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MPSE Sound Editors Nominees

The 2012 Golden Reel Award nominees in the categories Feature Films, Television and Others are as follows:

FEATURE FILMS CATEGORY

BEST SOUND EDITING: SOUND EFFECTS AND FOLEY IN A FEATURE FILM

  • Drive
  • Fast Five
  • The Girl with the Dragon Tattoo
  • Mission Impossible: Ghost Protocol
  • Rise of the Planet of the Apes
  • Super 8
  • Transformers: Dark of the Moon
  • War Horse

BEST SOUND EDITING: MUSIC IN A FEATURE FILM

  • Drive
  • The Girl with the Dragon Tattoo
  • Hop
  • Hugo
  • Priest
  • Super 8
  • Transformers: Dark of the Moon
  • The Tree of Life

(many more categories after the cut)

BEST SOUND EDITING: DIALOGUE AND ADR IN A FEATURE FILM

  • Abduction
  • The Help
  • Moneyball
  • Quarantine II: Terminal
  • Rise of the Planet of the Apes
  • Super 8
  • War Horse
  • The Way

BEST SOUND EDITING: MUSIC IN A MUSICAL FEATURE FILM

  • Footloose
  • The Muppets
  • Perfect Age of Rock ‘n’ Roll
  • Pina

BEST SOUND EDITING: SOUND EFFECTS, FOLEY, DIALOGUE, AND ADR IN AN ANIMATION FEATURE FILM

  • The Adventures of Tintin
  • Cars 2
  • Kung Fu Panda 2
  • Puss in Boots
  • Rango
  • Rio
  • The Smurfs

BEST SOUND EDITING: SOUND EFFECTS, FOLEY, DIALOGUE, ADR AND MUSIC IN A FEATURE DOCUMENTARY

  • Being Elmo: A Puppeteer’s Journey
  • Cave of the Forgotten Dreams
  • George Harrison: Living in the Material World
  • Lemmy
  • Pearl Jam Twenty

BEST SOUND EDITING: SOUND EFFECTS, FOLEY, DIALOGUE AND ADR IN A FEATURE FOREIGN LANGUAGE FILM

  • 1920. The World’s Most Important Battle
  • Circumstance
  • Tropa de Elite 2 (Elite Squad 2: The Enemy Within)
  • The Flowers of War
  • In the Land of Blood and Honey
  • Sarah’s Key
  • The Skin I Live In

TELEVISION CATEGORY

BEST SOUND EDITING: SOUND EFFECTS, FOLEY, DIALOGUE, AND ADR ANIMATION IN TELEVISION

  • Fanboy and Chum Chum “A Very Brrr-y Icemas #217″
  • Futurama “Law & Oracle”
  • Ice Age: A Mammoth Christmas
  • Kick Buttowski: Suburban Daredevil “Truth or Daredevil”
  • Kung Fu Panda: The Legends of Awesomeness “Sight for Sore Eyes – #108″
  • Lego Star Wars: The Padawan Menace
  • The Penguins of Madagascar “The Return of the Revenge of Dr. Blowhole”
  • Phineas and Ferb “Across the 2nd Dimension”

BEST SOUND EDITING: LONG FORM DOCUMENTARY

  • Gettysburg
  • Harlistas: An American Journey
  • Koran By Heart

BEST SOUND EDITING: LONG FORM MUSIC IN TELEVISION

  • The 12 Dates of Christmas
  • Alphas “Pilot”
  • Avalon High
  • Magic Beyond Words – The JK Rowling Story
  • Terra Nova “Occupation/Resistance – #12 & #13″

BEST SOUND EDITING: LONG FORM DIALOGUE AND ADR IN TELEVISION

  • Big Love “Where Men and Mountains Meet”
  • Cinema Verite
  • Homeland “Marine One”
  • Terra Nova “Occupation/Resistance – #12 & #13″
  • The Walking Dead “What Lies Ahead”

BEST SOUND EDITING: LONG FORM SOUND EFFECTS AND FOLEY IN TELEVISION

  • Cinema Verite
  • Homeland “Marine One”
  • Red Faction: Origins
  • Terra Nova “Occupation/Resistance – #12 & #13″
  • The Walking Dead “What Lies Ahead”

BEST SOUND EDITING: SHORT FORM DOCUMENTARY

  • Above The Ashes “Above the Ashes”
  • Man Made “Bugatti Super Car”
  • Tim Tebow: Everything In Between

BEST SOUND EDITING: SHORT FORM MUSIC IN TELEVISION

  • Camelot “110 – Reckoning”
  • CSI: Miami “Crowned”
  • Damages “Failure is Lonely”
  • Fringe “The Day We Died”
  • Justified “Brother’s Keeper”
  • Raising Hope “Prodigy”
  • Revenge “Pilot”

BEST SOUND EDITING: SHORT FORM MUSICAL IN TELEVISION

  • Glee “The First Time”
  • Grey’s Anatomy “The Song Beneath the Song”
  • The Playboy Club “Pilot”

BEST SOUND EDITING: SHORT FORM DIALOGUE AND ADR IN TELEVISION

  • The Big C “A Little Death”
  • Game of Thrones “Cripples, Bastards and Broken Things”
  • Hell on Wheels “Bread and Circuses – #105″
  • Leverage “The Van Gogh Job”
  • Person of Interest “#107 – Witness”
  • Smallville “Dominion”
  • Sons of Anarchy “To Be, Part 2″
  • The Walking Dead “Save the Last One”

BEST SOUND EDITING: SHORT FORM SOUND EFFECTS AND FOLEY IN TELEVISION

TO BE POSTED ON THE MPSE WEBSITE

OTHERS CATEGORY

BEST SOUND EDITING: COMPUTER EPISODIC ENTERTAINMENT

  • Aim High
  • Dagedar
  • Polly Pocket
  • Warehouse 13 “Of Monsters & Men”
  • When You Find Me

BEST SOUND EDITING: COMPUTER INTERACTIVE ENTERTAINMENT

  • Call of Duty: Modern Warfare 3
  • Diablo III Cinematics – Black SoulStone “Doom” and Intro “End of Days”
  • Gears of War 3
  • Need for Speed “The Run”
  • Skylanders Spyro’s Adventure Cinematics

BEST SOUND EDITING: DIRECT TO VIDEO – ANIMATION

  • Dragon: Gift of the Night Fury
  • Kung Fu Panda 2: Secrets of the Masters
  • Megamind: The Button of Doom
  • Quest for Zhu
  • The Smurfs: A Christmas Carol

BEST SOUND EDITING: DIRECT TO VIDEO – LIVE ACTION

  • Beethoven’s Christmas Adventure
  • Love
  • Street Kings 2: Motor City

BEST SOUND EDITING: SPECIAL VENUE

  • Rocky Mountain Express
  • Tornado Alley
  • Wildest Weather in the Solar System

VERNA FIELDS AWARD IN SOUND EDITING FOR STUDENT FILMMAKERS

  • Alma
  • Inferno
  • The Maiden and the Princess
  • The Pride of Wade Ellison
  • The Secret Numbers

 

36 Comments on this Post

  1. To be honest I don’t ever really understand the sound catagories…. What does this mean for Hugo for example? On one list but not the other. Which of these is the more important catagory?

  2. Hey just realised Drive is in the two Feature film catagories. Maybe it can be nominated. (but like I said I know next to nothing about this stuff)

  3. This makes the BAFTA sound nomination for The Artist a little clearer. Their category is just SOUND, not differentiated between mixing and editing. Putting music into a film is indeed sound editing. And the music in The Artist is hot!

    14 Oscar nominations for Hugo!

  4. soooo where’s harry potter? This really does not bode well for that film

  5. No harry potter? Bullshit!

  6. Dragoneer

    @Craig Z: Think of music and dialog sound editing as left/right balance, loudness, clarity and start/stop (cues). Sound effects editing as the creation of sounds not caught during the shoot, and placing it in the right place at the right loudness. Which is more important? They both are, hence two Oscar categories.

    That being said, my opinion is that action/fantasy/SF movies need good sound effects to make the visuals believable and more impressive. Good music & dialog sound editing can make the overall movie-going experience more pleasing (the ears are not as fatigued).

  7. As a former sound editor who has been previously nominated for an MPSE award, I can give you some insight. These awards are for sound EDITING only. That is to say, choice and placement of effects, clarity of dialogue and re-recorded ADR, music, etc. Mixing awards (ie L/R balance, overall volume, blending with other effects) are the purview of the Cinema Audio Society (CAS) and they have their own awards which are going on around this time.

    Dialogue editing, for example, is a very technical and precise craft involving the cleaning up of production sound, the use of alternate takes and ADR to replace originally recorded lines without the viewer noticing the change, the juggling of audio from multiple microphone sources in scenes with a large amount of movement from room to room, etc. The skillset for it is VERY different than the skillset for effects or music editing.

    Effects editing is about the selection of effects from libraries, effects recorded for the purpose of the episode, the use of those effects in creating original sounds (especially on sci-fi fantasy stuff where the thing being created has no real-world sound), and it also involves the use of foley effects (stuff recorded for the film in time with the film, like footsteps) and their editing after recording. Effects editing requires creativity in selection, in the understanding of how two effects will sound played together to create something new, there is often some pitch-shifting and tweaking, and attention to detail as all the little bits of image need sounds to go with them.

    Music editing involves working with the composer to arrange the score so that it fits optimally into the film. Oftentimes the score as written and recorded doesn’t work with the dialogue or the effects or it’s not quite what the director wants or there’s some other issue, a music editor is able to look at a piece of music and say “if we take out the percussion track or sub in this other cue instead it should work better” or something like that. They usually have access to the original recordings and stems of individual instruments and are authorized to make choices on behalf of the composer to maximize the music’s impact. In TV music editors often select previously used cues in the series that they can re-use in future episodes without calling attention to the re-use. Great music editors are worth their weight in gold because when it works well it’s totally invisible and the composer doesn’t have to micromanage how their music is used in a project.

  8. Dragoneer

    @Marcelo, thank you for the additional insight between editing and mixing, and correcting my explanation :)

  9. @whm94 yeah, I mean not that Harry Potter’s last movie is only good at visuual tech stuff, but this is weird…..unless the Academy or the critic associations have something against Harry Potter film series or the last film?

  10. Is there one category that’s a better indicator of a nomination than the others?

  11. And is the reason we don’t see Harry Potter, The Artist, or Tinker Tailor because they were ineligible, or they just didn’t make the cut?

  12. SClub88Official

    you are funny guy. are The Academy and critics asociation forced to nominate harry potter? Not really. They only thikg that the visual effects and art direction deserve some nomination. Because in other categories is not strong.

    They are not fans of harry potter, for that reason, they are objetives. They dont have againist that movie. Just it is nothing serious, just a bad written comedy about magician

  13. They definitely lost credibility at “Quarantine II: Terminal”

  14. Quarantine 2 nomination – finally!!! And so it begins…

    The best sequel since Electric Boogaloo

  15. No Artist or Harry Potter seems strange. Good for Tree Of Life though

  16. The omission of Harry Potter in any of the sound categories is appalling. Do these people have memories?

    Overjoyed by the recognition for “Drive”. Its nominations make total sense. “Drive” should win both sound and sound effects editing categories at the Oscars. Exceptional work done by the sound departments here.

  17. @Henry

    1) I’m a girl

    2) a bad written comedy about a wizard that made over a billion dollars in record time, broke alot of box office records, named the best reviewed film of the year by RottenTomatoes, was the most anticipated film event of 2011, was opened to universal critical acclaim, was declaired the best-selling DVD of 2011.

  18. The last great epic installment of the Harry Potter series is going to be the most overlooked movie (sadly) of the year. At least the members of the National Board of Review had the good sense to place it in their top 10 of the year. I’m hopeful there are at least 455 AMPAS members who will have the guts to place it on their No. 1 slot. The movie DESERVES a best picture nomination.

  19. Jonathan

    No Harry Potter? This is odd

  20. @Keifer you should tell that to those critics associations and the Academy for “snubbing” them out of the Best Picture race. I mean to me and alot of people it wasn’t fair.

  21. “Henry: Just it is nothing serious, just a bad written comedy about magician”

    You are just asking not be taken seriously.

  22. And yeah, shame it wasn’t nominated, but it’s expected. No I only see 3 nominations for Potter: Art Direction, Visual Effects, and Make-up.

  23. @Henry what about costume design?

  24. Jonathan

    Guys, forgive Henry. He doesnt know what he says

  25. Alexandre Desplat is popular with AMPAS. His music score for Harry Potter II is a stand-out. Should be nominated in that category also.

    I see at lesat 4 solid nominations – and perhaps 8 – for HP II:

    Cinematography, Art Direction, Score, Visual Effects, Makeup, Sound, Sound Effects Editing . . . and, God help me, BEST PICTURE

  26. Even those calling trolls to the HP fans will agree that it is ridiculous that Quarantine II gets a nom hera and HP doesn’t.

  27. @OCO300

    There wasn’t anything new with the costume design, so no.

  28. HP is bound to get noms only at Art Direction and Visual Effects. Score, maybe. But I am almost certain right now that they won’t give it a single award.

    I wonder why this kind of punishment, but I have my theory already, despite WB’s production, it’s essentially a British franchise that played the Hollywood game and beat it for a decade. For the industry it was hard enough already to kneel in front of the heavily New Zealand-financed Lord of the Rings trilogy, but in the end, NZ’s industry is small. Britain’s not. They produce in a cheaper way, and probably what gave the kiss of death awards-wise was Rowlings’ demand of actors being british, for the british roles.

    I only find this as a key factor. For naysayers a reminder: if they don’t have problems with nominate and even awarding movies like Chocolat, why should they have a problem with the Potter franchise other, than being british blockbusters?

    And I know, The King’s Speech. But that was a stand alone film, not a franchise of blockbusters. Anecdotic, you know.

  29. all of you dont know what say. I am right, because the academy didnt take in consideration to that movie. If you want to continue thinking that hp is sensacional, it is your problem. But I know what I say is objetive.

    Most of the peoples watched hp in the cinema for a reason. Seeing how that saga finished, That is it. The fans who read the book wanted to watch the movie without care the quality of it.

    By the way, trasformers has a box office record club88, and it is considered one of the worst picture.. So That argumet that you say, is wrong.

    The academy and every awards in this season gave their verdict. The saga finished without a masterpiece that deserve a best picture awards.

    Art direction, visula effect nomination, maybe sound… and make up., if they ignore the bad epilogue.

    costume design??? No definitely.

    Nothing againist that hp, just it is being overreated, because it is the end. Now there is despair for getting awards. When their work was not nothing special.

    The academy is not MTV or people choice.

  30. henry, you really need to shut your mouth(or stop typing).

  31. 1. Henry, let it go.

    2. Now that people have been so nice and explained the sound categories. What do you guys thing will be nominated.

  32. henry, you simply can’t make a valid point in a discussion, as you deliberately ignore that HP has been one of the most critically acclaimed films of the year. It’s virtually perfect in the technicals – whatever you feel of the film’s, screenplay or acting quality. It’s simply outstanding that they nominate Quarantine II: The Terminal and don’t HP 7.2. If you saw BOTH movies and paid attention to its quality, then it would be a matter of different tastes between you and me. But if you didn’t, just shut up. I was considering HP was simply put as “filler” but now I think that there’s been an active boycott to WB this year.

  33. It’s an absolute crime that I don’t see the words “We Need to to Talk About Kevin” anywhere here.

  34. HP2 was enetered for the MPSE awards but it doesn’t feature on the lists for films that were considered. Was it a clerical mistake? Explination please.

  35. I still think Harry Potter is greatly admired by people within the industry (and at least 5% of the Academy thinks so – or at least I presume so).

    It will be nominated for Best Picture tomorrow morning.

  36. @Keifer Same here

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