![]() We think you’ll find good reading, and we are pleased to shine a light on a creative field that deserves more attention.ĭavid Waelder, Eric Pierce and Richard Lightstone Emmy NominationsĬongratulations to the nominees and their production sound teams for the 65th Annual Emmy Awards in the category of Outstanding Sound Mixing Comedy or Drama Series (One-Hour)īoardwalk Empire “The Milkmaid’s Lot” HBOįrank Stettner CAS, Tom Fleischman CAS, George A. We’ve included a glossary of specialized terms at the end of each article for the benefit of our non-technical readers and members working outside these particular disciplines. Playback and live-record have their own lingo and some equipment may be unfamiliar even to working professionals. Gary Raymond addresses the technical requirements of file formats for playback and Joseph Magee shares the lessons he’s learned over several decades of working with music in both production and post production. Nashville has an equally ambitious agenda and Anna Wilborn tells us how Joe Foglia handles those tasks with grace and wit. ![]() Phillip Palmer tells us about the challenges of Glee, where he often handles up to six musical numbers per episode. We have four articles from members who specialize in music for cinema and TV, and they provide us with their perspectives on doing playback, pre-records and live recording. ![]() For this issue, we focus our attention on just one of the sixteen different categories that comprise Local 695.
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