News

Prime Video got off to a fast start this summer with the release of The Boys season 3 on June 3. Now, as we enter the dog days, Prime Video is set to keep the warm weather good times rolling with a new twist on an old classic. That’s right, Amazon’s list of new releases for August 2022 is highlighted by some good old-fashioned baseball.

A League of Their Own, the TV adaptation of Penny Marshall’s 1992 movie, is set to premiere on Aug. 12. Like the movie before it, the series will dramatize the All-American Girls Professional Baseball League which saw women playing America’s pastime while the major leagues were on pause for World War II. Abbi Jacobson (Broad City) co-created the show and will star as catcher Carson Shaw.

Other Prime Video Originals of note this month include season 2 of British comedy The Outlaws on and the Ron Howard-directed Thirteen Lives,...

Prime Video will continue rolling out its summer slate in the month of August, releasing new original series, as well as a mix of suspenseful films, action movies and more.

Amazon’s series version of “A League of Their Own” will debut its eight-episode first season on Aug. 12, introducing new characters and stories set in the historical opening of the All American Girls Professional Baseball League (Aagpbl).

Ron Howard’s “Thirteen Lives” tells the real-life story of how a young boys’ soccer team was rescued from the Thai mountain cave where they got stuck for 10 days along with their coach.

Other new film arrivals include hits from earlier this summer, “The Lost City” starring Sandra Bullock, Daniel Radcliffe, Channing Tatum and Brad Pitt, as well as “Sonic the Hedgehog 2.” Academy Award-nominated film “Licorice Pizza” also arrives on Prime Video this month.

Freevee will also have new arrivals this month.

In the early days of what we used to call “coronavirus” in March 2020, before we all became budding epidemiologists, people flocked to Steven Soderbergh’s eerily prophetic 2011 drama “Contagion” on streaming services. Within a month or so, the movie was propelled from the 270th slot to the second most watched film in the Warner Bros. library, according to numbers from iTunes.

Two years down the line, Covid-19, which shut down the world and altered our way of life, hasn’t yet made its way into many series and movies, apart from a handful of fleeting acknowledgements. (Berlin competition contender “Both Sides of the Blade” from Claire Denis and Ryusuke Hamaguchi’s Oscar-nominated “Drive My Car” are examples.) For comparison, the Spanish Flu, which killed more than 50 million people worldwide over roughly two years following World War I, is still nearly invisible in popular culture to this day.

“There have been...

Sound people had a tough year. Like everyone else in the industry, they found less film work. Second, with Covid, audiences mostly watched movies on the small screen, not getting the full impact of sound, which could affect Oscar voting.

Third, Oscar’s two sound categories were combined last year, which pinpoints a key AMPAS question: Is the Oscar show for saluting great work or is it primarily a TV show to entertain the masses?

When I began writing about film years ago, I didn’t understand why the Academy of Motion Picture Arts & Sciences needed two sound categories. Now, I realize Oscar could actually use more.

As a comparison, you could combine cinematography and production design into one category called best visuals, but why would you want to? It’s the same with combining two very different sound arts.

In the Midge Costin-directed documentary “Making Waves: The Art of Cinematic Sound,...

(Welcome to The Quarantine Stream, a new series where the /Film team shares what they’ve been watching while social distancing during the Covid-19 pandemic.) The Movie: Making Waves: The Art of Cinematic Sound Where You Can Stream It: Amazon Prime The Pitch: Film may be considered a visual medium first and foremost, but let’s not forget […]

The post The Quarantine Stream: ‘Making Waves: The Art of Cinematic Sound’ is Fundamental for Film Fiends appeared first on /Film.

The Cinema Audio Society Awards gave a boost to the Oscar hopes of “Ford v Ferrari” on Saturday. This film about auto racing took top honors at these precursor prizes over two of its Oscar rivals for Best Sound Mixing — “Joker” and “Once Upon a Time in Hollywood” — as well as “Rocketman” and “The Irishman.” The sound branch of the academy snubbed those latter two films in favor of “1917” and “Star Wars: The Rise of Skywalker.” Historically, about half of the Csa champs go on to claim victory at the Academy Awards.

“Toy Story 4″ won for best sound mixing in an animated feature over “Abominable,” “Frozen II,” “How to Train Your Dragon: The Hidden World” and “The Lion King.” And the documentary feature prize went to “Making Waves: The Art of Cinematic Sound” over “Apollo 11,” “Echo in the Canyon,” “Miles Davis: Birth of the Cool” and “Woodstock: 3 Days That Changed Everything.

As expected, James Mangold’s ’60s racing epic “Ford v Ferrari,” animated feature “Toy Story 4,” and documentary “Making Waves: The Art of Cinematic Sound” took top honors at the 56th Cinema Audio Society Awards recognizing outstanding sound mixing.

As an Oscar bellwether, though, six of the past 10 Cas winners have gone on to win the sound mixing Oscar, which bodes well for “Ford v Ferrari.” However, Oscar-nominated “1917,” Sam Mendes’ continuous-shot, World War I extravaganza, was not in contention at the Cas Awards, which makes the race very competitive.

“We threw out the production sound,” said Dave Giammarco, the “Ford v Ferrari” re-recording mixer. “But when we got the real GT40, it helped inform the cut because it has its own signature [sound], and you want to wind it out and feel the whole length of it. Sometimes they would cut the shot to match the engine whine. And sometimes you...

Disney’s Ford v Ferrari was the big winner tonight as the Cinema Audio Society handed out its 56th annual Cas Awards for outstanding achievement in sound mixing in Los Angeles. See the full winners list below.

Last year’s top Cas Award winner, Bohemian Rhapsody, went on the score the Best Achievement in Sound Editing Oscar for John Warhurst and Nina Hartstone. Ford v Ferrari will chase that checkered flag in two weeks against Ad Astra, Joker, 1917 and Once Up[on a Time in Hollywood.

Disney/Pixar’s billion-dollar sequel Toy Story 4 sporked away with the animated prize, and Making Waves: The Art of Cinematic Sound unsurprisingly won the documentary award.

A pair of series that wrapped this past year took the top TV trophies: HBO’s Game of Thrones and Amazon’s Fleabag.

Tom Fleischman accepted the group’s top lifetime honor, the Cas Career Achievement Award, during the ceremony at the...

“Ford v Ferrari” has won the top award at the Cinema Audio Society Awards, which were handed out on Saturday night in Los Angeles.

“Toy Story 4” won the award for animated feature, while the award for sound mixing of a documentary went, unsurprisingly, to “Making Waves: The Art of Cinematic Sound.”

Television awards went to the drama series “Game of Thrones,” limited series “Chernobyl” and, in a tie, to the comedy series “Barry” and “Fleabag.”

The winner of the Cas Award for live-action motion picture goes on to win the Academy Award for Best Sound Editing about half the time. Last year, “Bohemian Rhapsody” won both awards. This year, only three of the five Cas nominees — “Ford v Ferrari,” “Joker” and “Once Upon a Time … in Hollywood” also received Oscar nominations. The Cas chose “Rocketman” and “The Irishman” for its final two spots, while the Academy went with “1917...

“Ford v Ferrari ” won the top prize, Sound Editing (Effects and Foley), at the Golden Reel Awards bestowed by the Motion Picture Sound Editors (Mpse) on Sunday. One of its Oscar rivals for Best Sound Editing, “1917,” picked up Dialogue & Adr.

“Parasite” continued its winning ways with the guild and claimed the Foreign language prize. “Rocketman” won the musical race, “Jojo Rabbit” nabbed the musical underscore award and “Toy Story” took animation.

Fans of the other three Oscar nominees for Best Sound Editing– “Joker,” “Once Upon a Time in Hollywood” and “Star Wars: The Rise of Skywalker” should not be too disheartened. This guild’s track record at predicting the eventual winner at the Academy Awards is spotty. Last year, all five of the Oscar nominees for Best Sound Editing numbered among the Mpse contenders. Eventual Oscar winner “Bohemian Rhapsody” did not contend in the category equivalent — Sound Effects and Foley.

The winners for the 2020 American Cinema Editors Awards were announced Friday, January 17 at the Beverly Hilton Hotel in Los Angeles. These are the 70th annual edition of the Ace Eddie Awards, which honor the best in feature film and television editing for the 2019 calendar year. Four Oscar nominees for Best Film Editing contend for the guild’s drama prize with the fifth recognized over on the comedy side (“Jojo Rabbit”). Scroll down to see the complete list of Ace Eddie winners, which are marked in gold.

SEE2020 Ace Eddie Awards preview: Which Oscar nominee for Best Film Editing will win here first?

The Eddies have an excellent track record for predicting the ultimate Oscar winner for Best Film Editing, with 22 of the last 29 matching up including last year’s champion “Bohemian Rhapsody.” In addition, since the guild split their top award into two prizes in 2000, eight of their 20 winners went...

All five of our predicted Oscar nominees for Best Sound Editing number among the contenders for the Golden Reel Awards bestowed by the Motion Picture Sound Editors (Mpse). Oscar frontrunner “1917” reaped two bids across the seven film categories as did two of its closest Oscar rivals — “Avengers: Endgame” and “Ford v Ferrari.” The other two expected Oscar nominees — “Ad Astra” and and “Star Wars: The Rise of Skywalker” — are single nominees.

However, we might be underestimating “Once Upon a Time in Hollywood” and “Joker,” which we have in eighth and nine place respectively at the Academy Awards; they earned a leading three nominations from these precursor prizes. Winners of the 67th annual Golden Reel Awards will be revealed on January 17, 2020

Last year, all five of the Oscar nominees for Best Sound Editing numbered among the Mpse contenders. Eventual Oscar winner “Bohemian Rhapsody” did not contend in the category equivalent — Sound Effects and Foley.

The influential Ace Eddie Awards nominees for editing include the prestige dramas “Ford v Ferrari, ” “The Irishman,” “Joker,” “Marriage Story,” and “Parasite,” Left out was Sam Mendes’ late-breaking bold, single-cut “1917” from Oscar-winner Lee Smith (“Dunkirk”), which does not bode well for an Academy Award nomination. Best Picture contender “Once Upon a Time in Hollywood” made the cut as a comedy nominee along with “Dolemite Is My Name,” “The Farewell,” “Jojo Rabbit,” and “Knives Out.”

This makes for a competitive Oscar race, with three-time Academy Award-winner Thelma Schoonmaker as the frontrunner for “The Irishman,” Martin Scorsese’s deeply personal, character-driven, non-linear ode to mob life, complicated by Ilm’s experimental VFX de-aging of Robert De Niro, Al Pacino, and Joe Pesci. “Once Upon a Time in Hollywood,” Quentin Tarantino’s complex love letter to Tinseltown, should earn a nomination for Fred Raskin; Todd Phillips’ bending of reality and fantasy around...

The American Cinema Editors nominations for the Eddie Awards announced on Wednesday (December 11) include our Oscar frontrunner for Best Film Editing, “The Irishman,” along with three of the other four films we’re predicting to reap bids in that race: “Ford v Ferrari,” “Once Upon a Time in Hollywood” and “Parasite.” While the WWI epic “1917,” which is made to look like one continuous shot, was snubbed by the guild we expect it to be the fifth Academy Awards contender.

The Ace Eddie Awards divide their prizes for editing between dramas and comedies/musicals. “Ford v Ferrari,” “The Irishman” and “Parasite” contend here in the drama race, which is rounded out by “Joker” and “Marriage Story.” Facing off against “Once Upon a Time in Hollywood” on the comedy side are “Dolemite is My Name,” “The Farewell,” “Jojo Rabbit” and “Knives Out.”

In 1992, the Eddies went from three to five nominees...

“Ford v Ferrari,” “The Irishman,” “Joker,” “Marriage Story” and “Parasite” have been nominated in the dramatic-film category at the American Cinema Editors’ Ace Eddie Awards, which honor the best in film editing.

In the comedy category, the nominees were “Dolemite Is My Name,” “The Farewell,” “Jojo Rabbit,” “Knives Out” and “Once Upon a Time … in Hollywood.”

The most notable omission was “1917,” which contains dozens of cuts but was designed to look as if it was filmed in one continuous, unbroken shot.

Also Read: Golden Globes 2020: The Complete List of Nominees

In recent years, more than 90 percent of the Oscar nominees in the Best Film Editing category have first been recognized by the American Cinema Editors. The majority of Oscar nominees have come from the Ace Eddie dramatic category – though for the last two years, the Academy has taken three nominees from the Ace Eddies’ comedy category and only two from the drama category.

The Cinema Audio Society Awards nominees for Best Sound Mixing are “Ford v Ferrari,” “Joker,” “Once Upon a Time in Hollywood,” “Rocketman” and “The Irishman.” Historically, about two-thirds of the Csa nominees go on to contend at the Academy Awards.

Last year, “Bohemian Rhapsody” won over the Cas before claiming the Oscar. It contended in both races against “Black Panther,””First Man” and “A Star is Born.” While “A Quiet Place” reaped a Cas bid, it was replaced at the Oscars by “Roma.”

This year’s Cas nominees for sound mixing in an animated feature are: “Abominable,” “Frozen II,” “How to Train Your Dragon: The Hidden World,” “The Lion King” and “Toy Story 4.”

And the documentary feature contenders are: “Apollo 11,” “Echo in the Canyon,” “Making Waves: The Art of Cinematic Sound,” “Miles Davis: Birth of the Cool” and “Woodstock: 3 Days That Changed Everything.”

Discuss All the Oscar contenders...

The Cinema Audio Society has announced its nominations for 2020, giving awards season favorites such as “Joker,” “The Irishman,” and “Once Upon a Time in Hollywood” added momentum as the Oscars draw closer. Previously announced honorees at the 2020 Cinema Audio Society awards will be James Mangold as Cas Filmmaker and Re-recording Mixer Tom Fleischman as the Cas Career Achievement Honoree. The latter award will be presented by Martin Scorsese.

In a statement announcing this year’s nominations, Cinema Audio Society president Karol Urban said, “Each year I am gobsmacked by the impressive level of craftsmanship and artistry that is brought to

the forefront at the Cas Awards and 2019 will be no exception. It is such a joyful honor to have the opportunity to reunite with fellow mixers and celebrate the stellar work of our sound community. Congratulations to all our talented nominees.”

The Awards will be presented at a sealed envelope...

“Ford v Ferrari,” “Joker,” “Once Upon a Time … in Hollywood,” “Rocketman” and “The Irishman” have been nominated as the best sound mixing of 2019 at the Cinema Audio Society’s 56th annual Cas Awards for Outstanding Achievement in Sound Mixing.

More than two-thirds of the Cas nominees typically go on to receive Oscar nominations in the sound mixing category. Last year, four of the five nominees did so.

Nominations in the animated-feature category went to “Abominable,” “Frozen II,” “How to Train Your Dragon: The Hidden World,” “The Lion King” and “Toy Story 4,” while documentary noms went to three music films – “Echo in the Canyon,” “Miles Davis: Birth of the Cool” and “Woodstock: 3 Days That Changed Everything” – along with the Nasa chronicle “Apollo 11” and, fittingly enough, the doc about motion-picture sound, “Making Waves: The Art of Cinematic Sound.”

Also Read: 2020 Golden Globes Nominees React: From 'Beyond Excited' to 'Truly Blessed'

“Game of Thrones,...

“Joker,” “Frozen 2,” “The Lion King,” “Ford v Ferrari” and “Toy Story 4” have scored nominations for sound mixing from the Cinema Audio Society.

The 56th edition of the awards will be presented on Jan. 25 at the InterContinental Los Angeles Downtown. Nominations were announced on Tuesday.

“Each year I am gobsmacked by the impressive level of craftsmanship and artistry that is brought to the forefront at the Cas Awards and 2019 will be no exception,” said Cas president Karol Urban. “It is such a joyful honor to have the opportunity to reunite with fellow mixers and celebrate the stellar work of our sound community. Congratulations to all our talented nominees!”

Here’s the full list of nominees:

Motion Picture — Live Action

“Ford v Ferrari”

Production Mixer – Steven A. Morrow

Re-recording Mixer – Paul Massey

Re-recording Mixer – David Giammarco

Scoring Mixer – Tyson Lozensky

Adr Mixer – David Betancourt

Foley Mixer – Richard Duarte

“Joker”

Production Mixer...

Imagine a light saber without its ominous hum, R2D2 without his squeals and beeps, or a Wookie without his bleat.

That’s the impoverished reality we might face without the inspired work of Ben Burtt, sonic Jedi Knight behind the original Star Wars. He’s one of the creative pioneers discussed in the documentary Making Waves: The Art of Cinematic Sound, a film by Midge Costin that celebrates the unsung contributions of Hollywood’s great sound designers.

How Burtt obtained the throaty vocalizations for Chewbacca, for example, involved a visit to a young bear in a pen.

“The way they got it to make sound was to show it bread. It loved bread,” Richard Anderson, one of Burtt’s sound colleagues on Star Wars, recalls in the documentary. The bear’s pining for yeasty treats became the Wookie’s plaintive wails, with Chewie’s more contented sounds coming from...

Two years ago, the Academy documentary branch had to grapple with a record 170 documentary feature submissions for the Best Documentary Feature Oscar. This year, it’s not so bad: only 159 were entered. The short list of 15 will be announced, along with eight others, on December 16.

All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume, with more to come. Each voter is assigned a list of about 22-23 films to screen, so they all get covered. But it’s a burden to see them all, so the ones with the most attention move to the top of the much-watch list.

Give the advantage to box-office hits that were made available earlier in the year such as Neon’s “The Biggest Little Farm” and “Apollo 11,” as well as high-profile titles from HBO (“Diego Maradona” and “The Apollo”), Netflix,...

Two years ago, the Academy documentary branch had to grapple with a record 170 documentary feature submissions for the Best Documentary Feature Oscar. This year, it’s not so bad: only 159 were entered. The short list of 15 will be announced, along with eight others, on December 16.

All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume, with more to come. Each voter is assigned a list of about 22-23 films to screen, so they all get covered. But it’s a burden to see them all, so the ones with the most attention move to the top of the much-watch list.

Give the advantage to box-office hits that were made available earlier in the year such as Neon’s “The Biggest Little Farm” and “Apollo 11,” as well as high-profile titles from HBO (“Diego Maradona” and “The Apollo”), Netflix,...

A total of 159 documentary features have qualified in the Oscars’ Best Documentary Feature category, the Academy announced on Tuesday.

Last year, 166 documentaries qualified. In 2017, a record 170 made the cut.

All of the films are now available to members of the Documentary Branch to stream on the Academy’s secure members website. The films have been placed there over the last six months, with 23 added to the site in June, 24 in July, 26 in August, 19 in September and 62 in October and only five in November.

Also Read: 'Maiden' Star Tracy Edwards Kept Her Story 'Messy' to Serve the Next Generation of Women Athletes (Video)

Each member is randomly assigned 20% of the films as mandatory viewing but is free to see any additional films beyond those that are assigned. A preliminary round of voting will produce a 15-film shortlist, with a second-round narrowing those 15 to the five nominees.

This year is...

“Apollo 11” was the big winner at the fourth annual Critics’ Choice Documentary Awards on Sunday in New York City.

The film took home the award for documentary feature, as well as editing for Todd Douglas Miller and score for Matt Morton. “Apollo 11” was also honored with archival documentary and science/nature documentary prizes.

There was a tie for director between Peter Jackson for “They Shall Not Grow Old,” and Julia Reichert and Steven Bognar for “American Factory.” “They Shall Not Grow Old” also brought home the award for innovative documentary. “American Factory” nabbed the prize for political documentary.

The inaugural D. A. Pennebaker Award, formerly known as the Critics’ Choice lifetime achievement award, was presented to Chris Hegedus, Pennebaker’s longtime collaborator and widow. Michael Apted received the landmark award in honor of his “Up” series.

The ceremony, hosted by “Property Brothers” star Jonathan Scott, was held at Bric in Brooklyn.

A Cinema Retro Exclusive: director John Stevenson provides an exclusive interview with Midge Costin, director of the acclaimed new film "Making Waves: The Art of Cinematic Sound".

Working on the sound was the most fun part of the two animated feature films I have directed. One of the nicest gifts you get as a director, after working on your film for years, is being able to see your film fresh again once the sound designers and composer have added a whole new dimension to the story. So I was very excited to see Midge Costin's new documentary "Making Waves: The Art Of Cinematic Sound" and have a chance to talk to her about this vital, but often overlooked aspect of movie making. (John Stevenson)

Normal 0 false false false En-us Ja X-none

Js: I loved your film and was surprised at how visual it was for a subject that is primarily auditory.

Other new openers include Ken Loach’s ‘Sorry We Missed You’.

Stephen King adaptation Doctor Sleep becomes the latest title to try and end Joker’s run at the top of the UK box office this weekend (both are Warner Bros titles).

Directed by Mike Flanagan, Doctor Sleep is an adaptation of King’s 2013 novel, a sequel to 1977’s The Shining.

The narrative is set several decades after the events of The Shining, as an adult Dan Torrance meets a young girl with similar powers and tries to protect her from a cult known as The True Knot.

There have...

Nadav Lapid’s Synonyms found the right words this weekend to have a solid opening in two locations, bringing in an estimated $19,070. The acclaimed French-Israeli film about cultural identity played to sold-out screenings in New York, setting itself up for a nationwide expansion to Los Angeles, Toronto, Boston, Washington DC, Philadelphia, Seattle, San Francisco, and Portland, with more expected in the coming weeks.

Kanye West wanted to bring his “Sunday Service” brand to the masses, and as expected, he went big to match his personality. His 35-minute documentary short Jesus Is King premiered this weekend with 372 runs in 134 markets, landing in the top 10 on Friday in limited runs. The companion piece to his Christian-themed album of the same name is said to be an immersive experience and “an expression of the gospel.” It gives people a chance to see Sunday Service and take a look at James Turrell’s art exhibit,...

Among the pivotal and juicy nuggets of film history recounted in “Making Waves: The Art of Cinematic Sound,” Midge Costin’s wonkishly engaging movie-love documentary, there’s one that speaks volumes about the foundation of the New Hollywood.

It’s 1967, and George Lucas, who is three years away from making his first film, is on the set of “Finian’s Rainbow,” the clomping warhorse of a Hollywood musical that his buddy and fellow film-school brat Francis Ford Coppola has been hired to direct. Coppola, who already dreams of making his own more personal film, asks Lucas if he knows a good sound designer; Lucas tips him off to his USC colleague Walter Murch. Coppola and Murch then team up to make “The Rain People,” a road odyssey they literally shoot across the country, with Murch using the new Nagra Portable Audio Recorder. That’s when these filmmakers have their aha moment.

Midge Costin’s inspiring and educational documentary “Making Waves: The Art of Cinematic Sound” seems destined to wind up in the curriculum of film schools across the country. In a short but jam-packed 90 minutes, the film gives a broad but effective overview of the history of one of the industry’s most vital, yet misunderstood art forms, with a variety of participants from all ages and groups.

There’s a very good chance it will inspire a whole new generation to pursue a career in sound design, or at least to upgrade their home theater system.

“Making Waves” has a lot of ground to cover, and Costin — a sound editor on hit films like “Armageddon,” “Crimson Tide” and “Hocus Pocus,” now making her directorial debut — wisely doesn’t try to tackle it all at once. The first half of the documentary covers the history of sound design from the silent era to the present day,...

After a strong opening for Pain and Glory, Sony Pictures Classics will throw another title into the Specialty box office mix this weekend with the Ira Sachs drama Frankie starring Isabelle Huppert. The actress is certainly a draw when it comes to prestigious awards and there’s hope that her name will bring in audiences to see Frankie. The film joins the Specialty race after Parasite and Jojo Rabbit hit the ground running. Frankie looks as though it will be a good palate cleanser after two straight weekends of bold, genre-driven films.

The French-Israeli film Synonyms from Nadav Lapid will make its American debut in theaters this weekend, with its gripping tale about cultural identity. On the opposite end of Synonyms’ drama, we have the vibrant comedy Housefull 4, which is looking to make a global splash (Bollywood films usually do) while the re-release of 2000’s...

Professor and director Midge Costin talks about her ear-opening new film that aims to remind audiences just how much work goes into cinematic sound

Midge Costin has had it with people forgetting the difference between sound editing and sound mixing every time the Oscars roll around. Once and for all: “Sound mixing brings all the elements together, all the various recorded tracks, and synthesizes them into one soundscape. Editing covers voice, music, effects, Adr – how do they sound?” So, that should be the end of that.

Of course, the professor and audio-biz legend had more on her mind than settling cocktail party disputes when she set out to create her new documentary Making Waves: The Art of Cinematic Sound. Her career’s emphasis on education gave her the idea to condense a semester’s worth of introductory material into one compact package, breaking down the essentials of her craft for an audience of laypeople.

“The Biggest Little Farm” leads nominees for the fourth annual Critics’ Choice Documentary Awards, with seven bids, followed by “Apollo 11” and “They Shall Not Grow Old.” “One Child Nation” received five nominations.

The winners will be presented their awards at a gala, hosted by Property Brothers’ Jonathan Scott, on Nov. 10 at Bric in Brooklyn.

The awards honor documentaries released in theaters, on TV and on major digital platforms, as determined by the voting of qualified Cca members.

A new honor, the D.A. Pennebaker Award, will be presented to Frederick Wiseman. Michael Apted will receive the landmark award for his work on the “Up” series of films, with “63 Up” opening this year.

“As the film and television industry constantly evolves, documentaries remain a vibrant creative art form that entertains as well as informs,” said Cca CEO Joey Berlin. “We are proud that our awards event has become a...

There have been plenty of documentaries shining a light on the various facets of filmmaking, but one that we’ve yet to see covered extensively is sound design. That’s about to change with Making Waves: The Art of Cinematic Sound, a new documentary focusing on sound designers and the work they do to bring a film […]

The post ‘Making Waves: The Art of Cinematic Sound’ Trailer: Learn About Sound Design in Cinema appeared first on /Film.

"Your job is to come up with the unimaginable." Dogwoof has unveiled the first official trailer for an indie documentary titled Making Waves: The Art of Cinematic Sound, which is a film about sound design in cinema. This premiered at the Tribeca Film Festival, and also played at the Cannes Film Festival earlier this year. It's the most comprehensive film about sound design so far, made by an experienced sound editor named Midge Costin. An exploration of the history, artistry, & emotional power of cinema sound, as revealed by legendary sound designers and visionary directors, via interviews, clips from movies, and a look at their actual process of creation and discovery. Looks like an informative and enjoyable moviemaking doc to catch. Official trailer for Midge Costin's doc Making Waves: The Art of Cinematic Sound, from YouTube: An insighful and fascinating examination of sound design in film, ...

“I knew the sound was part of the foundation of what the movie was going to be,” George Lucas explains in this exclusive clip from Midge Costin’s “Making Waves: The Art of Cinematic Sound.” Ben Burtt, sound designer on “Star Wars,” goes on to explain how the team originally created the legendary sounds used for Chewbacca and the wookiees in the franchise.

The trick, he says in the clip, was spending time with a young bear and using bread to coax the sounds from the animal. The words from the film team, also including sound editor Richard Anderson, mesh with footage of Han Solo talking to Chewbacca. Peter Mayhew, who played the iconic wookiee, died in April.

“Making Waves: The Art of Cinematic Sound” premiered in the Cannes Classics documentary section. It takes a historical journey through sound design within cinema from its early beginnings to modern-day blockbuster films,...

While only a handful of documentary features have been selected for Cannes’ Official Selection, plenty of non-fiction action can be found in Cannes Market’s Doc Corner and environs, where doc professionals converge to get first looks at — or the first word on — titles with potential to connect with audiences on screens, large and small, in the near future.

The Docs-in-Progress series, running May 18-20, a main attraction of Doc Corner, presents four works-in-progress apiece from Argentina, Canada, Chile, Norway, Palestine and South Africa. These sessions are programmed with documentary or film partner organizations from the respective countries. This year the Monaco-based International Emerging Film Talent Assn. is sponsoring a €10,000, jury-selected prize that will be given to one of the projects to support completion.

Last month, at the close of the pitch program of Visions du Reel, the Swiss rendezvous for documentary film, filmmaker Alessandra Celesia’s “The Flats (Once...

Directed by sound editor Midge Costin, Making Waves: The Art of Cinematic Sound provides a rich overview of motion picture sound, from the era in which sounds were performed in theaters to Dolby Atmos, breaking down in detail the multiple elements that comprise a film’s sonic soundscape. With an extensive list of credits including action pictures like The Rock, Broken Arrow, and Crimson Tide, Costin makes excellent uses of industry contacts from mixers, composers, filmmakers, executives, and stars to provide the kind of broad overview that feels custom-made for the first day of an introduction to sound class.

The film largely proceeds with a basic chronology of sound as the practice evolves over some 90 years with Warner Brothers’ Vitascope taking the first step with The Jazz Singer. The art and practice of sound design, is credited to Murray Spivack who, while working on 1933’s King Kong, conceived of a whole new roar for Kong,...

Sound is half of the film experience, but the subconscious, lesser understood half, as director Midge Costin both shows and helps to rectify in “Making Waves: The Art of Cinematic Sound.” As both a longtime former sound editor and a professor at USC, Costin is a perfect source for this authoritative, concise, and entertaining look at the history and practice of cinematic sound, which features an impressive array of directors and the biggest names in sound design.

Continue reading ‘Making Waves’: An Insider Look at Sound in Movies [Tribeca Review] at The Playlist.

Film is so axiomatically regarded as a visual medium that it’s easy to forget that sound came first. At least that was the order of things for Thomas Edison, who only invented the kinetograph so that people might be able to watch something while they listened to his phonograph. That factoid is at the heart of Midge Costin’s “Making Waves: The Art of Cinematic Sound,” an erudite and impassioned documentary that does its damndest to prove that we experience movies with our ears as much as we do with our eyes — perhaps even more so.

This is a simple but righteous work of score-settling, made by someone with real skin in the game. Costin’s long career as a sound editor spans Hollywood features as disparate as “Hocus Pocus” and “Armageddon,” and the deep love she has for those who pioneered and appreciate her part of the filmmaking...