Golden Reels high on sci-fi

'Avatar,' 'Up' nab sound editor honors

It was a sci-fi night Saturday as roughly 1,200 people gathered at the Westin Bonaventure in Los Angeles to honor sound editors.

The “Avatar” team snagged two Golden Reel Awards on the film side while Syfy’s “Battlestar Galactica” bagged two in the television category.

The Fox blockbuster picked up nods for sound editing of music in a feature film as well as sound effects and foley at the Motion Picture Sound Editors’ gala. Other film winners included “Up,” “District 9,” “Inglorious Basterds” and “This Is It,” with one trophy apiece.

Final “Galactica” episode scored nods for longform dialogue and ADR as well as longform effects and foley. Other TV winners included “The Penguins of Madagascar,” “True Blood,” “House” “Spectacular!” and “Glee.”

ADR editor Larry Singer was given a lifetime achievement nod. He’s the first ADR editor to receive that honor.

Org also hailed helmer Steven Spielberg with its MPSE Filmmaker award. Spielberg told the sound editors that they are “the artists who have given the films and movies I directed a dimension of sound that has made those movies the full 3D experience, but you don’t have to wear glasses because of what you do.”

Spielberg later charmed a group of high-schoolers who participated in the Inner City Filmmaker program, saying, “You’ll have to tell me your names so I know who you are when you’re famous.”

And the winners are:


Best Sound Editing: Sound Effects, Foley, Dialogue, ADR and Music in an Animation Feature Film
Supervising Sound Editor: Michael Silvers
Supervising Sound Editor/Sound Designer: Tom Myers
Supervising Foley Editor: Pascal Garneau
Music Editor: Stephen M. Davis, M.P.S.E.
Sound Effects Editors: Al Nelson, J.R. Grubbs, Teresa Eckton, M.P.S.E.
Foley Editor: Jonathan Null
ADR Editor: Steve Slanec
Foley Artists: Jana Vance, Dennie Thorpe

Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in a Foreign Feature Film
“District 9”
Supervising Sound Editors: Brent Burge, Chris Ward
Sound Designer: Dave Whitehead
Sound Effects Editors: Hayden Collow, Melanie Graham
Dialogue/ADR Editors: Polly McKinnon, Justin Webster
ADR Editors: Jason Canovas, Mark Franken
Foley Editor: Craig Tomlinson
Foley Artists: Robyn McFarlane, Carolyn McLaughlin

Best Sound Editing: Music in a Feature Film
Supervising Music Editor: Jim Henrikson
Music Editors: Dick Bernstein, Michael Bauer

Best Sound Editing: Music in a Musical Feature Film
“This Is It”
Supervising Music Editors: Michael Prince, Ryan Rubin, Scott Stambler

Best Sound Editing: Dialogue and ADR in a Feature Film
“Inglorious Basterds”
Supervising sound editor: Wylie Stateman
Supervising dialogue editor: Margit Pfeiffer
Supervising ADR editor: Gregg Baxter
dialogue/ADR editor: Nancy Nugent-Title

Best Sound Editing: Sound Effects and Floey in a Feature Film
Supervising Sound Editor/Sound Designers: Addison Teague, Chris Boyes
Supervising Foley Editor: Luke Dunn Glelmuda
Foley Editor: Jim Likowski
Sound Effects Editors: Ken Fischer, Shannon Mills, Tim Nielsen, Chris Scarabosio
Foley Artists: Dennie Thorpe, Jana Vance


Best Sound Editing: Sound Effects, Foley, Dialogue, ADR and Music Animation in Television
“The Penguins of Madagascar” – “What Goes Around”
Supervising Sound Editors: Paulette Victor Lifton, James Ian Lifton
Sound Designer: Ian Nyeste
Supervising Foley Editor: Aran Tanchum
Supervising Dialogue Editor: Michael Petak
Supervising ADR Editor: Jason Stiff
Music Editor: Dominick Certo, M.P.S.E.
Foley Artist: Vincent Guisetti
Dialogue Editor: Oliver Pearce
Foley Editor: Matt Hall
Dialogue & Music Editor: D.J. Lynch
Sound Effects Editor: Lawrence Reyes

Best Sound Editing: Long Form Dialogue and ADR in Television
“Battlestar Galactica” – “Daybreak, Part 2”
Supervising Sound Editors: Daniel Colman, M.P.S.E., Jack Levy
Supervising Dialogue/ADR Editor: Vince Balunas

Best Sound Editing: Short For Dialogue and ADR in Television
“True Blood” – “Beyond Here Lies Nothin — #212”
Supervising Sound Editor: John Benson, M.P.S.E.
Supervising Dialogue/ADR Editor: John Benson, M.P.S.E.
Sound Editors: Christian Buenaventura, Jason Krane

Best Sound Editing: Long Form Effects and Foley in Television
“Battlestar Galactica” – “Daybreak, Part 2”
Supervising Sound Editor/Sound Designer: Daniel Colman, M.P.S.E.
Supervising Sound Editor: Jack Levy
Supervising Foley Editor: Sam C. Lewis
Foley Artists: Doug Madick, Richard Partlow

Best Sound Editing: Short Form Effects and Foley in Television
“House M.D.” – “Epic Fail”
Supervising Sound Editor/Sound Designer: Bradley North
Sound Designer: Luis Galdames
Supervising Foley Editor: Craig Rosevear
Sound Effects Editor: Luis Galdames
Foley Editor: Harry Woolway, M.P.S.E.
Foley Artists: Michael Lyle, Paul Stevenson

Best Sound Editing: Long Form Music in Television
Supervising Music Editor: Michael Dittrick
Music Editor: Ben Zales

Best Sound Editing: Short Form Music in Television
“Glee “Pilot”
Music Editor: David Klotz


Best Sound Editing: Direct to Video
“Something, Something, Something, Darkside”
Supervising Sound Editor: Bob Newlan, M.P.S.E.
Sound Designer: Andrew Ellerd
Music Editor: Stan Jones
Foley Artist: Dale Perry
Dialogue Editors: Patrick Clark, Mark Eklund
Sound Effects Editor: Brian Nichols
Music Editor: Doug Lackey

Best Sound Editing: Computer Entertainment
“Uncharted 2: Among Thieves”
Supervising Sound Editors: Mark Jasper, M.P.S.E., Bruce Swanson
Sound Designers: Phillip Kovats, Lydian Tone, M.P.S.E.
Supervising Dialogue/ADR Editor: Elizabeth Johnson
Sound Effects Editors: Mark Camperell, Tom Hays, Chris Pinkston, M.P.S.E.
Foley Artist: Cynthia Merrill

Verna Fields Award in Sound Editing for Student Filmmakers
Supervising Sound Editors: Patrick Knipe, Paul Fonarev

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