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Wylie Stateman talks sound editing
on The Hateful Eight
By Jennifer Walden

Quentin Tarantino’s go-to supervising sound editor Wylie Stateman, of Twenty Four Seven Sound, reveals the secret sauce of the director's cinematic style: “He is truly an aural enthusiast and very much a sculptor of his cinema through the use of sound and music.”

That applies to dialogue as well, as Tarantino likes to cast actors with interesting voices. “Sound is a major contributor to Quentin’s films and often the secret sauce that makes the meal just gel and come together as a coherent recognizable work,” says the veteran audio pro, who has seven Oscar noms under his belt, including two for Tarantino's Django Unchained (2012) and Inglourious Basterds (2008).

Stateman, who’s been working with Tarantino since Kill Bill Vol. 1 (2003), feels it’s been a privilege having the opportunity to explore his vision as a filmmaker since his love for sound and music is such an integral part of his process. “Audio is very different from the other filmmaking aspects,” he explains. “You design a costume and you can hold it up, feel the material and see how it reacts to light. It’s real. Audio is very mysterious — a force that is just truly present in the moment. It’s just a vibration in the room. It’s something that the audience experiences but can’t see and can’t touch. It’s a different kind of art form, and as an audio artist I love working for Quentin because he is so particular and he values the contribution that sound makes to the experience of watching his film.”

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Bling Digital: Proving the worth of LTO
data archiving

Bling Digital designs and manages digital workflows for film and television productions. They also provide digital lab services, edit systems and post services. Working with their parent company SIM Group, Bling has the ability to provide complete production packages — from the camera through final delivery — so they understand the importance of archiving. More on that later.

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The sound of VR at Sundance and Slamdance
By Luke Allen

If last year's annual Park City film and cultural meet-up was where VR filmmaking first dipped its toes in the proverbial water, count 2016's edition as its full-on coming out party.

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Highlights: Sundance’s
New Frontier
By Kristine Pregot

MPC Creative provides film, VR project for Faraday

New LTO-7 archive
solution from XenData

EP Blythe Klippsten returns to Zoic for series work

Red DSMC2 product line to support Avid DNxHR, DNxHD

Slamdance, Sundance: Its value to audio post pros
By Cory Choy

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