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Posted By Ben Baker,
Friday, June 17, 2016
Updated: Wednesday, March 16, 2022
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Music in Post: The Key Players.
This panel includes an award-winning music supervisor, a music editor and a composer who offer advice on a smooth music production for film and television post production. Panelists will also show musical examples of their work and explain how they help to create a finished soundtrack. This event is specifically aimed at helping editors, producers, post supervisors and others to better understand the complexities of working with music during post.
Some of the topics that will be addressed during the panel:
What materials is an editor responsible for giving to each member of the music department?
What is the interaction with each other? Who works with who? Is there a hierarchy?
How to know whether or not a piece of music is working within a scene.
How do you communicate with music people if you aren't a musician?
How much creative control should you give a music supervisor or composer?
Panelist Bios:
Jim Black, Music Supervisor
Jim Black is an award winning music supervisor with over twenty years in the music industry. In 1998 he founded Clearsongs Inc. a full-service music supervision and consulting company for Motion Pictures and Television and has worked on over 90 films and tv shows, including Academy Award winners such as Black Swan, The Wrestler and HBO’s Treme and True Detective. He is just finishing up Season 2 of Marco Polo for Netflix and setting up for Amazon's Z: The Beginning of Everything and Season 2 of Billions for Showtime.
Nancy Allen, Music Editor
Nancy Allen has over 20 years of experience in the film and TV industry. She worked for almost 10 of those years with esteemed music editor Suzana Peric. Her first film with Suzana was Scorsese’s Kundun (scored by Philip Glass). Together with Suzana, she worked with directors like Roman Polanski (The Pianist, The Ninth Gate), Mike Nichols (Angles in America, Closer, Charlie Wilson’s War), Jonathan Demme (Beloved, Heart of Gold, Rachel Getting Married), and Peter Jackson (The Lord of the Rings: The Fellowship of the Rings). Since then, Nancy has worked on films with: Darren Aronofsky (Black Swan, Noah, the upcoming film starring Javier Bardem and Jennifer Lawrence), John Cameron Mitchell (ShortBus), Paul Haggis (The Next Three Days), Barry Levinson (Liberty Heights, You Don’t Know Jack) and David Frankel (Hope Springs, One Chance), with whom she is currently working on Collateral Beauty, starring Hellen Mirren, Kate Winslet, Will Smith, Kiera Knightly, and Naomi Harris. Most recently, she completed the first season of Billions for SHOWTIME. She has been nominated for 2 Golden Reel awards (winning for Lord of the Rings) and was part of the Emmy award-winning team for the sound and music on HBO’s Bessie.
Ben Holiday, Film Composer
Ben brings more then 15 years of experience composing soundtracks for film. With a background as a jazz trombonist, Ben attended the Berklee College of Music where he studied classical composition, conducting and electronic music production. Ben learned the language of film music by working "in the trenches” with music editor Jennifer Dunnington and composer Howard Shore on such films as Spotlight, Hugo, Shutter Island, The Departed, and The Aviator. Most recently Ben wrote the orchestral score for the feature film Drawing Home and assisted the Blair Brothers with their score to the punk rock thriller Green Room.
Ian Blume, Picture Editor
Ian Blume has worked in feature film postproduction for 16 years, spanning such films as Chocolat, Doubt and The Bourne Legacy. Armed with a bachelor's degree in Film from Emerson College in Boston, MA, Ian built a strong foundation at Sound One NY. Since then, he climbed the ranks as an assistant editor, working on 18 features of all budget levels, in the US and abroad. He has collaborated with many top-tier, award winning filmmakers - including editors Tim Squyres, John Gilroy, Dylan Tichenor, Barbara Tulliver and Andrew Mondshein, writer / directors John Patrick Shanley and M. Night Shyamalan, and producers Akiva Goldsman and Scott Rudin. An active member of the Motion Picture Editors Guild and the Post NY Alliance, Ian is currently finishing his 4th narrative feature film as an editor. Along the way he has compiled a variety of temp scores and has worked directly with music editors, supervisors and composers to take those films from the first spotting session to the final mix.
Isabel Sadurni, Picture Editor & Moderator
Isabel has over 15 years experience as an international feature film editor and producer. Her work includes award winning feature-length documentaries and short narratives that have played in top-tier global festivals and nationally on PBS and Discovery. She's a regular contributor to ACE's Cinema Editor Magazine is a proud member of Post New York Alliance. Listen for her upcoming PNYA podcast series, Frame By Frame, where New York's most influential post-production professionals share their process, techniques and stories as a celebration of New York's essential contribution to the global film industry.
Tags:
music
postproduction
sound
Sound Editorial
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Posted By Ben Baker,
Friday, November 13, 2015
Updated: Wednesday, March 16, 2022
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POSTWORKS NEW YORK
100 AVE OF THE AMERICAS
NEW YORK, NY 10013
THEATER – 10TH FLOOR
SEPTEMBER 16, 2014 @ 7PM
Following up form the successful AE/ DIT Seminar, PNYA is holding a series of workshops on the editorial turnover process.
The first, Turnover To Sound, is being held on September 16, 2014 at PostWorks New York.
The workshop will go through the reason for and creation of the key deliverables for sound finishing. Assistant editor and editor Ian Blume and Supervising Sound Editor Alexa Zimmerman will lead the session.
Seating in the theatre for this event is limited, so please RSVP to seminars@postnewyork.org to avoid disappointment. Seats will be allocated on a first-come basis.
The workshop is free for members- non members can sign up on the night!
Speaker Bios:
Ian Blume has worked in feature film post-production for 15 years, spanning such films as CHOCOLAT, DOUBT and THE BOURNE LEGACY.
A graduate of Emerson College, he started out in NYC by building a strong foundation at Sound One. There he established close ties in the industry, and quickly became part of a tightly knit family.
Ian has climbed the ranks as an assistant editor, working on 14 features of all budget levels, in the US and abroad. He has collaborated with many top-tier, award-winning editors, directors, writers and producers, and accumulated valuable experience, technique and guidance from all of them.
Ian lives in Astoria, Queens, and is currently working as editor on his 2nd narrative feature film, DRAWING HOME.
Alexa Zimmerman has been working in the sound post field for 14 years, working most recently as an Supervising Sound Editor on Julie Taymor's MIDSUMMER NIGHT'S DREAM, dialogue editor on the series BOARDWALK EMPIRE and ROYAL PAINS, and assistant editor on features including THE FIFTH ESTATE and LEE DANIEL'S THE BUTLER.
Tags:
Assistant Editor
Local 700
Postworks Technicolor
sound
sound editor
Sound Editorial
Sound Post
Turnover
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