Steven at Coffey Sound Posted July 17, 2009 Report Share Posted July 17, 2009 Congratulations from Coffey Sound to the Sound related 2009 Emmy nominees Outstanding Sound Editing For A Series Battlestar Galactica • Daybreak (Part 2) • Syfy • R&D TV in association with Universal Cable Productions Daniel Colman, Supervising Sound Editor/Sound Designer Jack Levy, Supervising Sound Editor Vince Balunas, Dialogue/ADR Editor Sam Lewis, Sound Effects Editor Michael Baber, Music Editor Doug Maddik, Foley Artist Rick Partlow, Foley Artist CSI: Crime Scene Investigation • Mascara • CBS • A CBS Paramount Network Television Production in association with Jerry Bruckheimer Television Mace J. Matiosian, Supervising Sound Editor Ruth Adelman, ADR Supervisor Jivan Tahmizian, Dialogue Editor David Van Slyke, Sound Effects Editor Troy Hardy, Music Editor Joseph Sabella, Foley Artist James Bailey, Foley Artist Smallville • Bloodline • CW • Tollin/Robbins Productions and Warner Bros. Television Michael E. Lawshe, Supervising Sound Editor Jessica Dickson, Dialog Editor Norval Crutcher III, ADR Editor Paul Diller, Sound FX Editor Marc Meyer, Sound Effects Editor Tim Cleveland, Sound Effects Editor Jenny Leite, Sound Editor Chris McGeary, Music Editor Michael Crabtree, Foley Artist Al Gomez, Foley Artist Terminator: The Sarah Connor Chronicles • Mr. Ferguson Is Ill Today • FOX • Bartleby Company and The Halcyon Company in association with Warner Bros. Television Jon Ibrahim Mete, Supervising Sound Editor Pat Foley, Dialogue Editor Tim Farrell, Sound Effects Editor David Werntz, Sound Effects Editor Jerry Edemann, Sound Editor Michael Baber, Music Editor Catherine Rose, Foley Artist Shelly Roden, Foley Artist 24 • 10:00PM - 11:00PM • FOX • Imagine Television and 20th Century Fox Television in association with Teakwood Lane Productions William D. Dotson, Supervising Sound Editor Catherine M. Speakman, Supervising ADR Editor Jeffrey Whitcher, Sound Editor Pembrooke Andrews, Sound Editor Dayl Fontenault, Sound Editor Shawn Kennelly, Sound Editor Melissa Kennelly, Sound Editor Jeffrey Charboneau, Music Editor Laura Macias, Foley Artist Vincent Nicastro, Foley Artist Outstanding Sound Editing For A Miniseries, Movie Or A Special The Courageous Heart Of Irena Sendler (Hallmark Hall Of Fame Presentation) • CBS • Jeff Most/Jeff Rice Productions in association with Hallmark Hall of Fame Productions Stephen Grubbs, Sound Supervisor/ADR Supervisor Suzanne Angel, Dialogue Editor Joy Ealy, Dialogue Editor Bob Costanza, Sound Effects Editor Richard S. Steele, Sound Effects Editor Erich Gann, Sound Effects Editor Rob Webber, Sound Effects Editor Christopher Kennedy, Music Editor Tim Chilton, Foley Artist Sharon Michaels, Foley Artist Generation Kill • The Cradle Of Civilization • HBO • Company Pictures and Blown Deadline Productions in association with HBO Films Stefan Henrix, Supervising Sound Editor Graham Headicar, Sound Effects Editor Jack Whittaker, Sound Effects Editor Lee Walpole, Sound Effects Editor Becki Ponting, Supervising ADR Editor Jennifer Ralston, MPSE, Supervising ADR Editor Iain Eyre, Dialogue Editor Andre Schmidt, ADR Editor Virginia Thorn, Sound Editor Andy Kennedy, Sound Designer Pete Burgis, Foley Artist Andi Derrick, Foley Artist Into The Storm • HBO • Scott Free and Rainmark Films production in association with the BBC and HBO Films Mark Auguste, Supervising Sound Editor Sam Auguste, Dialogue Editor Glen Gathard, Sound Editor Graham Sutton, Music Editor Peter Burgess, Foley Artist Andy Derek, Foley Artist The Librarian: Curse of the Judas Chalice • TNT • Electric Entertainment Robert Webber, Sound Supervisor Noah Blough, Supervising ADR/Dialogue Editor Christopher Winter, Dialogue Editor Bob Costanza, Sound Effects Editor Mike Dickeson, Sound Effects Editor Penny Harold, Background Editor Andrew Garrett Lange, Sound Editor Jason Ruder, Music Editor Chris Moriana, Foley Artist Catherine Harper, Foley Artist Taking Chance • HBO • Motion Picture Corporation of American and Civil Dawn Pictures in association with HBO Films Frank Gaeta, Supervising Sound Editor Rickley Dumm, Sound Editor David Grant, Sound Editor Tim Boggs, Sound Editor Johnny Caruso, MPSE, Music Editor Catherine Harper, Foley Artist Chris Moriana, Foley Artist 24: Redemption • FOX • Imagine Television and 20th Century Fox TV in association with Teakwood Lane Productions William D. Dotson, Supervising Sound Editor Catherine M. Speakman, Supervising ADR Editor Jeffrey Whitcher, Sound Effects Desinger Pembrooke Andrews, Sound Editor Shawn Kennelly, Sound Editor Dayl Fontenault, Sound Editor Melissa Kennelly, Sound Editor Jeffrey Charboneau, Music Editor Laura Macias, Foley Artist Vincent Nicastro, Foley Artist Outstanding Sound Editing For Nonfiction Programming (Single Or Multi-Camera) The Amazing Race • Don't Let A Cheese Hit Me • CBS • World Race Productions Inc. Eric Goldfarb, Sound Editor Julian Gomez, Sound Editor Andrew Kozar, Sound Editor Paul Nielsen, Sound Editor Jacob Parsons, Sound Editor Rick Livingstone, Music Editor American Masters • Glass: A Portrait Of Philip In Twelve Parts • PBS • Thirteen/WNET American Masters Stephen R. Smith, Sound Supervisor China's Unnatural Disaster: The Tears of Sichuan Province • HBO • HBO Documentary Films Branka Mrkic-Tana, Sound Editor 102 Minutes That Changed America • HISTORY • Produced by Siskel/Jacobs Productions for History Seth Skundrick, Sound Designer Roman Polanski: Wanted And Desired • HBO • Milwood Pictures, Graceful Pictures, BBC, Antidote Films in association with HBO Documentary Films and ThinkFilm D.D. Stenehjem, Sound Editor Outstanding Sound Mixing For A Comedy Or Drama Series (One Hour) Battlestar Galactica • Daybreak (Part 2) • Syfy • R&D TV in association with Universal Cable Productions Rick Bal, Production Mixer Michael Olman, C.A.S., Supervising Re-Recording Mixer Kenneth Kobett, C.A.S., Supervising Re-Recording Mixer Boston Legal • Last Call • ABC • A David E. Kelley Production in association with Twentieth Century Fox Television Clark King, Production Mixer Peter R. Kelsey, Re-Recording Mixer David Rawlinson, Re-Recording Mixer House • House Divided • FOX • Universal Media Studios in association with Heel and Toe Films, Shore Z Productions and Bad Hat Harry Productions Von Varga, Production Sound Mixer Richard Weingart, Re-Recording Mixer Gerry Lentz, Re-Recording Mixer Lost • The Incident • ABC • Grass Skirt Productions and ABC Studios Robert Anderson, Production Sound Mixer Ken King, Production Sound Mixer Scott Weber, Re-Recording Mixer Frank Morrone, Re-Recording Mixer 24 • 10:00PM - 11:00PM • FOX • Imagine Television and 20th Century Fox Television in association with Teakwood Lane Productions William Gocke, C.A.S., Production Mixer Michael Olman, C.A.S., Supervising Re-Recording Mixer Kenneth Kobett, C.A.S., Supervising Re-Recording Mixer Outstanding Sound Mixing For A Miniseries Or A Movie Generation Kill • The Cradle Of Civilization • HBO • Company Pictures and Blown Deadline Productions in association with HBO Films Colin Nicolson, Production Mixer Paul Hamblin, Re-Recording Mixer Martin Jensen, Re-Recording Mixer Gifted Hands: The Ben Carson Story • TNT • Sony Pictures Television, Thomasfilm and The Hatchery LLC Jeffree Bloomer, Production Mixer Mark Linden, Re-Recording Mixer Alan Decker, Re-Recording Mixer Grey Gardens • HBO • Specialty Films and Locomotive in association with HBO Films Henry Embry, Production Mixer Rick Ash, Re-Recording Mixer Taking Chance • HBO • Motion Picture Corporation of American and Civil Dawn Pictures in association with HBO Films T.J. O'Mara, Production Mixer Rick Ash, Re-Recording Mixer 24: Redemption • FOX • Imagine Television and 20th Century Fox TV in association with Teakwood Lane Productions William Gocke, C.A.S., Production Mixer Michael Olman, C.A.S., Supervising Re-Recording Mixer Kenneth Kobett, C.A.S., Supervising Re-Recording Mixer Outstanding Sound Mixing For A Comedy Or Drama Series (Half-Hour) And Animation Entourage • Pie • HBO • Leverage and Closest to the Hole Productions in association with HBO Entertainment Tom Stasinis, Production Mixer Dennis Kirk, Re-Recording Mixer Bill Jackson, Re-Recording Mixer Flight Of The Conchords • Unnatural Love • HBO • Dakota Pictures and Comedy Arts in association with HBO Entertainment Alex Sullivan, Production Mixer Brian Riordan, Re-Recording Mixer The Office • The Michael Scott Paper Co. • NBC • Deedle-Dee Productions and Reveille LLC in association with Universal Media Studios Benjamin Patrick, Production Mixer John W. Cook, Re-Recording Mixer Peter J. Nusbaum, Re-Recording Mixer Scrubs • My Jerks • ABC • ABC Studios Joe Foglia, Production Mixer John W. Cook, Re-Recording Mixer Peter J. Nusbaum, Re-Recording Mixer 30 Rock • Kidney Now! • NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studios Griffin Richardson, Production Mixer Tony Pipitone, Re-Recording Mixer Weeds • Three Coolers • Showtime • Showtime Presents in association with Lionsgate Television and Tilted Productions, Inc. Jon Ailetcher, C.A.S., Sound Mixer Fred Tator, C.A.S., Re-Recording Mixer Chris Philp, C.A.S., Re-Recording Mixer Outstanding Sound Mixing For A Variety Or Music Series Or Special 81st Annual Academy Awards • ABC • Academy of Motion Picture Arts and Sciences Ed Greene, Audio Director Dan Wallin, Orchestra Mixer Robert Douglass, Audience Sweetener Patrick Baltzell, House P.A. Mixer Pablo Munguia, Music Playback Mixer Mike Parker, Monitor Mixer Brian Riordan, Pre-Production Packages Mixer Adrian Ordonez, Pre-Production Packages Mixer Connor Moore, Pre-Production Packages Mixer Mark Edmondson, Pre-Production Packages Mixer American Idol • Finale • FOX • FremantleMedia N.A., Inc. & 19TV Ltd. Ed Greene, Production Mixer Randy Faustino, Music Mixer Andrew Fletcher, PA Mixer Mike Parker, Monitor Mixer Gary Long, Playback Music Mixer Brian Riordan, Pre-Production Packages Mixer Adrian Ordonez, Pre-Production Packages Mixer Christian Schrader, Audience Sweetener Beijing 2008 Olympic Games Opening Ceremony • NBC • NBC Olympics Wendell Stevens, Re-Recording Mixer Ryan Outcalt, Re-Recording Mixer Bruce Springsteen Super Bowl Halftime Show • NBC • White Cherry Entertainment in association with Don Mischer Productions Ed Greene, Production Mixer Brendan O'Brien, Music Mixer Pablo Munguia, Music Playback Mixer Robert Douglass, Audience Sweetener John Cooper, PA Mixer Monty Carlo, Monitor Mixer Troy Milner, Monitor Mixer Dancing With The Stars • Episode 710A • ABC • BBC Worldwide Productions Evan Adelman, Audio Mixer Eric Johnston, Playback Mixer John Protzko, House PA Mixer Butch McKarge, Monitor Mixer Boyd Wheeler, Audience Sweetener The 51st Annual Grammy Awards • CBS • John Cossette Productions in association with AEG Ehrlich Venture Tom Holmes, Audio Mixer Eric Johnston, Audio Mixer Mikael Stewart, PA Mixer Ron Reaves, PA Mixer John Harris, Music Mixer Eric Schilling, Music Mixer Michael Parker, Monitor Mixer Tom Pesa, Monitor Mixer Bob LaMasney, Audience Sweetener Paul Sandweiss, Re-Recording Mixer Outstanding Sound Mixing For Nonfiction Programming The Amazing Race • Don't Let A Cheese Hit Me • CBS • World Race Productions Inc. Jim Ursulak, Lead Audio Jerry Chabane, Audio Dean Gaveau, C.A.S., Audio Troy Smith, Re-Recording Mixer American Idol • 801/02 • FOX • FremantleMedia N.A., Inc. & 19TV Ltd. Brian Riordan, Re-Recording Mixer Adrian Ordonez, Re-Recording Mixer Deadliest Catch • Stay Focused Or Die • Discovery Channel • Original Productions, LLC in association with Discovery Channel Bob Bronow, Re-Recording Mixer 102 Minutes That Changed America • HISTORY • Produced by Siskel/Jacobs Productions for History Damon Trotta, Re-Recording Mixer Survivor • The Poison Apple Needs To Go • CBS • SEG Robert Mackay, Audio Supervisor Terry Meehan, Audio Mixer Christopher Kelly, Audio Mixer Terrance Dwyer, Re-Recording Mixer Quote Link to comment Share on other sites More sharing options...
old school Posted July 17, 2009 Report Share Posted July 17, 2009 Congratulations indeed. All winners in my book. CrewC Quote Link to comment Share on other sites More sharing options...
studiomprd Posted July 17, 2009 Report Share Posted July 17, 2009 nice to see that "Lost" included their 2nd unit Production Sound Crew! Quote Link to comment Share on other sites More sharing options...
André Boisvert Posted July 17, 2009 Report Share Posted July 17, 2009 Deadliest Catch for Outstanding Sound Mixing? I think it's called irony. http://en.wikipedia.org/wiki/Deadliest_Catch Under production; "Because of a lack of space on the boats, the crews do not have a sound recordist. Audio is recorded using wireless microphones worn by the fishermen and shotgun microphones attached to the cameras." Quote Link to comment Share on other sites More sharing options...
John Coffey Posted July 17, 2009 Report Share Posted July 17, 2009 That's why Bob Bronow is the only one listed for an Emmy. He really does a bang up job for a one man post band. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted July 17, 2009 Report Share Posted July 17, 2009 the Emmy Sound nominations and awards are not given for how the show's sound is done, but for how the show sounds when it is done ! Quote Link to comment Share on other sites More sharing options...
Bondelev Posted July 18, 2009 Report Share Posted July 18, 2009 Bob won the CAS Award this year for that show. You can read an interview with him in this issue of the CAS QUARTERLY: http://www.cinemaaudiosociety.org/pdf/CASQuarterlySpring2009.pdf Quote Link to comment Share on other sites More sharing options...
André Boisvert Posted July 18, 2009 Report Share Posted July 18, 2009 Now I'm confused. The show sometimes has to resort to subtitles for inaudible dialog. That'll happen sometimes when a production sound mixer isn't used. If the award is given for overall sound, no matter how talented a re-recording mixer is, he's still stuck with inaudible dialog. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted July 18, 2009 Report Share Posted July 18, 2009 " That'll happen sometimes when a production sound mixer isn't used. " and it will also happen sometimes when there are production sound crew; but that will definitely happen when ADR is not done! these shows sound very real, and impressive. (Disclosure: I admit, I voted for Deadliest Catch!) Quote Link to comment Share on other sites More sharing options...
RPSharman Posted July 19, 2009 Report Share Posted July 19, 2009 I find it remarkable that one is able to hear ANYTHING on that show. The sound they are able to get, with or without a "production mixer", is pretty terrific and contributes to a show that is a guilty pleasure for many reality haters. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted July 19, 2009 Report Share Posted July 19, 2009 " a guilty pleasure for many reality haters. " cue: applause Quote Link to comment Share on other sites More sharing options...
Matt McGowin Posted July 20, 2009 Report Share Posted July 20, 2009 The deadliest catch is a good show. Tough conditions No doubt. Quote Link to comment Share on other sites More sharing options...
Simon Paine Posted July 21, 2009 Report Share Posted July 21, 2009 Now imagine how much better it would sound if they had a location sound person !!! Quote Link to comment Share on other sites More sharing options...
Richard Lightstone, CAS Posted July 21, 2009 Report Share Posted July 21, 2009 The Deadliest Catch is difficult enough to shoot and the size of the ship makes a small crew essential. Most of the sound is either captured by the on board camera mics and those that they wire. They risk their lives each day out in stormy seas and every one of the video crew could be seriously injured or at worse drowned at sea if their vessel sinks. Bob Brownow takes all the recorded sound and pulls it together brilliantly. So Simon I'm guessing you are ready to risk your life and volunteer for this shoot? if you can also operate the camera you might have a shot at it - I can put you in touch with Mr. Brownow. Regards, RL Quote Link to comment Share on other sites More sharing options...
old school Posted July 21, 2009 Report Share Posted July 21, 2009 It might sound worse with the mixer blowing chunks in the background of every shot. I like the limitations of the tech/media in the telling of the story. Very real. What I don't like is the bs hype of the reality these guys go thru. Dumbing it down with over the top V.O. and redneck smaltz... Just an opinion. CrewC. Quote Link to comment Share on other sites More sharing options...
Guest BobD Posted July 21, 2009 Report Share Posted July 21, 2009 Now I'm confused. The show sometimes has to resort to subtitles for inaudible dialog. That'll happen sometimes when a production sound mixer isn't used. If the award is given for overall sound, no matter how talented a re-recording mixer is, he's still stuck with inaudible dialog. I have bad news for you... they use subtitles sometimes on those reality shows WITH a mixer on the crew... Quote Link to comment Share on other sites More sharing options...
old school Posted July 21, 2009 Report Share Posted July 21, 2009 BTW, I am a reality lover as well as an artistic manipulator. I dig both. CrewC Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted July 21, 2009 Report Share Posted July 21, 2009 BTW, I am a reality lover as well as an artistic manipulator. I dig both. So, I'm guessing... being an "artistic manipulator" means you control people, but you do it in style? John B. Quote Link to comment Share on other sites More sharing options...
old school Posted July 21, 2009 Report Share Posted July 21, 2009 Not sure what I meant last night after a few beers to wash down a long hot day in LA. I think I was referring to controlled old school film making and sound recording. Who knows... CrewC Quote Link to comment Share on other sites More sharing options...
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