Big Bamboo Post, Hawaii’s first Dolby-certified audio postproduction studio, has opened on Maui. Founded by veteran sound engineers Johnny Wilson and Bennett Yashon, the studio offers sound design, sound editorial, ADR, mixing, original music composition, Foley and more. It provides sound services for all types of media including film, television, games, advertising, virtual reality and live events. In its first project, Big Bamboo provided ADR services for the new HBO series White House Plumbers.
Wilson and Yashon have been planning Big Bamboo’s launch since 2019. Wilson, who is an accomplished composer, supervising sound editor and re-recording mixer–and a resident of Maui–was frustrated by the lack of a local source for Hollywood-caliber sound, forcing him to travel to Los Angeles to finish projects, including the recent films Go for Broke and Maui. “I would much rather have completed that work in Hawaii, but there was no place with surround sound capability,” Wilson recalled. “Ben and I discussed various options and chose to build our own studio, drawing on our mutual areas of expertise. It would benefit us personally, and the Maui film community. It was the perfect solution.”
The focal points of the new facility are its two mix stages. Studio A is a Dolby Atmos Premier 9.1.6 mix stage built as a “floating room” to keep it isolated from external noise. It is certified by Dolby Laboratories for Atmos theatrical sound mixing. Studio B is a Dolby 7.1 mix stage with a vocal booth for live recording. The two stages are networked to facilitate project sharing. The facility also features office space for visiting productions, along with a conference room and other amenities.
Wilson’s background includes credits as a supervising sound editor or re-recording mixer on dozens of films and television shows. He has also composed original scores for independent features, shorts and episodics. He recently won the award for Best Composer at the Toronto-based Phoenix Shorts Festival for The Tunnel, Interview with a Monster, from director David Llauger Meiselman and Boricua Films. Yashon’s experience is centered on sound for live events, including concerts, theatrical productions and corporate events. He previously spent 10 years as managing director of Event Horizon Audiovisual.
Overseeing Big Bamboo Post operations is project manager Cudra Clover. She brings a diverse background in live sound, music, fine art and immersive entertainment. The studio’s staff also includes engineers Tamara Johnson and Dale Everingham.
In providing remote ADR services for White House Plumbers, Big Bamboo worked under the direction of supervising sound editor Brent Findley MPSE, CAS, AMPS. “Having worked with Johnny in the past, I knew to look him up for ADR,” said Findley. “He and the crew at Big Bamboo went above and beyond in taking care of not only my needs from a technical standpoint, but also the needs of our high-profile talent. It was a positive working environment, and the recordings dropped into the mix nicely. I will definitely use them again.”
Big Bamboo expects to draw projects both from local film and television productions, and from outside producers working in Hawaii. The studio is also equipped to service clients remotely, via state-of-the-art networking technology. Additionally, the company has its eye on opportunities outside film and television. “Maui is a hub for a wide range of music and art,” Clover said. “We are personally very involved in those communities and believe we can be a resource and contribute to their growth. Art installations, museum exhibits and virtual reality productions all need world class sound.”
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More