Issue link: https://digital.copcomm.com/i/1541592
M OT I O N P I CTU R E S O U N D E D I TO R S 85 large recording surfaces and props in place and ready for immediate use while accomplishing other tasks. The stage's various surfaces, water pits, and storage areas were now being fully utilized. The diligent work and creative attention to detail on Gangs of New York did not go unrecognized, as the film earned an Oscar nomination for Best Sound. fter completing these projects, C5 upgraded its control room technology, replacing the Cooper sound mixer with a Digidesign C24 control surface, adding an eight-channel Millennia mic preamp, and switching to Digidesign's Pro Tools digital audio workspace. This transition increased the track count and improved "in-the- box" mixing capabilities, elevating the quality of the output. The team also expanded its mic setup to a total of four shotgun microphones, allowing for simultaneous different sonic perspectives by simply opening up different faders. In 2003, Skip Lievsay left the partnership to pursue freelance work on the West Coast. Sound supervisor Paul Hsu stepped in and joined Ron Bochar and Phil Stockton as a new partner, opening the door for collaborations with Sound Supervisors time at C5's Foley House. For the next eight years, Marko and George continued collaborating on a string of critically acclaimed projects, including The Devil Wears Prada, Brokeback Mountain, The Departed, The Aviator, True Grit, Intolerable Cruelty, The Missing, The Stepford Wives, The Manchurian Candidate, Robots, Cinderella Man, Capote, The New World, Inside Man, The Good Shepherd, Across the Universe, Julie & Julia, Salt, Morning Glory, and many others. 2011 brought the team together again with the great sonic collaborator, Martin Scorsese, for his new film, Hugo. Boy, was the team in for a treat. Similar to the approach taken on Hulk, sound supervisor Eugene Gearty spent three days on the Foley stage exclusively recording the mechanical movements for the different clocks seen and heard throughout the movie, as well as a variety of metal footsteps heard within the maze of the train station. The work by Foley editors Frank Kern, Kam Chan, and Jamie Baker was crucial in helping to secure the Oscar nominations and wins for Eugene Gearty and Phil Stockton (Best Achievement in Sound Editing) and Tom Fleischman and John Midgley (Best Achievement in Sound Mixing). In 2012, Ang Lee's Life of Pi began post-production, and once again, the Lew Goldstein, Ben Chea, and Ruy Garcia working with new directors looking to bring their projects to life. Movies like Y Tu Mama Tambien, Ash Wednesday, Frida, The Human Stain, The Angry Inch, and many more independent gems were stepped and recorded at the C5 Foley House stage during this period. By the end of 2003, Ang Lee's Hulk was the first Marvel movie made outside of the MCU World. Sound supervisor Eugene Gearty and sound designer Paul Urmson, along with their team, spent five days at the Foley stage, recording a dedicated 5.0 library of destruction sounds for Hulk. By the time they finished recording, there was approximately six feet of debris lying on the dirt pit in the stage. Capturing the Hulk's interaction with his environment in explicit detail was a monumental task. From the sounds of his enormous body rubbing against surfaces to the sound of a fire suppression system running water down his massive form, the Foley team met the challenge, solidifying the director's trust in the sound design team. After clearing the stage, the crew subsequently recorded the rest of the Foley for the film, meticulously edited by Foley editors Frank Kern, Steve Visscher, and Jamie Baker, making it the largest project ever recorded at the A Eugene Gearty for Men In Black II, 2002. Eugene for Men In Black II.