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Archive by Howard Sherman

SIXTEEN19 EDITOR CORTESE WINS THREE SPORTS EMMY AWARDS

NEW YORK: Sixteen19 editor Anthony Cortese (pictured) won three Emmys at the 33rd Annual Sports Emmy Awards, presented April 30th by the National Academy of Television Arts and Sciences.

Cortese’s work for the Showtime / CBS Sports documentary, A Game of Honor was recognized in the Best Documentary, Best Trailer, and Best Web Series categories. The highly rated, critically acclaimed, two-hour documentary provided a stirring and insightful behind-the-scenes look at the teams preparations for the classic 2011 Army-Navy Game.

Cortese’s award collection already includes two previous EMMYS presented in the Associate Producer category. Sixteen19 is a leading post-production services company with offices in NYC and divisions in New Orleans, L.A. and London.

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans; L.A. and London. The firm specializes in DI, color correction, editing and finishing and on & near set services. The NYC complex features 15 spacious Avid editing suites, color correct theater/ screening rooms, digital dailies, file transcode/encode and workflow management. Contact: 212-245-1402 http://www.sixteen19.com

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Berklee College Commissions WSDG For Major Projects

Berklee 160 Mass WSDG – Presentation Drawing – Level B1Berkley Valencia floor planConcurrent Work On Two Continents: Boston, Mass. & Valencia, Spain

NEW YORK: In a patent message of confidence in education and the inherent strengths of the world economy, the Berklee College of Music has embarked on a significant expansion program. In Valencia, Spain, an entirely new campus opened in January, 2012. In Boston, the first ground-up building in Berklee’s 66-year history, 160 Massachusetts Avenue, a 16-story, $100 million structure, began construction in December 2011. While U.S. and Spanish architects were engaged to create strikingly disparate footprints for each of these bold projects, a single internationally recognized studio design and acoustical consultancy, the Walters-Storyk Design Group, was commissioned to create the audio education studios for both these learning complexes.

“We have a long-standing relationship with WSDG, and with architect/acoustician John Storyk who designed Electric Lady Studios for Jimi Hendrix among many world-class studios all over the world,” Berklee president Roger H. Brown remarked. “In addition to designing a number of teaching studios and media rooms for our Boston campus, Mr. Storyk is a visiting professor for our MP&E Department. He developed Berklee’s signature studio design course and also lectures frequently to our music production and engineering students. Both 160 Mass. and our Valencia campus required exemplary creative and technical standards. We have every confidence in WSDG’s ability to exceed our expectations.”

Celebrated Spanish architect, Santiago Calatrava’s ultramodern Valencia Campus personifies Berklee’s total commitment to the future. WSDG partner/senior project manager, Romina Larregina, reports the sprawling 18,000 sq. ft. East Technical Wing features a 1360 sq. ft. recording studio which includes an 850 sq. ft. live room; four project/production studios ranging in size from 135 to 200 sq. feet; and multiple classroom/tech support environments “Berklee Valencia sets a new standard for European audio education and signal a new level of achievement for WSDG,” Larregina says. The firm’s 40+ years of designing professional recording environments and educational facilities includes such major schools as: NYU, the Universities of Colorado and Michigan and The Vatican’s new Javeriana University, in Bogota, Columbia.

Designed by William Rawn Associates (Boston), Berklee’s new 155,000 square-foot 160 Massachusetts Ave. tower will house eight WSDG recording studios, including a live room scaled to host a 60-piece orchestra. Scheduled for completion for the fall 2013 semester, the complex encompasses technical suites, classrooms, a film dubbing theater and, a unique, three-story 4000 square foot, 400-seat, dual purpose, auditorium/dining hall with a dramatic two-story glass wall facing Massachusetts Avenue.

“We are investing everything we have learned about acoustic excellence and educational prerequisites in these important assignments,” says Larregina, who is serving asWSDG PM on both projects. “In addition to maintaining close contact with local contractors, systems integrators and our offices in Brazil, Argentina, Barcelona and Switzerland, I made regular site visits to Valencia and continue to personally monitor the progress in Boston.

“Our international team is collaborating on every facet of these projects,” Larregina adds. “We have developed methods of pooling our mutual skill sets in technical drawing, systems integration, HVAC, room isolation, acoustical treatments, and the myriad related issues. We are particularly fortunate to have been engaged at the planning stage, as this enables us to anticipate and eliminate potential acoustic problems rather than having to devise ‘fixes,’ after the walls, floors and ceilings are in place.”

“Commissions on the scale of Berklee’s Boston and Valencia projects are rare in today’s economic environment, but these will be extraordinary campuses,” John Storyk concludes. “We engaged the most advanced predictive acoustic modeling software and have incorporated the latest acoustical and technical developments in every facet of our design to insure the highest degree of future-proofing for these studios and teaching labs. Roger Brown’s visionary commitment to bringing these schools to life speaks volumes about our faith in the future,” Storyk concludes. “Berklee will be preparing students for generations of creative, rewarding careers, both here and in Europe. WSDG is honored to be associated with this noble mission.”

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Photos: 1. Berklee College of Music 160 Massachusetts Ave. Rendering
2. Berklee 160 Mass. Control/Classroom Rendering
3. Berklee Valencia Campus (photo by Alberto Hidalgo)
4. Berklee Valencia Control/Classroom Rendering

Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio; private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for Jungle City. WSDG maintains offices in NY, SF, Miami, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.

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AES Announces 132nd Convention Student Paper Award

BUDAPEST: AES Student Technical Paper Award Coordinator Rob Maher has announced that Marton Marschall has been named the recipient of this year’s Award for his paper “Robustness Of A Mixed-Order Ambisonics Microphone Array For Sound Field Reproduction,” co-authored with Sylvain Favrot and JÜrg Buchholz. The Award will be presented on Thursday, April 26 at the Opening Ceremonies at the Novotel Budapest Congress & World Trade Center. Mr. Marschall will present his paper at 10AM on Saturday, April 28.

A native of Budapest, Marton Marschall, received a diploma in electrical engineering from the Budapest University of Technology and Economics in 2006, and his MSc degree in engineering acoustics from the Technical University of Denmark in 2008. He then joined the Centre for Applied Hearing Research at the Technical University of Denmark, where he is currently a PhD student under the guidance of Professor Torsten Dau. As part of his PhD project, he is working on recreating realistic acoustic scenes for hearing research and for the evaluation of communication devices, such as hearing instruments and mobile phones. His research interests include virtual acoustics, spatial hearing and models of auditory signal processing and perception. The Award also makes Mr. Marschall’s manuscript eligible for publication consideration in the Journal of the Audio Engineering Society.

Please visit http://www.aes.org/events/132/calendar/calendar.cfm for a complete list of event titles, abstracts and presentation times.

Photo: Marton Marschall will receive the 2012 AES Student Technical Paper Award
at the 132nd AES Convention in Budapest on April 26.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East, the organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Graham Blyth To Present AES 132nd Convention Heyser Lecture

In Pursuit of Elegant Simplicity: Life, Luck, and Learning in Music and Audio

BUDAPEST: Graham Blyth, internationally recognized Organist and accomplished professional audio equipment designer, will present the Audio Engineering Society’s Richard C. Heyser Lecture on Friday, April 27, 7:00PM – 9:PM at the Budapest Congress & World Trade Center. After successful conventions in London, Paris, Munich, Amsterdam and other major cities throughout Europe, the 132nd marks the first AES Convention to be held in Budapest.

A prime example of the AES ‘Listen, Learn, Connect’ initiative, Blyth’s Heyser lecture will describe his journey from audio design engineer to developer of Soundcraft Mixing consoles, with a special focus on his approach to mic preamp design. Blyth will also address the importance of the analog engineer in a mostly digital world and, the technical and musical challenges associated with designing high-quality digital classical organs.

As co-founder with Phil Dudderidge of UK-based Soundcraft, designers and manufacturers of highly regarded audio mixing consoles, Mr. Blyth has served as Technical Director of the firm since its inception in 1973. Harman bought the company in 1988, and it continues to maintain an outstanding position in a corporate family that includes JBL, DBX, Lexicon, AKG and Studer.

In addition to his technical virtuosity, Mr. Blyth is an esteemed concert artist who has performed in such celebrated venues as NYC’s St. Thomas Church; the Cathedral of Our Lady of Los Angeles; Grace Cathedral in San Francisco, and many of Europe’s most renowned cathedrals. In 1995 he built the Challow Park Recital Hall, a unique 80-seat auditorium with completely variable acoustics. In 2003 he founded the Veritas Organ Company to address the new generation of digital classical organs. Mr. Blyth is a fellow of the Royal Society of Arts and of the Audio Engineering Society.

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Photo: Celebrated Organist and accomplished professional audio equipment designer, Graham Blyth will present the AES Richard C. Heyser Lecture on April 27 in Budapest.

The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East, the organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

132nd AES Convention – Budapest Congress & World Trade Center – Apr. 26-29, 2012

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132nd AES Convention Offers Diverse Tutorials

From Beach Boys Smile Sessions To Notes On The Brain

BUDAPEST: A destination for listening, learning and connecting, the 132nd AES Convention, will feature a uniquely varied assemblage of Tutorials. Scheduled for April 26-29 at the Novotel Budapest Congress & World Trade Center, the gathering will draw attendees from around the world.

Tutorial Event highlights include:

The Making of The Beach Boys Smile Sessions: Arguably the greatest “lost” album of all time, The Beach Boys’ Smile sessions were finally released last November, in a variety of CD, vinyl and other digital configurations. Producer/Educator Barry Marshall will conduct a rare interview with Project co-producer Mark Linett about the legendary 1966-67 sessions. Their discussion will include the producer role Brian Wilson played in the project, as well a look at the technical and logistical challenges of mixing and mastering this landmark production from 45-year-old tapes at different configurations, speeds and sizes.

Noise on the Brain-Hearing Damage on the Other Side: Presenter: Poppy Crum – Did you know that drinking a glass of orange juice every day may actually protect your hearing? Most discussions of hearing damage focus on what happens to the cochlea and inner ear. While this understanding is crucial to predicting and avoiding trauma that can lead to hearing loss, this session will explore the latest research regarding the effects of acoustic and chemical trauma. It will also consider recent research in chemically preserving hearing and combating these conditions.

How Does It Sound Now? The Evolution of Audio: Presenter: Gary Gottlieb – One day Chet Atkins was playing guitar when a woman approached him. She said, “That guitar sounds beautiful.” Chet immediately quit playing and asked, “How does it sound now?” The quality of sound in Chet’s case clearly rested with the player, not the instrument. The technical and aesthetic quality of recorded music lies with engineers and producers, not solely on their equipment. This Tutorial will address the differences and similarities between their standards for excellence.

Please visit http://www.aes.org/events/132/calendar/calendar.cfm for a complete list of event titles, abstracts and presentation times.

Photo: Novotel Budapest Congress & World Trade Center hosts the AES Convention April 26-29.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East, the organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Sixteen19 Editor Spots Seven EMMY Award Nominations

Anthony Cortese Up For Both Long And Short Feature Categories

NEW YORK: Anthony Cortese, a film & TV staff editor with leading post-production services company Sixteen19, has accrued a total of seven Emmy nominations with an emphasis in sports-related projects. His scorecard for 2011 includes:

Outstanding Sports Documentary- A Game of Honor- Showtime / CBS Sports. A riveting perspective on team preparations for the Army-Navy Game, this program is also up for: Outstanding New Approaches – Sports Programming; Outstanding Camera Work; Outstanding Sports Promotional Announcement (Episodic/trailer) and, Outstanding Editing.

Cortese is also represented by nominees in both the long and short form Emmy categories. He edited the Human Highlight Reel: Manny Ohonme: The Great Samaritan – CBS / Turner Sports, focused on a college basketball star who founded a non-profit that provides shoes for millions of kids in 40 countries, this production is up for the Outstanding Short Feature Emmy. In the Outstanding Long Feature category, Cortese cut the NCAA Men’s Basketball Tournament: Amongst Friends: A Story of Loss and Healing, CBS, a compelling look into the ongoing battle against autism.

A two-time, Emmy winner in the Associate Producer Category, Cortese is delighted to have been nominated in multiple editorial categories this year. “I’m particularly proud of A Game Of Honor,” he says. “Not only because of the number of nominations it drew, but because it was one of the most challenging projects I’ve ever fielded. We amassed over 500 hours of digital footage, generated over a period of six months, at one point by as many as eight individual cameras. It arrived on a daily basis and didn’t stop until just 11 days before the 2011 Army Navy Game.”

In addition to editing versions of the documentary for both CBS Sports and Showtime, Cortese cut seven of the ten ‘webisodes’ created to promote the documentary online. Five of his cuts, ranging in length from three to eight minutes, are Emmy nominees. Categories covered above.

Over 170 Emmy nominees are competing in 33 categories including: Outstanding Live Sports Special, Live Series, Sports Documentary, Studio Show and Promotional Announcement. The Awards will be presented on April 30th in New York City.

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Photo: Sixteen19 editor Anthony Cortese (l) with A Game Of Honor Director/ Producer Peter Radovich, Jr

Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans; L.A. and London. The firm specializes in DI, color correction, editing and finishing and on & near set services. The NYC complex features 15 spacious Avid editing suites, color correct theater/ screening rooms, digital dailies, file transcode/encode and workflow management. Contact: 212-245-1402 http://www.sixteen19.com

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John Buckman To Present 132nd AES Convention Keynote Address

Innovative Online Label Founder To Discuss Successful Indie Music Models

BUDAPEST: John Buckman, founder of several online music businesses including Berkeley, CA-based Magnatune, has been selected as Keynote speaker for the 132nd AES Convention. The event will be held April 26-29, at the Novotel Budapest Congress & World Trade Center. Currently serving as Chairman of the Electronic Frontier Foundation (EFF), Buckman is an entrepreneur inspired by the causes of Internet freedom and free culture. He founded the online record label Magnatune in 2003 as a reaction to his experiences with the music industry. Magnatune strives to be fair both to recording artists and consumers alike and is considered a solid example of a successful “sharing economy” based business model.

Entitled “Small And Beautiful: Models for Successful Independent Music Businesses,” Buckman’s Keynote will address his experience in developing a successful online music business. Buckman’s egalitarian business practices are distinguished by non-exclusive agreements with musicians. His pioneering Fair Trade Music Philosophy is based on equally shared profits with his artists, and allowing them to retain full rights to their own music. Since founding Magnatune, Buckman has signed more than 250 recording artists across multiple genres including Classical, Electronica, World, Alt Rock, Jazz and Hard Rock. He is about to launch iLicenseMusic.com. In addition to such other internet music companies as MoodMixes.com (background music for restaurants) and ToneGnome.com (audio engineering services over the Internet), he has also had a successful career as an audio engineer.

Profiled by Inc. Magazine, The Economist, Forbes, and other major publications for his innovative approach to online music distribution, Buckman is also Founder and CEO of BookMooch, an innovative community for sharing over 1 million books each year in 91 countries via the Internet.

Highlighted by a diverse program of Papers, Workshops, Tutorials, Recording, Hearing, Broadcast, Game Audio, Student, Career, and Special Events, the 132nd AES Convention will epitomize the Audio Engineering Society mandate of providing a platform for listening, learning and connecting. Visit http://www.aes.org/events/132/calendar/calendar.cfm for a complete list of event titles, abstracts and presentation times.

Photo: John Buckman will present the Keynote address at the 132nd AES Convention in Budapest on April 26.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East, the organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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132nd AES Convention Offers Rare Technical Tours

BUDAPEST: Rare technical tours of iconic examples of Budapest’s heritage of audio performance and production achievements will highlight the 132nd AES Convention. Scheduled for April 26-29 at the Novotel Budapest Congress & World Trade Center, the event will feature a profusion of Papers, Workshops, Tutorials, and Special Events designed to provide attendees with invaluable educational and networking opportunities. Among the Technical tours are:

Hungarian Parliament: Seat of the National Assembly of Hungary, and one of Europe’s oldest legislative buildings, is set on the bank of the Danube. This Hungarian landmark is an unforgettable destination. In addition to a private viewing of this exquisite ‘Temple of the Nation,’ the tour will also focus on the building’s sound and voting system, and in-house HD TV complex. Preliminary registration is required (limit 10 persons).

Palace of Arts, Béla Bartók Concert Hall: Designed by architect Gábor Zoboki, Hungary’s National Concert Hall invokes the feel of a Gothic cathedral. Located at the heart of the new Palace of Arts, its acoustic qualities were assured by Russell Johnson, a legendary acoustician with over fifty years of field research and participation in the construction of several major opera houses and concert halls. The Hall is particularly noteworthy for a rare isolation technique, which inhibits vibration and noise leakage. It is also distinguished by its unique variable acoustic reverberation chambers. This Technical Tour will be introduced by the architect. Limit: 25 persons

Palace of Arts, Béla Bartók Concert Hall – Studios: In addition to its primary role as a performance venue, The National Concert Hall serves as an extraordinary live room for the buildings in-house recording studio. This tour will cover the audio, video production/ post-production suites, mastering studio, spacious in-house live room, and duplex communications link between the recording and broadcast studios. The studio was designed to facilitate the production of TV and video recordings, as well as high quality dubbing and voiceover work. Both live halls are linked to the studio via a sophisticated Studer system. Programs mixed on-site can be transmitted to radio and TV stations via a mobile broadcast truck or over dedicated ISDN lines. Limit: 20 persons

Times, locations and details of these and other AES Convention Technical Tours are posted on the Preliminary Calendar of Events: http://www.aes.org/events/132/calendar/calendar.cfm

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Photo 1. Hungarian Parliament
Photo 2. Palace of Arts, Béla Bartók Concert Hall

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CORNELL UNIVERSITY DISCOVERS ORNITHOLOGICAL RESEARCH APP FOR SONNOX FRAUNHOFER PRO-CODEC

AES Convention A Catalyst For Innovative Plug-In’s Scientific Role

ITHACA, NY: At the Cornell University Lab of Ornithology’s Macaulay Library things can get a little wild. As the world’s largest scientific archive of biodiversity audio and video recordings, this collection encompasses over 195,000 sound and 60,000 video clips. Curator of Audio, Greg Budney and Supervising Audio Engineer Bill McQuay routinely investigate new tools to aid their research. Most recently they have been experimenting with the Pro-Codec, an audio plug-in created by UK-based Sonnox and Germany’s Fraunhofer (developer of MP3 technology).

Introduced last year, the Pro-Codec is a groundbreaking plug-in designed to revolutionize the process of mastering audio for online distribution. By enabling audio engineers to precisely audition codecs in real time, the Pro-Codec eliminates the prolonged cycle of encoding a music mix to MP3/AAC, previewing and tweaking it and then returning to their starting point to re-render. The abridged process frees the engineer to focus on producing a compensated, optimized mix.

Budney and McQuay first learned of the Pro-Codec while attending last year’s Audio Engineering Society Convention in NYC. “I spoke to the Fraunhover folks about our need to demonstrate appropriate and inappropriate uses of MP3 sound files to the scientific research community, and they directed us to the Sonnox booth,” McQuay says.

“We’re a resource for scientists studying evolutionary relationships between animals,” Budney explains. “Many species have genetically based sounds. By examining the vocalizations of a group of animals, their sounds can provide a window into their evolutionary relationships. Motion picture producers also use our collection,” he adds. “Skywalker Sound routinely contacts the Library for creative fodder, sometimes for sounds to build upon, sometimes for accurate natural world sounds.”

“We are trying to demonstrate to the scientific community that there may be appropriate and inappropriate uses for a lossy codec like MP3, which is based on human perception, but is not necessarily the perception of other species. In many cases we don’t know the perceptual limitations of these species – what frequencies they do and do not find important or encoded with meaningful information. We want to demonstrate that MP3 may be valuable for applications such as auditioning sounds, but may not be for serious sound analysis. The Pro-Codec provides a simple interface that allows us to consider what information in the frequency and time domains are being eliminated by the lossy MP3 codec,” McQuay adds.

McQuay and Budney want to assure scientists that they are listening to and analyzing sound with the greatest amount of content – audio content which might be critical to the species they are studying. “Scientists are really hip to spectrograms, they love those things,” McQuay says. “The Pro-codec’s real time FFT display graphically illustrates exactly what is happening to sound being processed by the MP3 or another lossy codec. And, the Pro-codec’s ability to make the sounds being eliminated audible helps to reinforce its lossy nature. Our hypothesis is that for serious sound analysis, the use of MP3 or other lossy formats may not be the appropriate choice.”

Research currently underway at the Macaulay Library will eventually be published in a scientific journal, pending the outcome of McQuay’s analysis. Budney points to the Library’s webpages, which provide technical support to researchers across a broad range of disciplines. “They might be marine mammalogists, ornithologists, or individuals studying animal behavior or bioacoustic phenomenon,” he says. “The library is recognized as a source of solid technical information by researchers around the globe. We’ll also be posting this information on our own webpages soon.”

Photo cap: Cornell Lab Curator of Audio, Greg Budney (left) and
Supervising Audio Engineer Bill McQuay

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For information on Sonnox Oxford Plugins please visit: www.sonnox.com

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Three Stooges + SIXTEEN19 = 100% Laughfest

Cutting in Four Locations, Editor Sam Seig Rates Sixteen19′s Systems and Support #1 In Reliability

NEW YORK: The culmination of a twelve year odyssey, The Three Stooges is a testament to the tenacity of co-directors Bobby and Peter Farrelly. Editor Sam Seig reports the production was the diametric opposite of the antic chaos that unfolds on screen. “This was a completely buttoned down shoot,” Seig says. “The Farrelly Brothers polished every scene for a tight but realistic 3-month shooting schedule. Thanks to Sixteen19, I didn’t have a moment of technical down time at any point in the shoot.”

Thanks to his flair for comedy, Seig edited the Farrelly Brothers’ Hall Pass, having worked with them as first assistant years prior on There’s Something About Mary. He was invited on board The Three Stooges very early in the game. “It took years to bring this film to the screen, but it was worth the wait,” he says. “Bobby and Peter crossed every ‘T’ and poked every ‘eye’ in pre-pro. They were ready for action.”

Seig first encountered Sixteen19′s team with Ghost Town in 2008. “I edited there for eight months and got to know company principals Jonathan Hoffman, Pete Conlin, Claire Shanley and their crew very well,” he reports. “They’re total pros, and constantly went the extra 9 yards for me throughout my stay. When The Three Stooges was green lit, they were my first choice for our editing setups. I knew I could depend on them for top-flight gear and reliable support.

“Every element of the system they put together for me was brand new, including the 52″ plasma screen.” Seig adds, whose setup included 3 Avid Media Composer v5.5 systems connected to 16TB of shared Unity storage. “They had the whole configuration up and running when I walked into our first location’s edit suite in Atlanta. A couple months later, they broke down our setup on a Friday and shipped it to Cape Cod for the next lap, where it was installed and ready for work at the end of the weekend.” The production’s months in Cape Cod included the Hurricane Irene scare: preparation for worst-case scenarios involved relocating the Unity storage to avoid possible flood exposure and a full orderly shutdown supervised by Sixteen19′s technical team.

Following the months on Cape Cod, the schedule included further moves: “Sixteen19 flew the systems out to Ojai, CA for additional location work,” Seig explained. “With consistent technical support and equipment resources, the multiple relocations didn’t pose a challenge for the editorial process. Sixteen19 even customized the rig so that I could work standing. I found that much more energizing than sitting at the desk, and I plan to keep cutting that way from now on.”

Seig worked with Peter Farrelly on the initial rough cut during the first stage of production, and then with Bobby Farrelly on the second pass. When Sixteen19 relocated the editorial set up to L.A., Seig collaborated with both directors as they honed the final cut. “In addition to great fun, this was a surprisingly straightforward edit,” Seig concludes. “Cinematographer Matthew Leonetti was shooting with two 35mm cameras, but we didn’t have an overabundance of footage. The script was fine tuned, and the cast honed split second timing for every gag. They were like a crack team of Navy SEALS… Well, maybe circus seals.”

Starring Sean Hayes, Chris Diamantopoulos and Will Sasso as Larry, Moe and Curly (respectively), The Farrelly Brothers movie The Three Stooges opens nationally on April 13 (that’s a Friday).

Photos: 1. The Three Stooges editor Sam Seig at a Sixteen19 mobile
Avid editing system

2&3. Frames from The Farrelly Brothers movie The Three Stooges

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans, Los Angeles, and London. The firm specializes in DI, color correction, editing and finishing and on & near set services. The NYC complex features 15 spacious Avid editing suites, color correct theater/ screening rooms, digital dailies, file transcode/encode and workflow management. Contact: 212-245-1402 http://www.sixteen19.com

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