in the pocket camera is very low. So need gain/amplifier. Also, I need to buy the CABLES, and I wonder if I buy them BALANCED or not balanced? Thanks everybody. Appreciate if someone could help on this as I have to buy this soon before travelling next week. F
  18. I am looking for a cinematographer. I am filming a pilot episode for my short drama next week Monday and Tuesday in Watford (UK) and next week Friday in Middlesex Hendon (UK). Then the following week beginning the 21st we plan on filming episode 2. We have a few independent production companies interested in this drama. Would you be available? Do you have your own equipment? For more information email me at jevan_buckley@hotmail.co.uk Thank you Jevan
  19. Just bought this MXL 550/551R Condenser Ensemble Microphone Kit, Red with Chrome Grill. First time buying a mic. It's internally wired so do we need to buy cables and phantom power? Also any other tips for using it would be great.
  20. For those of you who've actually used it, is the ARRIFLEX 416 Plus HS louder than the regular speed range 416 models? The former is rated at 29 dB while the latter two are 20 dB. However, unless I'm misinterpreting the specification, I suspect the sound level measurement is referring to operation at the top speed (150 fps vs 75 fps). Or does it actually make more noise at standard frame rates like 24 fps?
  21. Hey there, I'm new here and I'd like to start asking a question about sound. Last year I shot a movie with a friend of mine, using as record devices a condenser microphone, linked to a sound card, which was linked to the laptop. Now, I brought my sound card home with me, but now it seems I can't find it anymore... Looks like I'll have to buy another one, but since I'm not an expert in this field, I can't really remember which are the features of the sound card I used last time, nor the brand... can someone tell me which are the basic features one should require from a sound card of this kind? It is a really important matter to me, thanks to all of you. P.S. if this can help, I was using cubase as recording program.
  22. Hi I am empop. I am a singer/songwriter, producer, and recording studio manager from London, UK. I am writing to offer my music for free for film projects! I expect no royalties! If you would like to use my music I just ask that you send me a link to your final film, credit me at the end and also Follow me on Twitter: @empop89 and like my facebook page: www.facebook.com/empopmusic. ;-) My music is quirky, different, happy, catchy, melodic, fun and would work well for TV/Film/Adverts etc! I own all the rights to my music. I have instrumental versions of all my songs too if needed. MAGICAL, UPLIFTING songs: 'The Garden' 'Let It Go': DARK QUIRKY MUSIC: My track 'Night Poem' has the right feel for shows like 'Vampire's Diaries' etc Night Poem: My album was produced by Britney Spears' Musical Director Simon Ellis. You can hear all my music at My website is at https://www.empop.co.uk and my Facebook page is www.facebook.com/empopmusic December 2012 - The 1st song from my new album - 'The Garden' was played on BBC RADIO 6 by Tom Robinson. July 2012 - My song 'Let It Go' was played on BBC RADIO 6 by Tom Robinson. 25th June 2012 - My song 'French Riviera' was played on BBC RADIO 6 by Tom Robinson. In May 2012 I was invited on BBC Introducing at BBC Three Counties Radio to talk about my music and they played 'Whispers In The Night'. Cheer up your day with some empop ;-) Thank you for listening. Love empop xxx EMAIL ME: empop89@hotmail.com SAY HELLO: www.empop.co.uk Twitter: @empop89 www.facebook.com/empopmusic Youtube: empop89 www.soundcloud.com/empop89 email: empop89@hotmail.com
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