Sentences with phrase «syslo foley»

WE don't know when it is time for us to go... that is why there are prayer requests for people like foley... God DID answer their prayers... it was «no, it is time for foley to come home» Its sad when people limit themselves to only a few options about other people

A foley catheter.

I am strong because I was given foley bulbs to help the process, which was also much against my birth plan.

Thanks to reading vbac success stories and research I knew of the foley bulb and low dose pitocen

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skirt choies — amazon fashion top banana republic, old (similar) sandals zriey — amazon fashion earrings tiffany & co necklace gift from my boy < 3 clutch corinne & foley

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The volleyball team is just the right size for a manageable ensemble, the games are fast - paced and often exciting, and the foley artists have fun with the litany of satisfying thwacks and thunks created by various serves, bumps, sets, and spikes.

Curiously, the only English subtitle option is English SDH, meaning the captions sometimes distractingly include the odd line of dialogue spoken in English and various foley cues.

«The Soundscapes of Middle - earth» lasts 21 minutes and 25 seconds as it presents remarks from Peter Jackson, Barrie Osborne, Rick Porras, Christopher Lee, Mike Horton, Mark Ordesky, supervising sound editor / co-designer Ethan Van der Ryn, supervising sound editor Mike Hopkins, ADR recordist Chris Ward, sound designer David Farmer, re-recording mixers Chris Boyes and Michael Semanick, foley artists Simon Hewit and Phil Heywood, sound effects editor Brent Burge, and foley engineer Martin Oswin.

It's meticulously directed, the foley is as sharp and crowd pleasing as the finest Mamet dialogue, and Krasinski doesn't neglect the emotional core of the film — the family vying to survive, whose tensions, divisions and turmoil we experience in near silence, but with great expressivity and economy.

A French Dolby Digital 5.1 option is very nice, but an A / B comparison reveals that the DTS soundstage is broader and boasts more separation between instruments in the score, foley, and dialogue.

The sounds of trees, wind, and rustling clothes were created by their team, with additional foley assistance from Toronto - based Foley One («The Shape of Water»).

But it's not just the game's foley effects that make it work.

At one point, Whitcher talks about how he sent some foley artists to Hollywood prop houses to bring back everything Western - related, and it shows in the game's soundscape.

The film's foley editor Morgane Thomas and foley artists Louis Naudin and Nicolas Fioraso created a quietly intricate network of otherworldly noises that torment mourning medium Maureen (Kristen Stewart) with vague suggestions of what might be present.

SOFIA THE FIRST «The Curse of Princess Ivy» Walt Disney Productions PRODUCED BY: Jamie Mitchell, Craig Gerber, Clay Renfroe DIRECTED BY: Jamie Mitchell, Mircea Mantta SUPERVISING SOUND EDITORS: Timothy J. Borquez, MPSE, Thomas Syslo FOLEY ARTIST: Diane Greco SOUND EFFECTS EDITORS: Alex Borquez, Tony Orozco, Daisuke Sawa DIALOGUE / ADR EDITOR: Nick Gotten

THE NIGHT GUARDIAN University of Southern California, School of Cinematic Arts PRODUCED BY: Kyle Dare, Jamari Perry DIRECTED BY: Brian Ott SUPERVISING SOUND EDITORS: Zheng Jia, Reese Robinson SOUND DESIGNER: Zheng Jia SUPERVISING SOUND EFFECTS / FOLEY / MUSIC EDITOR: Zheng Jia SUPERVISING DIALOGUE / ADR EDITOR: Reese Robinson FOLEY ARTISTS: Kyle Dare, Brian Ott DIALOGUE / ADR EDITOR: Reese Robinson

THE NORMAL HEART Home Box Office PRODUCED BY: Dante Di Loreto, Dede Gardner, Alexis Woodall, Gina Lamar DIRECTED BY: Ryan Murphy SUPERVISING SOUND EDITOR: Gary Megregian, MPSE SOUND DESIGNERS: Timothy A. Cleveland, John Petaja SUPERVISING FOLEY EDITOR: Scott Curtis, MPSE FOLEY ARTISTS: Alicia Stevenson, Dawn Lunsford SOUND EFFECTS EDITOR: Paul Diller

HOW TO TRAIN YOUR DRAGON 2 DreamWorks Animation PRODUCED BY: Bonnie Arnold DIRECTED BY: Dean DeBlois SUPERVISING SOUND EDITORS: Randy Thom, Michael Silvers SOUND DESIGNER: Randy Thom MPSE, Al Nelson SUPERVISING DIALOGUE / ADR EDITOR: Brian Chumney FOLEY ARTISTS: Sean England, Robin Harlan, MPSE SOUND EFFECTS EDITORS: Mac Smith, Jeremy Bowker FOLEY EDITORS: Pascal Garneau, Sue Fox

DAWN OF THE PLANET OF THE APES Chernin Entertainment PRODUCED BY: Peter Chernin, Dylan Clark DIRECTED BY: Matt Reeves SUPERVISING SOUND EDITORS: Will Files, Douglas Murray SUPERVISING FOLEY EDITOR: John Murray FOLEY ARTISTS: Dan O'Connell, Andy Malcolm SOUND EFFECTS EDITORS: John Morris, Jack Whittaker, Scott Guitteau, Doug Jackson, Mac Smith, David Grimaldi, FOLEY EDITORS: John Murray, Scott Curtis, Thomas Small

LEAGUE OF LEGENDS — «A NEW DAWN» Riot Games SUPERVISING SOUND EDITORS: Riot Games Audio Team SOUND DESIGNERS: Riot Games Audio Team SUPERVISING DIALOGUE / ADR EDITOR: Riot Games Audio Team FOLEY ARTISTS: Gary Hecker, Gary Marullo SOUND EFFECTS EDITORS: Riot Games Audio Team

CAPTAIN AMERICA: THE WINTER SOLDIER Marvel Studios PRODUCED BY: Kevin Feige, Victoria Alonso DIRECTED BY: Joe Russo, Anthony Russo SUPERVISING SOUND EDITORS: Shannon Mills, Daniel Laurie SOUND DESIGNER: David Hughes, Al Nelson SUPERVISING FOLEY EDITOR: Nia Hansen FOLEY ARTISTS: Ronni Brown, Sean England SOUND EFFECTS EDITORS: Josh Gold, Ken Fischer, Jeremy Bowker, JR Grubbs, Richard Hymns, David Acord FOLEY EDITOR: Dee Selby

FAR CRY 4 Ubisoft Montreal PRODUCED BY: Dan Hay SUPERVISING SOUND EDITOR: Chris Ove SOUND DESIGNERS: Kevin Vail, Eduardo Vaisman SUPERVISING FOLEY EDITOR: Martin Laplante SUPERVISING DIALOGUE EDITOR: Philip Hunter FOLEY ARTISTS: Alexis Farand, Tchae Measroch SOUND EFFECTS EDITORS: Marc Gagnon, Jean - Francois St - Pierre, Chris Groegler, Matte Wagner DIALOGUE / ADR EDITORS: Carl Bramucci, Emmanuelle Novero SUPERVISING MUSIC EDITOR: Jerome Angelot MUSIC EDITOR: Simon Laundry

PRODUCED BY: John Logan, Sam Mendes, Pippa Harris, Sheila Hockin DIRECTED BY: J.A. Bayona SUPERVISING SOUND EDITOR: Jane Tattersall, MPSE SOUND DESIGNER: Oriol Tarragó FOLEY ARTISTS: Andy Malcolm, Goro Koyama SOUND EFFECTS EDITORS: David Rose, MPSE, Marc Bech

BIRDMAN New Regency Pictures PRODUCED BY: Alejandro Gonzalez Inarritu, James W. Skotchdopole DIRECTED BY: Alejandro Gonzalez Inarritu SUPERVISING SOUND EDITORS: Martin Hernandez, MPSE, Aaron Glascock SOUND DESIGNERS: Aaron Glascock, Peter Brown SUPERVISING FOLEY EDITOR: Goeun Lee FOLEY ARTISTS: Catherine Harper, Jeffrey Wilholt, Gary Marullo SOUND EFFECTS EDITORS: Roland N. Thai, Jeremy Peirson, Alejandro Quevedo, Albert Gasser SUPERVISING FOLEY ARTIST: Gary Hecker FOLEY EDITOR: Joe Dzuban

THE BOXTROLLS Laika Entertainment PRODUCED BY: David Ichioka, Travis Knight DIRECTED BY: Anthony Stacchi, Graham Annable SUPERVISING SOUND EDITORS: Tom Myers, Ren Klyce SOUND DESIGNER: Tom Myers, Ren Klyce SUPERVISING FOLEY EDITOR: Thom Brennan FOLEY ARTISTS: John Roesch, Jana Thorpe SOUND EFFECTS EDITORS: Dustin Cawood, David Hughes, Benjamin A Burtt DIALOGUE / ADR EDITOR: Marilyn McCoppin MUSIC EDITOR: Jonathon Stevens ADR EDITOR: Marilyn McCoppin FOLEY EDITOR: Jeremy Molod

Merantau Films PRODUCED BY: Aram Tertzakian, Nick Spicer, Rangga Maya Barack - Evans DIRECTED BY: Gareth Evans SUPERVISING SOUND / FOLEY EDITOR: Jonathan Greber SOUND DESIGNERS: Brandon Proctor, Al Nelson FOLEY ARTIST: Sean England SOUND EFFECTS EDITORS: Dug Winningham, Kim Foscato

Sound is equally modest, the mono track often muffled by the circumstances of its location shooting, which makes the foley effects of crowd noise and rodeo sounds even more tinny to the ear.

Meanwhile, sound editors Christopher S. Aud and Aaron Glascock discuss their unique approach to foley on the film, which involved creating effects in locations that acoustically mimicked the environments depicted on screen — an ethos Kaufman says carried over into leaving in the imperfections of the dialogue recording (like breathing) that animation studios normally edit out.

Prediction: If La La Land takes this award home, it'll be proof that Oscar voters don't always know what they're voting for; Sound Editing is chiefly about the creation of original sonic elements, and honking car horns don't exactly stretch the talents of Hollywood's hardest - working foley artists.

The jungle environment boasts an apt offering of foley effects and a nice use of all the channels.

And of weirdly loud foley work when wine is being consumed?

It would have been much more impressive and engaging if it had merely been the foley art that carried the scares.

If anyone deserves an honorable mention in the credits of this movie, it would be the «foley» artists.

Then he extends that notion of how meaning and emotion can be conveyed representationally, by having Jones follow the saga of some hatchlings at his mum's house via letters that the audience has to read; and by lovingly photographing the contours of the vegetables that stand in for women's hacked - up bodies in Jones» foley process.

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...

In several dialogue - free sequences, foley and sound design carry the story, and they're fantastically realized on this platform.

Surrounding atmospherics are also poorly handled; whether it's Shy doing yardwork or meeting back up with his friend after barely escaping from Andrea's room after oversleeping one morning, the film is riddled with examples of on - screen, foregrounded action featuring no corresponding foley work.

Thanks to Sasha Stone @ Awards Daily FEATURE FILMS CATEGORY BEST SOUND EDITING: SOUND EFFECTS AND FOLEY IN A FEATURE FILM Drive Fast Five The Girl with the Dragon...

The 5.1 DTS - HD MA track is similarly problematic, to say the least: most if not all of the foley is illogically directed to the rear channels — at an obnoxious volume to boot.

The Dolby 1.0 mono sound does what it must, granting room to the James Bernard score and allowing for subtleties in the foley work, like the skreeee of Frankenstein's scalpel circumscribing a skull.

Apparently this is a «remaster» as opposed to a «remix,» so I'm going to give the sometimes digital - sounding foley the benefit of the doubt.