Supervising Sound Editor Michael Benavente Joins Soundelux

March 21, 2012

Soundelux has hired Michel Benavente, whose most recent screen credit is ADR supervisor on Moneyball. His credits as supervising sound editor include No Strings Attached, Paul Blart: Mall Cop, and Idiocracy. His next project is director Tim Story’s Think Like a Man, scheduled for an April 20 release in the U.S.

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Hallberg Hears Call of Duty

February 9, 2012

Hollywood, CA (February 8, 2012)–Per Hallberg, two-time Academy Award-winner and Soundelux supervising sound editor, created the audio for a new trailer for video game Call of Duty: Modern Warfare 3, aiming for the feel of a movie.

Conceived by Los Angeles advertising agency, 72andSunny, and directed by Peter Berg, the live action trailer for the latest in Activision’s record-setting game series casts Sam Worthington as “The Vet” and Jonah Hill as “The n00b” in an urban combat scenario. The trailer, which runs 90 seconds in the online version, has attracted nearly 21 million hits on YouTube.

Hallberg was brought into the project to do what he has done for films such as The Bourne Ultimatum, Green Lantern, G.I. Joe and Hansel and Gretel: Witch Hunters. “It looks like a movie and it needed to sound like a movie,” Hallberg recalls. “It has an intensity and sense of reality that goes far beyond other trailers of its kind.”

Hallberg assembled a team of editors, sound designers and Foley artists, who helped him in building a bed of sound elements that is richly detailed and authentic. All of the weapon sounds, for example, are accurate for the guns and artillery pieces seen in the trailer.

“We approached it just like a feature film,” Hallberg recalls. “We cleaned up the production dialogue, we shot Foley with cut backgrounds and we cut sound effects and sound design.” Todd-AO’s Gary Hecker, whose credits include Unstoppable, Spider-Man 3 and The Hunger Games, created the Foley elements.

Getting all of the hyper-kinetic sound elements to work within the trailer’s relatively short time-span was a challenge for Hallberg. “A lot happens in a short time,” he says. “You have to tell the story, create a high level of intensity and make it work with the dialogue and music-but that’s one reason we were attracted to the project. It was fun and invigorating.”

CSS Studios

CSS Studios Brings Re-Recording Mixer Andy Koyama to Todd-AO

January 19, 2012


Veteran Re-Recording Mixer Andy Koyama (pictured) has joined independent sound company Todd-AO. Koyama will mix theatrical projects at Todd-AO’s Santa Monica facility. He arrives with more than 60 films to his credit, including the comedy Meet the Parents, the vampire tale New Moon and the summer blockbuster The Incredible Hulk. Most recently, he mixed The Grey, director Joe Carnahan’s thriller set for release this month.

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Sound mixing: Making it all feel real

December 15, 2011

Eye on the Oscars: Vfx, Sound & Editing – Sound Mixing

Great moments in sound mixing come when sounds gathered during the sound-editing process are used in a way that somehow make everything else in a movie seem that much more real and vibrant.

Not every film asks a sound mixer to match precisely what’s on the screen or even what can be clearly described in the script. On “Tree of Life,” Terrence Malik gave sound mixer Craig Berkey more abstract direction.

“Sometimes we’d be asked to create a mix that expressed what consciousness is. You’d really have to kind of feel your way through it. We’d try something, let Terry listen to it, get feedback and then alter it again and again as more of the film was available for us to see.”

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Sound editing: Always make dramatic sense

December 15, 2011

Sound editors essentially choose the aural palette that create the soundscape of a film, often finding sounds make “dramatic sense” (as sound guru Randy Thom explains it) even if they don’t represent precisely what’s seen on screen.

In order to create emotionally resonant sounds for the chimp characters in “Rise of the Planet of the Apes,” Chuck Michael and the sound team worked with recordings of noises made both by actors and by chimps. Ape sounds were recorded at Chimp Haven in Louisiana, then layered with actors’ vocals.

“There’s an emotional range that only an actor can convey, but there’s also an authenticity that comes from these being the real sounds made by chimps,” Michael says.

In “Cars 2” making dramatic sense meant not always using the exact sound made by the particular make or model of car seen in the film. Originally helmer John Lasseter wanted that kind of authenticity, but that changed.

Supervising sound editor Tom Myers says, “You need something that will resonate with the audience emotionally.”

“Fast Five” also needed car and crash sounds that would tell the action story in a way that put the audience in the center of the action. Even though the audience is looking at 1970 Dodge Charger for a large part of the movie, chances are they’re hearing a group of sounds developed by a crew over time, says the film’s supervising sound editor Peter Brown.


The Hollywood Edge Debuts “Segue Surround HD 5.1” Collection

December 6, 2011

HOLLYWOOD; November 14, 2011 – The Hollywood Edge has  announced the release of Segue Surround 5.1 HD, a first-of-its-kind sound effects toolkit featuring more than 1,100 whooshes, stingers, impact effects, atmospherics and other transitional elements created in true 5.1 surround sound. The large collection is well suited  for films, broadcast television, radio, commercials, trailers, interactive media, podcasts and other types of programming requiring special sound treatments.

 “This newest collection is unlike anything else on the market and fulfills one of the most basic needs of sound professionals: creating great transitions,” says Hollywood Edge Managing Director John Moran. “It encompasses a great diversity of styles and editorial categories, recorded and mixed to the highest professional standards. It is a great resource for editors looking to push their ideas into the realm of surround sound.”

Segue Surround 5.1 HD includes separately mixed 5.1 and stereo versions of each effect and is suitable for sound professionals of all levels. The collection includes three DVDs of 6-channel surround audio in 24-bit/96khz, one DVD of 2-channel stereo audio in 24-bit/96khz, and three audio CDs of 2-channel stereo in 16-bit/44khz.

Segue Surround 5.1 HD is available now at

 The Hollywood Edge is located at 7080 Hollywood Blvd, Ste. 1100, Hollywood, CA 90028. For more information, call (323) 603-3252 or (800) 292-3755, or visit



Hollywood, California-based CSS Studios® is a wholly owned subsidiary of Discovery Communications (NASDAQ: DISCA, DISCB, DISCK), the world’s number one nonfiction media company reaching more than 1.5 billion cumulative subscribers in over 180 countries.  CSS Studios provides creative post production sound services to major motion picture studios, independent producers, broadcast networks, cable channels, advertising agencies and interactive producers.  The services of CSS Studios are marketed under the brand names Todd-AO®, Sound One, Soundelux®, POP Sound®, Modern Music, Soundelux Design Music Group and The Hollywood Edge, with facilities in Los Angeles and New York.  With more than 50 years of experience in providing creative sound services and technical solutions, the companies, collectively, have garnered more than 50 Academy Award nominations and won 26 Academy Awards®.


Christian Hellum                                                     Linda Rosner

CSS Studios, LLC                                                    Artisans Public Relations

323.603.3200                                                           310.837.6008

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Dolby 7.1 Interview with The Twilight Saga: Breaking Dawn Part 1 Re-recording Mixer, Michael Minkler

December 1, 2011

Dolby 7.1 Interview with The Twilight Saga: Breaking Dawn Part 1 Re-recording Mixer, Michael Minkler from Michael Coleman on Vimeo.


Via Soundworks…