David P. Fienup
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Cecil Averett Resume Sound Design Theatrical - Film/Multimedia – Civic
Cecil Averett Resume Sound Design Theatrical - Film/Multimedia – Civic 1056 Electric Avenue SE Salem, Oregon 97302 888.592.4448 ext. 1 [email protected] www.csdesigngroup.net EDUCATION San Jose State University, San Jose, CA. Liberal Arts, History California Recording Institute, San Francisco, CA. Music Recording, Technology EMPLOYMENT Arena Stage Washington, D.C. Audio Engineer 1995-1998 The Goodman Theatre Chicago, IL. Audio Head/Engineer 1998-2004 Milburn Bodeen Music Chicago, IL. Editor/Designer 1998-2001 cs|designgroup Chicago / Portland Co-Founder / Principal Designer 2002-Present ADI Group New York, NY. Designer, Assoc. Designer 2003-2004 Marriott Theatre Lincolnshire, IL. Resident Sound Designer 2004-2009 TEACHING EXPERIENCE Northwestern University, Evanston, IL. Theatre Sound Design / Technology – Beginning /Advanced 2001-2003 DePaul University, Chicago, IL. Guest Artist / Mentor – Sound Design 1999-2002 SOUND DESIGN – Theatrical GOODMAN THEATRE, Chicago, IL. Beyond Glory, directed by Stephen Lang 2005 (also Of-Broadway at Roundabout Theatre, directed by Robert Falls 2007) Romance, directed by Pam MacKinnon 2006 Mamet Festival, directed by Various 2006 Passion Play: a cycle, directed by Mark Wing-Davies 2007 (Joseph Jeferson Nomination – Sound Design) A Christmas Carol, directed by Bill Brown 2007, 2008 ARENA STAGE, Washington, D.C. Ghosts, directed by Liviu Chuili 1996 CHICAGO SHAKESPEARE THEATRE, Chicago, IL. Henry IV Parts I and II, directed by Barbara Gaines 1999 (Jef Award – Best Production) Macbeth, directed by Kim Rubenstien 1999 Romeo and Juliet, directed by Kim Rubenstien 2000 (Remounted and subsequent tour in 2001) Three Musketeers, directed by David H. Bell 2007 CAP21 / DR2 THEATRE, New York, NY. Waiting For My Man, directed by Anthony Patellis 2004 (Of-Broadway) CLEAR CHANNEL PRODUCTIONS / JUNIPER STREET PRODUCTIONS, New York, NY. -
List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter . -
The Production of Tv Commercials and Stills Photography in Cape Town
THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN An overview of the impacts and constraints of the commercial production sector on the Cape Town economy. Martin Cuff, August 4th 2011 Commercial Producers Association SAASP P O Box 413005 PO Box 51649 Craighall Waterfront 2024 8002 Tel: 27 11 673 6809 Tel: 27 21 447 1075 Cell: 27 82 683 0575 Cel: 27 82 403 3661 Fax: 27 86 674 8321 Fax: 27 86 656 9656 E‐mail: [email protected] E‐mail: [email protected] Web: www.Cpasa.tv Web: www.saasp.Co.za DisClaimer: This doCument was assembled from various publiCations and websites between 2005 and 2011. It is intended for general researCh purposes only. Whilst every effort was made to ensure the information herein was CorreCt at time of Compilation, we make no warranties of any kind regarding the Completeness, aCCuraCy, reliability or suitability of the information. Any relianCe you plaCe on suCh is at your own risk, and we will not be liable for any loss or damage whatsoever arising out of, or in ConneCtion with the use of this information. The following doCuments were used as referenCe materials for this doCument: • DACST Cultural Industries Growth Strategy (1998) • Department of Trade & Industry SeCtor Development Strategy for Film and Television (June 2005); • Western Cape ProvinCial Government MiCro EConomiC Development Strategy (MEDS) Report for the Film SeCtor (April 2005) • CommerCial ProduCers AssoCiation Industry Survey (2005 ‐ 2011) • South AfriCan AssoCiation of Stills ProduCers Annual Survey (2005/6, 2009‐11) • Cape Film Commission StrategiC EConomiC Analysis (2006) • Gauteng Film Commission EConomiC review (2007) • The Durban & KZN Film Industry Review (2008) • Eastern Cape Development Corporation Film SeCtor Review (2009) THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN SUMMARY: • Stills and TV Commercials make up 57.7% of the the turnover of production in the Western Cape • The combined value of Stills & TV Commercial Production in the province is R1.53 billion. -
TFM 321/621 – Sound Design Fall 2016 Instructor
TFM 321/621 – Sound Design Fall 2016 Instructor: Greg Penetrante • [email protected] • Phone: 619-594-6090 Office: Com-154 Hours: Afternoons between classes Course Description: This is a project-based course-focusing intended to provide the student with a command of production audio and postproduction sound design for motion picture production. Through exercises and projects, students will gain a familiarity with the terminology, facilities, and processes of audio, including recording, location recording, sound editing, sound processing, overall sound design, and mixing. Through hands-on practice, students will also gain a clear understanding of audio production workflow from preproduction, to production, and postproduction. The course assumes you have acquired a foundation in audio from TFM 314 or equivalent. It also requires moderate competency with: computers, navigating the Internet, and especially teamwork. It also calls for good time management skills. Objectives: 1. To become well versed in audio production technology and the terminology associated with the technology and practices of sound design of media production, particularly independent film production. 2. To apply the conceptual understanding of sound design you gain in this class to the actual production of films. This implies learning the operation of recording equipment, the mastery of relevant software, and the set-up of equipment for various production situations such as sound editing, ADR, Foley and mix down. Course Format: This course will consist of one (1) hour of lecture and 2-3 hours of laboratory work each week. Individual projects will require additional work outside of the scheduled course time. You should be prepared to allocate approximately two (2) hours outside of scheduled course times for each class or laboratory hour. -
Post Production Audio
Post Production Audio Week Seven © Copyright Queensland School of Film & Television 2010 Post Production Audio Audio Post Production usually refers to audio that is synchronized with the final edit (or production lock). This applies to TV, cinema, and commercials. Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, film- makers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was created and has been a fact of life in professional film making ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Today, it would be difficult to find any feature film or television show that hasn't been through audio post. © Copyright Queensland School of Film & Television 2010 Post Production Audio Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing In order for the production audio recorded on the set or on location to be properly mixed, a Dialogue Editor needs to properly prepare it. This means locating the proper take from the recorded production audio, checking sync (so it actually works with the picture properly), and eliminate extraneous noise so the Mixer has clean dialogue to use during the mix. -
HF Press Notes TIFF 4
High Fantasy A Film Created By Jenna Bass Qondiswa James Nala Khumalo Francesca Varre Michel Liza Scholtz “HIGH FANTASY” is directed by JENNA BASS. It was co-written and co- filmed by JENNA BASS with the cast: QONDISWA JAMES, NALA “Our national anthem is bullshit, KHUMALO, FRANCESCA VARRIE MICHEL, LIZA SCHOLTZ and LOREN LOUBSER. The film is produced by JENNA BASS, STEVEN MARKOVITZ our flag is bullshit, Rainbow and DAVID HORLER. Production and Wardrobe Design were co- Nation is bullshit. Bullshit” created by JENNA BASS and CHANTELL LUNGISWA JOE. The editor is KYLE WALLACE, JASON SUTHERLAND composed the original score. “High Fantasy” is a FOX FIRE FILMS, BIG WORLD CINEMA and PROPER FILM production. Short Synopsis A group of young friends on a camping trip, deep in the South African countryside wake up to discover they’ve all swapped bodies. Stranded in the wilderness, they’ll have to navigate a personal-political labyrinth if their friendship and their lives are ever to be the same again. Long Synopsis Crammed into a car, four friends are going on a camping trip. Their destination is an isolated farm in South Africa’s Northern Cape. It’s owned by Lexi’s (Francesca Michel) family, and she’s invited her two best friends; Politically radical Xoli (Qondiswa James) and happy-go-lucky Tatiana (Liza Scholtz). Without telling the others, she’s also invited a new male friend, Thami (Nala Khumalo), who’s chauvinistic attitude immediately puts the three young women on edge. What’s more, Xoli won’t let Lexi forget her white privilege, that her coloniser forefathers only own this land at the expense of the country’s indigenous black people. -
Production List 2002 Bulgarian Symphony Orchestra / Sif309
PRODUCTION LIST 2002 BULGARIAN SYMPHONY ORCHESTRA / SIF309 PROJECT TITLE COMPOSER DATES DIRECTOR AWARDS AND NOMINATIONS Album A FILETTA Bruno Coulais/ A FILETTA Dec/2002 Film Pontormo Pino Donaggio Giovanni Nov/2002 Italian National Syndicate of Fago Film Journalists 2005 • Nominated, Silver Ribbon/Best Costume Design (Migliori Costumi)/Lia Francesca Morandini/• Also for L'amore di Màrja Tv series Père et maire Frédéric Porte Nov/2002 Film La tranchée des espoirs Marc Marder Jean-Louis Nov/2002 Luchon International Film Lorenzi Festival 2003 • Won, Best Young Actor/Jean- Jérôme Esposito • Also for Fragile • Won, Best Music/Marc Marder • Won, Audience Award Animation Les enfants de la pluie Didier Lockwood Philippe Nov/2002 Leclerc Film La leggenda di Al, John e Jack Andrea Guerra Aldo / Nov/2002 Italian National Syndicate of Giacomo/ Film Journalists Giovanni / 2003 Massimo • Nominated, Silver Ribbon/Best Venier Cinematography (Migliore Fotografia)/Arnaldo Catinari/• Also for Happiness Costs Nothing • Nominated, Silver Ribbon/Best Production Design (Migliore Scenografia)/Eleonora Ponzoni Film Il cane e il suo generale /a.k.a. Le chien, le Andrea Guerra Francis Nov/2002 Chicago International général et les oiseaux/ Nielsen Children's Film Festival 2004 • 2nd place, Adult's Jury Award/ Animated Feature Film or Video/ Francis Nielsen Venice Film Festival 2003 • Won, Rota Soundtrack Award/ Andrea Guerra Tv series Sospetti 2 Pino Donaggio Gianni Nov/2002 Lepre Film La maison des enfants Jean-Claude Petit Nov/2002 Album Sacha Distel – Jazz -
Thesis Table of Contents
A new sound mixing framework for enhanced emotive sound design within contemporary moving-picture audio production and post-production. Volume 1 of 3 Neil Martin Georges Hillman PhD University of York Theatre, Film and Television September 2017 2 Abstract This study comprises of an investigation into the relationship between the creative process of mixing moving-picture soundtracks and the emotions elicited by the final film. As research shows that listeners are able to infer a speaker’s emotion from auditory cues, independently from the meaning of the words uttered, it is possible that moving-picture soundtracks may be designed in such a way as to intentionally influence the emotional state and attitude of its listening-viewers, independently from the story and visuals of the film. This study sets out to determine whether certain aspects of audience emotions can be enhanced through specific ways of mix-balancing the soundtrack of a moving-picture production, primarily to intensify the viewing experience. Central to this thesis is the proposal that within a film soundtrack there are four distinct ‘sound areas’, described as the Narrative, Abstract, Temporal and Spatial; and these form a useful framework for both the consideration and the creation of emotional sound design. This research work evaluates to what extent the exploration of the Narrative, Abstract, Temporal and Spatial sound areas offers a new and useful framework for academics to better understand, and more easily communicate, emotive sound design theory and analysis; whilst providing practitioners with a framework to explore a new sound design approach within the bounds of contemporary workflow and methodology, to encourage an enhanced emotional engagement by the audience to the soundtrack. -
Shaun Cunningham Audio Engineer / Sound Editor
4642 Willis Avenue Apt 202 Sherman Oaks, CA 91403 Phone 323-450-6693 [email protected] Shaun Cunningham Audio Engineer / Sound Editor OBJECTIVE I am searching for rewarding Audio Engineering / Sound Editorial & Mixing work in the Los Angeles area post production and multi-media industry, where I can gain new skills and expierences, and continue to grow as an engineer. EXPERIENCE Motion Picture Editors Guild Local 700 Sound Editor Classification Z-2 Television: Survivor: Samoa Season 19 (Dialogue Editor) CBS / Mak Burnett Productions Flight of the Conchords Season 1 & 2 (Foley Mixer / Sound Effects & Foley Editor) H.B.O. / Dakota Pictures Expedition Africa: Stanley and Livingstone (Foley Mixer / Sound Effects & Foley Editor / VO Recordist) History Channel / Mark Burnett Productions Tracey Ullman’s State of the Union Season 1 (Sound Effects Editor) Showtime / Dakota Pictures Extreme Makeover: Home Edition Season 5 (Sound Effects Editor) ABC / Lock and Key Productions / Endemol Enterrainment American Idol Season 7 & 8 (Sound Editor) FOX / 19 Television / Freemantle Media So You Think You Can Dance Season 3 & 5 (Sound Effects Editor) FOX / Dick Clark Productions MTV Movie Awards 2007 & 2008 (Sound Design) MTV Networks MTV Video Music Awards 2008 (Sound Design / VO Recordist) MTV Networks Film: Turistas (ADR Editor) Fox Atomic / 2929 Productions Dave Chappell’s Block Party (Sound Effects/ ADR Editor) Rogue Pictures / Bob Yari Productions Tom Petty and the Heart Breakers Runnin’ Down a Dream (Sound Editor) Warner Bros Pictures -
Post Sound Jobs
POST SOUND JOBS MANAGEMENT-COORDINATION THE POST-PRODUCTION SUPERVISORS / ASSISTANT POST PRODUCTION SUPERVISOR Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant. Although this is not a creative role, it is pivotal in ensuring that the film's post production budget is manageable and achievable, and that all deadlines are met. Because large amounts of money are involved, and most of a film's budget is spent during production, the post production period can often be difficult and challenging. The Post Production Supervisors' role can be stressful and requires ingenuity, empathy and the ability to make tough decisions under pressure, while working long hours, to tight deadlines. Some Post Production Supervisors may be involved on a number of films at one time, but usually work on 3 or 4 films a year. They are employed on a freelance basis, by the producer, often also with approval from a completion bond guarantee company. They usually work alone, but on larger productions may employ an assistant. What is the Job? The role of the Post Production Supervisor varies according to the type of film and the budget. On big budget films using complex CGI (Computer Generated Images), they start work during pre-production, liaising with the CGI Company and ensuring that the producer is aware of all the creative and budgetary considerations and how they may impact on the post production period. -
So You Want a Job in Film and Television? There Are Huge Numbers of Young People Competing for Very Few Jobs. It Is Difficult To
So you want a job in film and television? There are huge numbers of young people competing for very few jobs. It is difficult to stress exactly how competitive film and television work is, but a good guide is that 9 out of 10 actors are out of work at any given time. Up until recently you had to be a member of the actor’s union Equity to get a professional acting job– and you were allowed an Equity Card only after you had worked professionally for some time. Thankfully this catch 22 situation no longer exists, although the film and television industry remains a very closed shop to all but the most dedicated and well connected. Only 6% of actors earn more than £30,000 per year. A recent survey found that nearly half of those working in the UK film and television industry earned less than £6,000 a year from the profession. Many actors and film makers work for very little, especially at the beginning of their careers. Most jobs are short term. Many experienced actors and film makers need to do other work to supplement their income. If you are you still interested in film and television work after reading the above information, then you clearly have the strong commitment necessary to begin a career in film and TV. However, commitment on its own is not enough. How can I get a career in film and television? You need specific training and experience in film and TV. Most of the careers below require formal training, usually in the form of academic courses. -
FRED PARAGANO, CAS Re-Recording Mixer / Supervising Sound Editor Select Film, TV, Game & Music Credits Imdb.Com ● Allmusic.Com ● Editorsguild.Com
! FRED PARAGANO, CAS Re-Recording Mixer / Supervising Sound Editor Select Film, TV, Game & Music Credits imdb.com ● allmusic.com ● editorsguild.com AWARDS & NOMINATIONS I SHUDDER………………………………………………………TV Land 2017 WESTWORLD - “The Bicameral Mind” Sound Re-Recording Mixer Emmy Award Nomination: Outstanding Sound Editing GRANITE FLATS (SEASONS 1, 2, 3)……………………………NetFlix 2017 WESTWORLD - “Trace Decay” Supervising Sound Editor, Dialogue Editor, Sound Re-Recording Mixer Golden Reel Award Nomination MONKEY UP…………………………………….. Air Bud Entertainment 2017 WESTWORLD - “The Bicameral Mind” ADR Mixer Golden Reel Award Nomination PUP STAR…………………………………………Air Bud Entertainment SELECTED CREDITS ADR Mixer, Music Recording FULL OF GRACE……………………………………….. Outside Da Box THE MAYOR…………………………………………………………ABC Supervising Sound Editor, Dialogue Editor, Sound Re-Recording Mixer Supervising Sound Editor TOO LATE ……………………………….………………Foe Killer Films DEEP BLUE SEA 2 ………………………………. Warner Bros. Pictures Supervising Sound Editor, Dialogue Editor, Scoring Mixer, Sound Re- Sound Re-Recording Mixer Recording Mixer THE EXORCIST (SEASON 1, 2) …………………………Fox Television RUSSELL MADNESS…………………………….Air Bud Entertainment Supervising Sound Editor ADR Mixer WESTWORLD………………………………………………………HBO INTO THE MIND………………………………………...Sherpas Cinema Dialogue Editor Supervising Sound Editor, Sound Effects Editor, Re-Recording Mixer ROOM 104 …………………………………………………………. HBO CLOUDY WITH A CHANCE OF MEATBALLS 2………………. Sound Re-Recording Mixer …………………………….. Columbia Pictures / Sony Pictures Animation ADR Mixer