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    Chris Winston Joins AudioBanks: Freelance Mixer Becomes Staffer.

    By SHOOT StaffUpdated:No Comments1675 Views
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    AudioBanks, an audio post facility which recently unveiled its new Santa Monica studio, has signed engineer Chris Winston who was formerly freelancing as a sound designer, music editor and mixer for independent films, TV and spots. Winston has already made a mark at his new roost, having teamed with fellow audio engineer Andy Simon on the American Academy of Dermatology :60, "Prevention," directed by Amy Hill & Chris Riess of Tony K, Santa Monica and London, for Campbell Mithun Esty, Minneapolis. "Prevention" is an entry in this week’s "The Best Work You May Never See" gallery (p. 15).

    Winston’s industry roots are in music. He broke into music production as an assistant mixer and then first mixer at Sony Music, New York. While at Sony, from ’94-’96, Winston worked on projects for such notable recording artists as Mariah Carey, David Lee Roth and Michael Jackson (on the "History" CD). Winston also engineered for MTV Unplugged, which was recorded at Sony Studios.

    In ’96, Winston moved to the West Coast and embarked on a career as a freelance sound designer, music editor and mixer. His spot endeavors included mixing for such national brands as Coca-Cola, Sony, Honda and Toyota. At AudioBanks, Winston dedicates his talents exclusively to commercial audio post.

    "I am excited to join AudioBanks for two key reasons," noted Winston. "Here I have the opportunity to work primarily on commercials, which I enjoy immensely, and I am joining a team of incredibly nice people. The environment is unbeatable."

    AudioBanks is under the aegis of general manager Sarah Banks.

    Category:News



    Hollywood’s Oscar Season Turns Into A Pledge Drive In Midst Of L.A. Wildfires

    Wednesday, January 15, 2025

    When the Palisades Fire broke out in Los Angeles last Tuesday, Hollywood's awards season was in full swing. The Golden Globes had transpired less than 48 hours earlier and a series of splashy awards banquets followed in the days after.

    But the enormity of the destruction in Southern California has quickly snuffed out all festiveness in the movie industry's high season of celebration. At one point, the flames even encroached on the hillside above the Dolby Theatre, the home of the Academy Awards.

    The fires have struck at the very heart of a movie industry still trying to stabilize itself after years of pandemic, labor turmoil and technological upheaval. Not for the first time this decade, the Oscars are facing the question of: Should the show go on? And if it does, what do they mean now?

    "With ALL due respect during Hollywood's season of celebration, I hope any of the networks televising the upcoming awards will seriously consider NOT televising them and donating the revenue they would have gathered to victims of the fires and the firefighters," "Hacks" star Jean Smart, a recent Globe winner, wrote on Instagram.

    The Oscars remain as scheduled, but it's certain that they will be transformed due to the wildfires, and that most of the red-carpet pomp that typically stretches between now and then will be curtailed if not altogether canceled. With so many left without a home by the fires, there's scant appetite for the usual self-congratulatory parades of the season.

    Focus has turned, instead, to what the Oscars might symbolize for a traumatized Los Angeles. The Oscars have never meant less, but, at the same time, they might be more important than ever as a beacon of perseverance for the reeling movie capital.

    The film academy... Read More

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