Post & Production

The audio consultancy worked closely with Suite TV’s interior designer to deliver a 5.1 surround sound studio

LipSync Post have welcomed an overhaul and upgrade to their Soho based facility.

Audio director Rick Hernandez used a selection of DPA microphones to capture sounds Respawn Entertainment’s first person science-fiction game.

VR, AR and immersive experience is becoming an increasingly important aspect of audio for games, film and television and the professionals responsible for mixing sound for these formats are having to adapt to an evolving industry landscape in order to produce the highest quality audio, regardless of the final playback system, as Stephen Bennett reports...

As various new listening formats continue to see increased implementation across the board, creative opportunities are becoming easier to access for post production professionals.

Chris Fogel discusses his work on the recording for the Death Wish soundtrack and ow he used Royer Labs mics throughout.

The broadcaster has moved to a Dante Audio-over-IP infrastructure, with SSL's System T broadcast audio production environment at its heart.

Michael P. Clark used his extensive collection of Lectrosonics Digital Hybrid Wireless equipment, including SSM, SMV and SMQV beltpack transmitters and VR Field, Venue and Venue2 multichannel receivers.

Dialogue in games is for so much more than just telling a story. Here, Creative Assembly’s Will Tidman talks about creating dialogue in a nonlinear environment.

Christopher Nolan’s war epic picked up the accolades for Best Sound Editing and Best Sound Mixing at the 90th Academy Awards which took place on 4 March in Hollywood.