Filed in: Awards, Events, Featured, Film, Sound, Television
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60th MPSE Golden Reel Awards

February 18, 2013 | By

LR-John Roesch-email

MPSE career achievement award winner John Roesch

MPSE career achievement award winner John Roesch

Life of Pi was the big winner at the 60th Annual Motion Picture Sound Editors (MPSE) Golden Reel awards at the Bonaventure Hotel in downtown Los Angeles Sunday night.

Life of Pi music editor Erich Stratmann and Mitch Bederman (additional music editor) took home Golden Reels for best sound editing: music in a feature film. The award for best sound editing: dialogue and ADR in a feature film, went to Eugene Gearty (supervising sound editor), Philip Stockton, MPSE (supervising sound editor) and Kenton Jakub (supervising ADR editor) who were also from the film.

Director Ang Lee was also honored with the filmmaker award, presented by his Life of Pi collaborators and current Oscar nominees, editor Tim Squyres, visual effects supervisor Bill Westenhofer and cinematographer Claudio Miranda. In his acceptance speech, Lee told many anecdotes about his films sharing that the hardest sequence in Life of Pi was the flying fish scene. He went on to explain how he tried to rely solely on the sound effects without music in many sections of the film. At one point, while mixing the flying fish scene everyone on the mix stage convinced him to put music in to help, but ultimately, they yanked the score out and went with just sound because he felt that playing certain scenes without music would allow the audience to experience the moment in the same way Pi would be experiencing it. He confessed his favorite part of filmmaking is the final mix and also commented that a quote he heard made in previous years was that sound is 50% of the storytelling process. He, however, believes it is 60%.

Bobbi Banks, now in her eighth year as MPSE president, opened the awards ceremony that recognized outstanding achievement in sound editing in 22 categories.

On the 60th anniversary of the society, Vicky Rose Sampson provided a touching tribute to founder Norvell Crutcher, who started MPSE as a way to elevate the status of sound editors while educating the community about the artistic merit and technical advancements in sound and music editing.

The career achievement award went for the first time to a foley artist, John Roesch, presented to him by Charles L. Campbell, the 2012 recipient of the award.

Director Ang Lee was honored with the MPSE filmmaker award.

Director Ang Lee was honored with the MPSE filmmaker award.

Supervising sound editors Ethan Van der Ryn and Erik Aadahl awarded a special scholarship in the name of the late Oscar-winning sound editor Mike Hopkins.

The surprise of the night was that Skyfall won best sound editing: sound effects and foley in a feature film. The sound team consisted of supervising sound editors Per Hallberg, MPSE and Karen Baker Landers; sound designers Peter Staubli, MPSE and Christopher Assells, MPSE; supervising foley editor Craig S. Jaeger, MPSE; Foley artists Dan O’Connell and John Cucci, and sound effects editors Dino R. DiMuro, MPSE, Daniel Hegeman, Bill R. Dean, MPSE, and Piero Mura.

Not too surprising was that Les Misérables won the award for best sound editing: music in a musical feature film. The only competition was Joyful Noise, Pitch Perfect and Rock Of Ages, which were all good pictures, just not on the level of Les Misérables.

The sound team consisted of supervising music editor Gerard McCann, co-supervising/vocals editor John Warhurst, music editors Rob Houston, James Bellamy and Rael Jones and vocals editors Tim Hands and Alastair Sirkett.

Another interesting moment during the evening was when it was announced that for the first time ever, two shows had tied for best sound editing: long form sound effects and foley in television – Game Of Thrones Season 2: “Valar Morghulis” and Seal Team Six: The Raid On Osama Bin Laden.

The Game Of Thrones sound team included supervising sound editor Peter Brown; sound designers Stephen P. Robinson, MPSE and Jon Title; supervising foley editor Paul Aulicino, MPSE; Foley artists James Moriana, MPSE and Jeffrey Wilhoit, MPSE and foley editor Brett Voss.

The sound team on Seal Team Six included supervising sound editors Trip Brock and Peter Daniel Lago, MPSE; supervising foley editor Greg Mauer; Foley artist Rick Owens, MPSE; sound effects editor Steven Avila, MPSE and Alexander Pugh, MPSE, and Foley editor Kate Sheil.

The other winners of the 60th Annual MPSE Golden Reel Awards are:

TV/Feature Animation and Documentary Category

Best Sound Editing: Sound Effects, Foley, Dialogue and ADR Animation in Television

Adventure Time, “Card Wars” (Cartoon Network Studios)
Supervising Sound Editors: Thomas Syslo and Timothy J. Borquez, MPSE
Supervising ADR Editor: Robert Serda
Supervising Dialogue Editor: Krandal Crews
Foley Artist: Diane Greco
Sound Effects Editors: Tony Orozco and Eric Freeman

Best Sound Editing: Long Form Documentary in Television

Crossfire Hurricane (HBO)
Supervising Sound Editor: Cameron Frankley
Sound Designer: Jason Jennings
Music Editor: Jon Michaels

Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in an Animation Feature Film

Wreck-It Ralph (Walt Disney Studios Motion Pictures)
Supervising Sound Editor: Frank Eulner
Sound Designer: Gary Rydstrom, MPSE
Supervising Foley Editor: Luke Dunn-Gielmuda
Foley Artists: Dennie Thorpe and Jana Vance
Supervising Dialogue Editor: Marshall Winn
Sound Effects Editors: J.R. Grubbs, E.J. Holowicki and David Chrastka
Foley Editor: Dee Selby

Best Sound Editing: Sound Effects, Foley, Dialogue, ADR and Music in a Feature Documentary

Last Call At The Oasis (Ato Pictures)
Supervising Sound Editor: Peter Brown
Sound Effects Editor: Paul Aulicino, MPSE
Dialogue Editor: Glynna Grimala
Music Editor: Kim Roberts

Verna Fields Award in Sound Editing for Student Filmmakers

Head Over Heels (National Film And Television School)
Sound Designer: Axle Kith Cheeng

Computer/Direct to Video/Foreign Feature Category

Best Sound Editing: Computer Episodic Entertainment

Halo 4: Forward Unto Dawn, (Machinima)
Supervising Sound Editors: Zach Seivers, J.M. Davey
Supervising Foley Editor: Rodrigo Ortiz-Parraga, MPSE
Sound Effects Editors: Jared Neal and George Pereyra
Sound Designers: Tobias Poppe and Charles Maynes, MPSE
Supervising Dialogue/ADR Editor: Andrew S. Duncan

Best Sound Editing: Computer Interactive Entertainment

Resident Evil: 6 (Capcom)
Supervising Sound Editors: Masanobu “Tomi” Tomita and
Scott Martin Gershin, MPSE
Audio Directors: Wataru Hachisako and Arata Iwashina
Foley Artists: James Moriana, MPSEand Jeffery Wilholt, MPSE
Sound Effects Editors: Eliot Connors, Patrick Ginn, Yasuyuki Tsujino and Csaba Wagner
Sound Designers: Brad Beaumont and Chad Bedell
Supervising Dialogue/ADR Editor: Kakunoshin Atsumi
Music Editor: Akihiko Narita

Best Sound Editing: Direct to Video – Animation

Justice League: Doom (Warner Bros. Animation)
Sound Designer: Robert Hargreaves, MPSE
Supervising Dialogue Editor: Mark Keatts
Foley Artist: Gary Marullo
Sound Effects Editor: George Brooks
Dialogue Editors: Kelly Foley-Downs and Mike Garcia
Foley Editor: John Hegedes

Best Sound Editing: Direct to VideoLive Action

Fire With Fire (Grindstone Entertainment Group)
Supervising Sound Editor: David Barber, MPSE
Supervising Foley/ADR Editor: Gonzalo Espinoza
Foley Artist: Gonzalo Espinoza and David Kitchens
Sound Designer: Sean Gray and Ken Skoglund

Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in a Feature Foreign Language Film

Rust & Bone (UGC Distribution)
Sound Designer: Pascal Villard
Foley Artist: Phillipe Penot
Sound Effects Editors: David Vranken and Nikolas Javelle
Dialogue Editor: Caroline Reynaud

Television Category

Best Sound Editing: Short Form Music in Television

Fringe, “A Short Story About Love” (Warner Brothers Television)
Supervising Music Editor: Paul Apelgren

Best Sound Editing: Short Form Musical in Television

Smash, “Hell On Earth” (NBC Studios)
Supervising Music Editor: Dan Evans Farkas
Additional Music Editors: Annette Kudrak and Robert Cotnoir, MPSE

Best Sound Editing: Short Form Dialogue and ADR in Television

The Newsroom: “Amen” (HBO Entertainment)
Supervising Sound Editor: Mark Relyea
Supervising ADR Editor: Mark Relyea
Dialogue Editor: Robert Guastini, MPSE
ADR Editor: Ruth Adelman, MPSE

Best Sound Editing: Short Form Sound Effects and Foley in Television

American Horror Story: “Welcome To Briarcliff” (20th Century Fox Television)
Supervising Sound Editor: Gary Megregian, MPSE
Sound Designers: Gary Megregian, MPSE and Timothy A. Cleveland
Supervising Foley Editor: Andrew Dawson
Foley Artist: Noel Vought

Best Sound Editing: Long Form Music in Television

Hemingway & Gellhorn (HBO Films)
Supervising Music Editor: Joanie Diener, MPSE

Best Sound Editing: Long Form Musical in Television

Let It Shine (Disney Channel)
Music Editors: Amber Funk and Sherry Whitfield

Best Sound Editing: Long Form Dialogue and ADR in Television

Game Of Thrones, Season 2, “Valar Morghulis” (HBO)
Supervising Sound Editor: Peter Brown
Supervising Dialogue Editor: Vanessa Lapato
Supervising ADR Editor: Kira Roessler, MPSE
Editor: Tim Hands

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