Exclusive Interview – John Wick: Chapter 3 – Parabellum Sound Editor on differentiating every gunshot, recording dog noises and ADR grunting.
https://ascmag.com/articles/john-wick-chapter-3-slayin-in-the-rain
American Cinematographer has a post on how Dan Laustsen shot JW3. Article goes into specific locations, camera, lights – essentially what they did to get the job done.
https://www.provideocoalition.com/aotc-JW3/
Evan Schiff started his film industry career at the Stan Winston animatronic studio in 1999 working on such films as Jurassic Park III and Terminator 3: Rise of the Machines. His work as a VFX editor or assistant editor include work on Rocky Balboa and Pan’s Labyrinth, Rambo, Hellboy 2 and Star Trek (2009 movie). A major turn in his career came as an assistant editor to legendary editor Paul Hirsch, ACE on Mission: Impossible – Ghost Protocol and a string of films after that. Promoted to the editor’s chair, he has cut films like, John Wick 2, Broken Kingdom and Southside with You.
http://digital.copcomm.com/i/407863-november-december-2014
Dane A. Davis on The Matrix by Debra Kaufman
Cinmontage, Nov-Dec 2014 issue, pg 20-24
Dane Davis is a sound designer/sound editor who worked on The Matrix. Article is in a digital copy of the magazine. Open the link and go to page 20 for the article.
https://jonnyelwyn.co.uk/film-and-video-editing/editing-john-wick-2-interview-with-evan-schiff/
For editor Evan Schiff, John Wick Chapter 2 represents his first major feature film as an editor, but it’s by no means his first time handling the pressure and prestige of a big budget action movie.
Having worked as an assistant editor for over 10 years, his feature credits include the first two (new) Star Trek films, Mission: Impossible – Ghost Protocol, Warrior, Pan’s Labyrinth and many more.
The sweeping or exhilarating music you hear as you are watching a favorite scene is a big part of the magic of movies. This is what Carlos José Alvarez does, and at 36, he’s a prolific young composer in what is usually considered a more mature field.
Alvarez has already composed and arranged the scores for Hollywood films such as “Deadline,” “One for the Money,” the documentary “Cubamerican,” and contributed to the Oscar-winning “Still Alice.” He arranged and wrote the music for the Lionsgate thriller, “Exposed,” starring Keanu Reeves and Ana de Armas, which recently opened in theaters.
https://www.backstage.com/magazine/article/pros-cons-perks-demands-stand-55945/
A stand-in is a person who literally stands in for an actor to help the camera department light the set and focus the camera. The principals, or main actors, will first rehearse a scene before they shoot it. When they are finished blocking it, they leave and go through “last looks” with the hair, makeup, and wardrobe people. That’s when the stand-ins step in. They watch the actors during rehearsal, see what they do, then re-create it while the principals are busy. A good stand-in helps save time, which saves the production money.
The National FIlm Board has posted a clip on vimeo that features what a colorist does.
http://filmsound.org/synctanks/
Here is a detailed look at the various types of sounds that are added during post-production.
https://ew.com/article/2013/02/23/oscars-sound-mixing/
“The biggest misconception about what we do is that most people think it’s technical in nature because there’s intimidating mixing consoles involved. In reality, we are extremely creative in the use of sound to help tell the story,” says Argo sound re-recording mixer Gregg Rudloff, a five-time Oscar nominee with wins for his work on Glory and The Matrix. “But it goes back to what do you want people to notice and not notice? We want them to be watching the film and experiencing it and enjoying it. We don’t want them to be sitting there going, ‘Oh wow, that was a really cool sound thing that guy just did there.’ We don’t want to put them back in their seats. We want them to be totally immersed in the film. So in a way, we’re our own worst enemies. If we do a bad job, people notice what we do, and that’s not what we want. If we do it really well, people don’t notice it so much, but then they don’t understand the depths we’re working at.”
https://news.creativecow.net/story.php?id=875820
Veteran Sound Mixer Danny Michael, whose recent portfolio includes the high-profile feature films “The Secret Life of Walter Mitty” with Ben Stiller, “John Wick,” starring Keanu Reeves and “Non-Stop,” with Liam Neeson, understands the importance of capturing pristine audio in the field, which is why he relies on Sound Devices’ 788T-SSD Digital Recorder for his audio production needs.
https://cinemontage.org/mixes-well-others-recordists-re-recording-mixers-collaborate/
These days, it takes a team of talented post-production professionals to prepare soundtracks for motion pictures and network/cable TV programs. At the heart of that creative process is the collaboration between a re-recording team and recordists — working behind the scenes to ensure that audio and video assets are loaded onto playback systems and that the mix elements are recorded onto the appropriate media, ready for delivery to clients.
https://www.npr.org/templates/story/story.php?storyId=4994411?storyId=4994411
obscurity. Walter Murch is one film editor whose profile is much higher than most.
Murch has won three Oscars. He has been nominated in sound and or editing categories eight times. His films include Apocalypse Now, all three Godfather films, The English Patient, The Unbearable Lightness of Being, Ghost and The Talented Mr. Ripley.
Supervising Sound Editor Matthew Taylor describes the Star Trek spinoff [“Picard”] as a journey through “many soundscapes, both physical and psychological — physical in that the heroes experience new locations, technologies and languages. Psychological in creating the worlds of our characters’ minds as they experience nightmares, grief, horror and doubt.