WRITTEN BY BOOM BOX POST
We are so excited to announce that Boom Box Post has received five MPSE Golden Reel Award nominations this year! Working from home has had its fair share of challenges, but getting this good news makes it all worth it. We cannot be more proud of the hard work our entire team has put into our projects this past year. Check out the nominations below!
Outstanding Achievement in Sound Editing (Non-Theatrical Long Form) - The Boss Baby: Back in Business
Supervising Sound Editor: Jeff Shiffman, MPSE
Additional Dialogue Editor: Xinyue Yu
Sound Editors: Greg Rubin, Ian Howard
Foley Editor: Carol Ma
Re-Recording Mixers: Kate Finan, MPSE, Jacob Cook
Boss Baby: Back in Business is a thrilling opportunity for a variety of creative sound design and mix techniques. “Get That Baby” is a multi-part choose your own adventure experience featuring some of the best Boss Baby villains and call backs to the series as a whole.
The wide variety of sci-fi baby technology was custom designed for the series, and features synthesized and recorded baby toy sound effects to give a unique feel. This special specifically features stylized video game scenes, which required us to creatively adapt the sound of the show to the lo-fi 16-bit style of the animation.
The series also features a realistic foley palette including custom footstep and cloth recordings that contrast with the designed sci-fi technology, lending to an engaging mix and sound aesthetic.
The choose-your-own-adventure aspect of this special presented a variety of editing and mixing challenges. The entire piece was edited in many tiny sections, some with only subtle deviation and much care was taken to keep sound design and mix extremely consistent throughout. This gives the viewer a nearly seamless experience as the mix feels smooth through all the playback and choice sections.
We would like to also give a huge thank you to our clients over at Dreamworks and Netflix for allowing us to be apart of this fun show!
Check out a little snippet of the interactive episode below:
Outstanding Achievement in Sound Editing (Non-Theatrical Long Form) - DuckTales
Supervising Sound Editor: Jeff Shiffman, MPSE
Dialogue Editor: Xinyue Yu
Sound Editor: Katie Maynard
Assistant Sound Editor: Tim Vindigni
Foley Editor: Carol Ma
Unlike other shows, the DuckTales sound team is able to pay tribute to and revitalize classic elements from the original 1987 iteration with a more modern flavor. “Let’s Get Dangerous” was a large undertaking because it was a mid-season two-part special, which amped up both the action and the design.
This episode expanded upon Darkwing Duck’s signature sounds, defining elements such as his various technologies and his motorcycle, building up to the arrival of classic super villains from the original series. We took a thorough and detailed approach to the motorcycle chases, explosive fight scenes, menacing robot, and the ultimate introduction of the science fiction device, the Ram Rod. The Ram Rod, while needing to sound like a massively exciting and threatening device, also needed to be adaptable as it changes form throughout the episode. Any expansion upon these original sounds needed to have similar sonic properties so it could be recognized in every form. The device not only powers up, but we needed to design a malfunction sequence, the device growing with power, the sound of characters entering and exiting the portal, and an array of other interactions with the device.
Shoutout to our clients over at DTVA for letting us be apart of the crew!
The FULL episode is on Youtube! How awesome! Check it out:
Outstanding Achievement in Sound Editing (Non-Theatrical Long Form) - The Epic Tales of Captain Underpants
Supervising Sound Editor: Jeff Shiffman, MPSE
Additional Dialogue Editor: Xinyue Yu
Sound Editors: Greg Rubin, Jessey Drake, MPSE
Foley Editor: Carol Ma
Re-Recording Mixers: Jeff Shiffman, MPSE, Jacob Cook
The Epic Tales of Captain Underpants sure lives up to its name! The sound-fueled comedic absurdity of the show takes on many styles of sound editorial and design. In The Xtreme Xploits of the Xplosive Xmas there were, of course, the building blocks of custom sounds developed for the show such as Captain Underpants’ flying whooshes recorded vocally by our Supervising Sound Editor, the comic book styled sounds recorded by both our Sound Editor and Supervising Sound Editor using various household items and vocal recreations of the sounds to imply that George and Harold themselves supply the sounds while reading their comic books aloud. For this episode, we also recorded our own walla for Santa’s Elves, designed some creature vocals and ran into editorial challenges like a coliseum crowd cheering on as Captain Underpants takes on a gang of mech robots before Santa dons his own massive mech suit!
Captain Underpants also requires a great deal of care on the mix stage. In order to emphasize the zany nature of the show, we use an abundance of additional reverbs, delays, and creative vocal processing. This helps to support the fast paced, action packed craziness this show delivers time and again.
Thanks so much to our clients at Dreamworks and Netflix for letting us be apart on this show!
This episode is not on Youtube, but you can check it out on Netflix!
Outstanding Achievement in Sound Editing (Non-Theatrical Long Form) - The Loud House
Supervising Sound Editor: Tess Fournier, MPSE
Sound Editors: Tess Fournier, MPSE, Brad Meyer, MPSE, Katie Maynard, Tim Vindigni
Foley Editor: Carol Ma
Re-Recording Mixers: Jeff Shiffman, MPSE, Noelle Dimarco
We’ve created a unique universe through sound for The Loud House. From its start, we recorded violins, banjos, found objects and more in order to design an entirely unique library of cartoon sound effects, giving this show its wonderfully recognizable signature sound. “Schooled” gave us a fun opportunity to show off the distinctive soundscape we’ve fashioned in a longer format.
This episode is a musical, filled with songs. Balancing singing and score with sound design in the musical moments was afun mix challenge.To ensure a successful mix, we edited all effects to the work within the beat and key of each song; all elements supporting the music without overpowering it. We also took special note of the changes in location throughout. We added a lot of offscreen content from the chaotic sisters in the beginning getting-ready-for-school sections and made sure Canada sounded nightmarishly chilly with whistling gusts of winds and freezing icy crackles. From Potty Bot’s zippy retro-inspired futuristic sounds to the many painfully beefy impacts, we took special care to ensure each sound fit perfectly into the universe we’ve constructed throughout the years. The Loud House is a labor of love for our sound team and we were thrilled to work on this fantastic special episode.
A special shout out to our amazing team over at Nickelodeon! You guys rock!
This episode was a blast! Check it out:
Outstanding Achievement in Sound Editing (Animation Short Form) - The Boss Baby: Back in Business
Supervising Sound Editor: Jeff Shiffman, MPSE
Additional Dialogue Editor: Xinyue Yu
Sound Editors: Greg Rubin, Ian Howard
Foley Editor: Carol Ma
Re-Recording Mixers: Kate Finan, MPSE, Jacob Cook
Boss Baby: Back in Business is a fantastic opportunity for creative sound design and mixing. “Escape From Krinkles” features a wide palette of the kind of creative sound design we use in the series. The sounds of the babysitting robots and machines were custom designed to help sell the “friendly baby technology” vibe of the secretly sinister Bubbeezee company. It was important to make all of the machines sound friendly and powerful, with the occasional sinister edge, like the giant pink cyclops robot and the high tech magnetic alarm gate.
An additional challenge in this season was the task of covering the dialogue of multiple characters entirely with sound design. Most of the babies in the real world communicate through real life “baby talk;” nonsense baby vocalizations. We created an extensive library of these non-English vocalizations for each main character, much of which we custom recorded ourselves. All emoting from these characters was accomplished through sound design.
The episode also presents some exciting mixing challenges. The aesthetic is generally very realistic, featuring a full sounding foley mix in addition to the sci-fi design elements. We work hard to showcase these detailed sound effects while also featuring the bombastic hip-hop music composition at key moments.
This one isn’t on Youtube, but you can check it out on Netflix!
We would also like to give a special shout out to all the other nominees and entrants! There are so many talented sound crews working hard every day to push our medium forward and make great content. We are honored to play our small part in this amazing industry.
You can check out the full nomination list here!
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CONGRATULATIONS TO THE BOOM BOX POST EMMY NOMINEES!
A WIN FOR BOOM BOX POST AT THE 2017 MPSE GOLDEN REEL AWARDS!
BOOM BOX POST EARNS FIRST MPSE NOM