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	<title>Below the Line &#187; Bob Bayless</title>
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		<title>Contender – Supervising Sound Editor Shannon Mills, Pirates of the Caribbean: On Stranger Tides</title>
		<link>http://www.btlnews.com/awards/contender-supervising-sound-editor-shannon-mills-pirates-of-the-caribbean-on-stranger-tides/</link>
		<comments>http://www.btlnews.com/awards/contender-supervising-sound-editor-shannon-mills-pirates-of-the-caribbean-on-stranger-tides/#comments</comments>
		<pubDate>Fri, 06 Jan 2012 17:00:17 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Contender Portfolios]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Sound]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=23588</guid>
		<description><![CDATA[On any franchise it gets tough to “keep it fresh” when it comes to sound. On the fourth installment of Walt Disney Pictures’ <em>Pirates of the Caribbean: On Stranger</em> <em>Tides, </em>three-time winner and nine-time Golden Reel Nominee,<em> </em>supervising sound editor <strong>Shannon Mills</strong> puts it like this, “We wanted to come up with a fresh perspective on an old idea. We did a lot of recording, including a lot of new sword recordings, because we really wanted the swords to sound different, and there were a lot more magical elements in this one, they weren’t so prevalent in the other movies.”]]></description>
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		<title>Contenders – Sound Designers Chuck Michael and John Larsen, Rise of the Planet of the Apes</title>
		<link>http://www.btlnews.com/awards/contenders-sound-designers-chuck-michael-and-john-larsen-rise-of-the-planet-of-the-apes/</link>
		<comments>http://www.btlnews.com/awards/contenders-sound-designers-chuck-michael-and-john-larsen-rise-of-the-planet-of-the-apes/#comments</comments>
		<pubDate>Mon, 19 Dec 2011 16:48:00 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Contender Portfolios]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Sound]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=22518</guid>
		<description><![CDATA[Getting real chimp vocalizations was quite a task according to 12-time Golden Reel Nominee <strong>Chuck Michael</strong> and eight-time Golden Reel nominee <strong>John Larsen</strong>, supervising sound editors on director <strong>Rupert</strong> <strong>Wyatt</strong>'s <em>Rise of the Planet of the Apes</em> from<em> </em>20<sup>th</sup> Century Fox Film Corporation<em>.</em> "Right away, places like zoos removed themselves from the equation because you can’t get separation from other animal sounds," Michael explained. "But we found this place in Keithville, Louisiana called <strong>Chimp Haven</strong> that is basically a retirement home for biomedical research chimps." The handlers knew all the chimps by name, and whatever treat or coaxing was required to get the chimps to make any sound the crew needed.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Contender – Re-recording Mixer Greg Russell, Transformers: Dark of the Moon</title>
		<link>http://www.btlnews.com/awards/contender-portfolios/contender-re-recording-mixer-greg-russell-transformers-dark-of-the-moon/</link>
		<comments>http://www.btlnews.com/awards/contender-portfolios/contender-re-recording-mixer-greg-russell-transformers-dark-of-the-moon/#comments</comments>
		<pubDate>Tue, 06 Dec 2011 16:57:38 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Contender Portfolios]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Sound]]></category>
		<category><![CDATA[Day 4]]></category>
		<category><![CDATA[Saved]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=21927</guid>
		<description><![CDATA[In a sound effects-heavy movie, clarity is key to a successful mix, according to the re-recording mixer on <strong>Paramount Pictures’</strong> <em>Transformers: Dark of the Moon,</em> 14-time Oscar nominee <strong>Greg</strong> <strong>Russell</strong>. As Russell tells it, “Definition, detail and a great dynamic range are absolutely essential to focusing an audience on what you want them to hear at every given moment throughout the course of a movie.” ]]></description>
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		<title>Avid Outlines Strategy at Los Angeles Event</title>
		<link>http://www.btlnews.com/news/avid-outlines-strategy-at-los-angeles-event/</link>
		<comments>http://www.btlnews.com/news/avid-outlines-strategy-at-los-angeles-event/#comments</comments>
		<pubDate>Fri, 29 Jul 2011 15:40:34 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Commercials]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Television]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=17118</guid>
		<description><![CDATA[In apparent response to <strong>Apple</strong>’s recent release of Final Cut Pro X, <strong>Avid</strong> hosted their “Committed To The Professional” event in the Steven J Ross Theater on the <strong>Warner Bros.</strong> lot, July 13. ]]></description>
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		<title>Restoration Brings 200 Years of Gospel Music to New Audiences in Rejoice &amp; Shout</title>
		<link>http://www.btlnews.com/commentary/director-series/rejoice-and-shout-restoration-brings-200-years-of-gospel-music-to-new-audiences/</link>
		<comments>http://www.btlnews.com/commentary/director-series/rejoice-and-shout-restoration-brings-200-years-of-gospel-music-to-new-audiences/#comments</comments>
		<pubDate>Tue, 14 Jun 2011 15:46:11 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Direction]]></category>
		<category><![CDATA[Director Series]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Sound]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=16025</guid>
		<description><![CDATA[Director <strong>Don McGlynn</strong>, of the new documentary on Gospel music, <em>Rejoice and Shout, </em>is known for biographical documentaries <em>Louis Prima: The Wildest</em> and <em>Charles</em> <em>Mingus: Triumph of the Underdog</em> ,among many others. When <strong>Eamonn Bowles</strong> of <strong>Magnolia Pictures</strong> asked him to make a documentary on Gospel music, just when the director himself was considering a film on the subject, McGlynn got what all directors dream of: financing. As any independent filmmaker can tell you, finding financing is the hardest part of making a movie.  With that hurtle covered. McGlynn could concentrate on the biggest challenge of the film, not telling just one story, as much of his past work had done, but telling the multiple stories that make up the history of American Gospel music.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>MPSE Golden Reel Awards Honor the Contributions of Sound</title>
		<link>http://www.btlnews.com/awards/mpse-golden-reel-awards-honor-the-contributions-of-sound/</link>
		<comments>http://www.btlnews.com/awards/mpse-golden-reel-awards-honor-the-contributions-of-sound/#comments</comments>
		<pubDate>Wed, 23 Feb 2011 05:59:30 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Crafts]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Sound]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=13223</guid>
		<description><![CDATA[The <strong>Motion Picture Sound Editors</strong> held their 58th annual Golden Reel Awards at the Westin Bonaventure Hotel in downtown Los Angeles, Feb. 20.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>The Cinema Audio Society Honors Mixing Excellence</title>
		<link>http://www.btlnews.com/awards/the-cinema-audio-society-honors-mixing-excellence/</link>
		<comments>http://www.btlnews.com/awards/the-cinema-audio-society-honors-mixing-excellence/#comments</comments>
		<pubDate>Mon, 21 Feb 2011 13:00:36 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Sound]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=13094</guid>
		<description><![CDATA[Comedian and entertainment journalist <strong>Sam Rubin</strong> hosted the 47<sup>th</sup> <strong>Cinema Audio Society</strong> Awards Show at the Millennium Biltmore Hotel, downtown L.A., Feb. 19 . Keeping it light, Rubin drew parallels between the aging athletes of the <strong>NBA </strong>that were also at the Biltmore that night, and the members of CAS. He also swore that no one knew the results of the voting, (the first year to ever have electronic voting), except <strong>WikiLeaks</strong>.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Contender &#8211; Supervising Sound Editor Mark P. Stoeckinger, Unstoppable</title>
		<link>http://www.btlnews.com/awards/contender-supervising-sound-editor-mark-p-stoeckinger-unstoppable/</link>
		<comments>http://www.btlnews.com/awards/contender-supervising-sound-editor-mark-p-stoeckinger-unstoppable/#comments</comments>
		<pubDate>Thu, 17 Feb 2011 16:02:12 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Contender Portfolios]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Sound]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=13012</guid>
		<description><![CDATA[Many filmmakers would consider “Popcorn Movie” a derogatory term, but our industry is founded on them. Essential to a good “Popcorn Movie” is nonstop action and total immersion in the realism of the story. This definition describes the Oscar-nominated, <em>Unstoppable</em>, directed by veteran filmmaker <strong>Tony Scott</strong>. Supervising sound editor <strong>Mark P. Stoeckinger</strong> had a lot to do with the convincing realism of the story. From the opening title sequence, the world of railroading comes to life aided, to a large degree, by the sounds that are a major part of that world.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Contender &#8211; Composer Christopher Gordon, Mao’s Last Dancer</title>
		<link>http://www.btlnews.com/awards/contender-composer-christopher-gordon-mao%e2%80%99s-last-dancer/</link>
		<comments>http://www.btlnews.com/awards/contender-composer-christopher-gordon-mao%e2%80%99s-last-dancer/#comments</comments>
		<pubDate>Fri, 21 Jan 2011 10:36:32 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Contender Portfolios]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Sound]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=12242</guid>
		<description><![CDATA[In <em>Mao’s Last Dancer</em>, the film version of Chinese ballet dancer <strong>Cunxin Li</strong>’s autobiography, composer <strong>Christopher Gordon</strong>’s taps the spirit of Chinese music and incorporates it into the classical music of the ballet.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Contenders – Composers Trent Resnor and Atticus Ross, The Social Network</title>
		<link>http://www.btlnews.com/awards/contenders-%e2%80%93-composers-trent-resnor-and-atticus-ross-the-social-network/</link>
		<comments>http://www.btlnews.com/awards/contenders-%e2%80%93-composers-trent-resnor-and-atticus-ross-the-social-network/#comments</comments>
		<pubDate>Wed, 19 Jan 2011 12:40:30 +0000</pubDate>
		<dc:creator>Bob Bayless</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Contender Portfolios]]></category>
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		<category><![CDATA[Sound]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=12126</guid>
		<description><![CDATA[<em>The Social Network</em>’s first-time film composer <strong>Trent Reznor </strong>was both relieved and disappointed that director <strong>David Fincher </strong>asked for a synth-based, as opposed to an orchestral score for the movie. From all his years with <strong>Nine Inch Nails</strong>, Reznor was obviously more comfortable with the former, but had been looking forward to expanding his musical boundaries with the latter.]]></description>
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