Mcgarrybowen teams up with director Martin Campbell to tumble forward with excitement for the new Sharp 90″ Aquos TV in the :30/:60 “Not For The Faint of Heart” for Sharp, edited by Avi Oron of Bikini Edit. Sonic Union mixers Paul Weiss and Rob McIver collaborated with Sound Designer Brian Emrich on the spot which features the high-risk exploits of three extreme athletes as seen in high definition on the LED screen of a Sharp Aquos. The stunning imagery is further enhanced through a first-person audio experience, allowing audiences a driver’s seat spot for these full-throttle adventures.rnrn
rnClick HERE to view the spot.rnrn”Not For The Faint of Heart” opens on a luger, careening full speed down the track. We quickly cut to a teenage boy prepping for a flip off of a building’s edge, later launching himself into a headfirst tumble through the open doors of a Sharp van. His tumble finishes out with a cut to a parachutist plummeting out of a plane with a rocky Cliffside underneath him. As he continues downward, a voiceover begins, “Breath-taking color, spine-tingling depth and way bigger than life.” The shot pans out to reveal the image on the screen of a Sharp 90″ Aquos in a family’s living room. We intercut between images of the three extreme athletes accompanied by the voiceover, “It’s not for the faint of heart.” The spot closes with a shot of the Aquos followed by the Sharp logo and the voiceover, “The world’s largest LED TVs, only from Sharp.”rnrnCreditsrnClient: SharprnTitle: “Not For the Faint of Heart” :30/:60rnAgency: mcgarrybowenrnProducer: Maria RealrnExecutive Creative Director: Jane WalshrnCreative Director: Jim FosterrnArt Director: Paola LlanezernProduction Company: Saville ProductionsrnDirector: Martin CampbellrnEditor: Avi Oron, Bikini EditrnPost EFX: Quiet ManrnMusic Producer: Kate UrciolirnSound Design: Brian EmrichrnAudio Post: Sonic UnionrnMixers: Paul Weiss (:30), Rob McIver (:60)rnrnAbout SONIC UNIONrnSteve Rosen, Michael Marinelli, and Adam Barone got together for some pints in 2007. After way too many of those, they hatched an audacious plan that would eventually give rise to Sonic Union in late 2008 – their 8,000 foot treehouse and audio mix playground overlooking Union Square.rnrnOver a short period, they’ve grown both staff and capabilities to include: music supervision, motion design production, and voiceover/on-camera casting to their established role as the premiere audio boutique inrnNew York. Award-winning agencies, editorial firms, visual effects studios, and production houses routinely collaborate with Sonic Union for sound and motion expertise. Swing on by and let’s play. www.sonicunion.com
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Goldcrest Post Speeds Delivery of “Severance” Season Two
Goldcrest Post provided post services for both seasons of Severance, including picture editorial support, sound editorial, ADR and sound mixing
The New York Times recently wrote that the just-released Season Two of Severance will “blow your mind”—and we couldn’t agree more. Created by Dan Erickson and Ben Stiller, the Apple TV+ drama is smart, spellbinding, distinctly original and packed with surprises. For those who aren’t already devoted fans, the show centers on Mark Scout (Adam Scott), leader of a team at Lumon Industries, whose employees have undergone a “severance” procedure that surgically divides their memories between their work and personal lives. Goldcrest Post provided post services for both seasons of the show, including picture editorial support, sound editorial, ADR and sound mixing. Editorial for Season One began in 2020. Due to the restrictions imposed by the pandemic, Goldcrest supplied both onsite production offices and edit suites, and remote editing systems for individual editors, with everything linked to a central server. "Mixing at Goldcrest with our team has been a great experience,” says Stiller. “Bob and Jacob are in sync with our creative process and so good at what they do that the experience is always one where it's about how we can enhance the creative vision, with a baseline of knowing everyone is totally committed to making something as good as it can be." Diana Dekajlo, the show’s co-producer, says that the arrangement worked so well, they chose to continue the hybrid approach for Season Two. “We’re a remote friendly show,” she explains. “Whether we’re at Goldcrest, our studio in the Bronx or at home, our workflow is seamless. I conduct remote daily meetings with my immediate staff, and weekly meetings with editorial and VFX, and we talk to each other as if we were just down the hall. It makes for great staff... Read More
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