Тодд АО: Америкалық пост-продакшн компаниясының тарихы

American post production company

Todd AO is an American post production company founded in 1953 by Mike Todd and Robert Naify, providing sound related services to the motion picture and television industries. For more than five decades, it was the worldwide leader in theater sound. The company retains one facility, in the Los Angeles area. Todd AO is also the name of the widescreen, 70 mm film format that was developed by Mike Todd and the Naify brothers, owners of United Artists Theaters in partnership with the American Optical Company in the mid 1950s. Todd AO had been founded to promote and distribute this system.

Todd AO began as a high resolution widescreen film format. It was co developed in the early 1950s by Mike Todd, a Broadway producer, and United Artists Theaters in partnership with the American Optical Company in Buffalo, New York. It was developed to provide a high definition single camera widescreen process to compete with Cinerama, or as characterized by its creator, "Cinerama outta one hole". Where Cinerama used a complicated setup of three separate strips of film photographed simultaneously, Todd AO required only a single camera and lens. The company's focus began to shift after Mike Todd's sudden death in an airplane accident in 1958. The 70 mm Todd AO process was adopted by Panavision, Cinerama and others. As the production and exhibition markets became saturated with Todd AO System hardware, the focus of the company gradually began to narrow down to the audio post production side of the business, and Todd AO became an independent sound mixing facility for commercial motion picture films and television after acquiring Glen Glenn Sound in 1986. In May 2014, Todd AO's parent company, Todd Soundelux, filed for Chapter 11 bankruptcy protection. As part of the bankruptcy proceedings, the company closed its Hollywood and Santa Monica facilities, leaving only their Burbank location operational. On November 17, 2014, Sounddogs acquired the Todd Soundelux Trademarks (Todd AO and Soundelux) and Copyrights (Sound Effects Library) through Federal Bankruptcy Court (Central District Case No. 2:14 bk 19980)

The Todd AO process uses two separate film stocks; a 65 mm negative is used during production and then used to produce the 70 mm positives for distribution. The sprocket hole perforations on the two are the same, and the positives are printed using contact printing with the negatives centered on the larger 70 mm film. Contact printing was used on prints that were to be "double system," using a separate, synchronized 35 mm full coat magnetic film for the 6 sound tracks, in addition to the 70 mm film for the picture. The much more common 70 mm release prints used a slightly optically reduced picture, and placed four of the soundtracks on either edge outside of the perforations, and two more soundtracks inside the perforations, providing a total of six soundtracks, on a 7.5 mm magnetic surface. It is a common error to suppose that only 5 mm of space was devoted to the soundtracks, perhaps because writers do the math and find that 70 65 = 5, not allowing for a slightly reduced picture area to accommodate two tracks inside the sprocket holes, as well as four outside, and perhaps because the souvenir program for Around the World in Eighty Days made the same error. Anyone with a release print in front of them would immediately see the tracks between the picture and the holes, as well as the wider tracks (to hold two tracks each) outside the holes. They can be seen in Figure 1 of this article, above the caption "positive 70 mm". Todd AO soundtracks were very high fidelity, and could still compete with modern digital tracks above 40 kHz. Even though there were no subwoofers in theaters in those days, Todd AO delivered high impact bass using crisp sounding horn loaded speakers. Four lens options covered a 128, 64, 48 or 37 degree field of view. The aspect ratio of this format was 2.20:1. Both film sizes had been used in the past, in the 70 mm Fox Grandeur process in 1929–1930, however Todd AO's physical format was not compatible with this format. The use of 65 mm photography and 70 mm printing became the standard adopted by others: Super Panavision 70 (essentially the Panavision company's version of Todd AO) and Ultra Panavision 70 (the same mechanically, but with a slight 1.25:1 anamorphic squeeze to accommodate extremely wide aspect ratio images) are both 65/70 processes. The Soviet film industry also copied Todd AO with their own Sovscope 70 process, identical, except that both the camera and print stock were 70 mm wide. The IMAX format also uses 65 mm camera and lab film to create 70 mm prints for projection (also known as the 65/70 mm process); conforming to the pitch and perforation standard for 70 mm Todd AO film. However, the IMAX frame is 15 perfs long and runs horizontally through the projector, whereas the Todd AO frame is only 5 perfs high and runs vertically through the projector. The original version of the Todd AO process used a frame rate of 30 frames per second, faster than the 24 frames per second that was (and is) the standard. The difference does not seem great, but the sensitivity of the human eye to flickering declines steeply with frame rate and the small adjustment gave the film noticeably less flicker, and made it steadier and smoother than standard processes. The original system generated an image that was "almost twice as intense as any ever seen onscreen before, and so hot that the film has to be cooled as it passes through the Todd AO projector". Only the first two Todd AO films, Oklahoma! and Around the World in Eighty Days, employed 30 frames per second photography. Because of the need for conventional versions at 24 frames per second, every scene of the former film was shot twice in succession: once in Todd AO and once in 35 mm CinemaScope. The latter film was shot with two 65 mm Todd AO cameras simultaneously, the speed of the second camera was 24 frames per second for wide release as optical reduction prints. All subsequent Todd AO films were shot at 24 frames per second on a 65 mm negative and optically printed to 35 mm film as needed for standard distribution. In all, around 16 feature films were shot in Todd AO. Todd AO was developed and tested in Buffalo, New York at the Regent Theatre. Richard Rodgers and Oscar Hammerstein II went there to see Todd AO test footage, which led them to approve its use for Oklahoma!. Ampex Corporation engineers were in charge of developing the Todd AO sound system. Ampex would later go on to manufacture the sound system, including selectable four track composite (CinemaScope), six track composite (Todd AO), four track interlocked, six track interlocked or optical sound sources. The Todd AO Company also offered a 35 mm anamorphic process technically similar to 35 mm Panavision or CinemaScope. This may cause some confusion if a Todd AO credit (not necessarily the more specific Todd AO 35 credit) appears in some widescreen films made in the 1970s and 1980s. It becomes even more confusing as 70 mm prints were made for films which, unlike earlier pictures made in the process, were shown in multiplexes, like Dune and Logan's Run. During the late 1970s through the early 1990s 65 mm photography such as that used in processes like Todd AO or Super Panavision became rare. However, some major films had 70 mm prints made by blowup from 35 mm negatives mostly for the benefit of six track sound. These prints would typically play only in a few theatres in a few large cities while everyone else viewed the film in 35 mm. The advent of multichannel digital sound in the 1990s obviated these very expensive prints. "Blow up" 70 mm prints also followed the Todd AO layout, although in the case of films made with a 1.85:1 aspect ratio, it was retained in the 70 mm version, with the sides of the 70 mm frame left black.

While Todd AO was intended to be "Cinerama out of one hole", the extreme wide angle photography and projection onto a very deeply curved screen (which is what that would imply) saw little use. Most Todd AO theatre installations had only moderately curved screens and the extreme wide angle camera lenses were used only on a few shots here and there. Todd AO films made after 1958 used a conventional flat widescreen, and resembled ordinary films, except for their greater clarity and six track stereo sound. A variation on Todd AO called Dimension 150 did, however, make use of Cinerama like deeply curved screens. Only two films were made in Dimension 150 – The Bible: In the Beginning , directed by John Huston, and Patton, starring George C. Scott. In some venues, however, Todd AO and Dimension 150 films received their first run in Cinerama theatres in order that they be shown on a deeply curved screen – such as the first Atlanta showings of The Sound of Music.

Todd AO films were closely associated with what was called roadshow exhibition. At the time, before multiplex theatres became common, most films opened at a large single screen theatre in the downtown area of each large city before eventually moving on to neighborhood theatres. With the roadshow concept, a film would play, often in 70 mm at a movie palace downtown theatre exclusively, sometimes for a year or more. Often a "hard ticket" policy was in effect, with tickets sold for specific numbered seats, and limited showings per day. Most Todd AO films through the late 1960s, including Those Magnificent Men in Their Flying Machines and The Sound of Music, were initially shown on a roadshow basis. In some US cities, individual theaters were converted for use in the 1950s as dedicated Todd AO "Cinestage" showplaces. These theaters showed exclusive roadshow engagements of Todd AO and other 70 mm films on large, deeply curved screens. They included the Rivoli Theatre in New York City, the Cinestage Theatre in Chicago and Hunt's Cinestage Theatre in Columbus, Ohio. The roadshow era ended in the early 1970s, although a very few films (among them Gandhi) were shown in roadshow format after that.

In the 1970s, under the leadership of Dr. Richard Vetter, Todd AO made an attempt to compete with Panavision in the 35 mm motion picture camera rental market. The company built a series of anamorphic lenses in the 2.35:1 scope format, and owned several camera bodies (Mitchell and Arriflex) that they would provide with the lens package. Films produced in Todd AO 35 include Conquest of the Planet of the Apes, Conan the Barbarian, Mad Max, Dune and Logan's Run. By the mid 1980s the venture was moribund, and was abandoned. Eventually all of the Todd AO cameras and lenses, both 35 mm and 65 mm (70 mm), were sold to Cinema Products in Los Angeles. The 35mm anamorphic lenses are now in the rental inventory of Keslow Camera.

Year Award Category Type Title Honorees 2013 BAFTA Award Best Sound Django Unchained Wylie Stateman, Michael Minkler, Tony Lamberti, Mark Ulano 2009 Academy Award Best Sound Mixing Inglourious Basterds Michael Minkler, Tony Lamberti and Mark Ulano 2007 Academy Award Best Sound Mixing The Bourne Ultimatum Scott Millan, David Parker and Kirk Francis 2006 Academy Award Best Sound Mixing Dreamgirls Michael Minkler, Bob Beemer and Willie D. Burton 2006 BAFTA Award Best Sound Babel José Antonio García, Jon Taylor, Christian P. Minkler, Martín Hernández 2006 BAFTA Award Best Sound Crash Richard Van Dyke, Sandy Gendler, Adam Jenkins, Marc Fishman 2005 BAFTA Award Best Sound Collateral Elliott Koretz, Lee Orloff, Michael Minkler, Myron Nettinga 2004 BAFTA Award Best Sound Kill Bill: Volume 1 Michael Minkler, Myron Nettinga, Wylie Stateman, Mark Ulano 2003 BAFTA Award Best Sound Chicago Michael Minkler, Dominick Tavella, David Lee 2002 Academy Award Best Sound Chicago Michael Minkler, Dominick Tavella and David Lee 2002 BAFTA Award Best Sound Black Hawk Down Michael Minkler, Myron Nettinga, Chris Munro 2001 Academy Award Best Sound Black Hawk Down Michael Minkler, Myron Nettinga and Chris Munro 2000 Academy Award Best Sound Gladiator Scott Millan, Bob Beemer and Ken Weston 1998 Academy Award Best Sound Saving Private Ryan Gary Rydstrom, Tom Johnson, Gary Summers and Ron Judkins 1997 Academy Award Best Sound L. A. Confidential Andy Nelson, Anna Behlmer and Kirk Francis 1996 Academy Award Best Sound Evita Andy Nelson, Anna Behlmer and Ken Weston 1995 Academy Award Best Sound Apollo 13 Rick Dior, Steve Pederson, Scott Millan and David MacMillan 1995 Academy Award Best Sound Braveheart Andy Nelson, Scott Millan, Anna Behlmer and Brian Simmons 1994 Academy Award Best Sound Legends of the Fall Paul Massey, David Campbell, Christopher David and Douglas Ganton 1994 Academy Award Best Sound Speed Gregg Landaker, Steve Maslow, Bob Beemer and David MacMillan 1993 Academy Award Best Sound Schindler's List Andy Nelson, Steve Pederson, Scott Millan and Ron Judkins 1992 Academy Award Best Sound The Last of the Mohicans Chris Jenkins, Doug Hemphill, Mark Smith and Simon Kaye 1990 Academy Award Best Sound Dick Tracy Chris Jenkins, David E. Campbell, D. M. Hemphill and Thomas Causey 1988 Academy Award Best Sound Who Framed Roger Rabbit Robert Knudson, John Boyd, Don Digirolamo and Tony Dawe 1987 Academy Award Best Sound Empire of the Sun Robert Knudson, Don Digirolamo, John Boyd and Tony Dawe 1985 Academy Award Best Sound Out of Africa Chris Jenkins, Gary Alexander, Larry Stensvold and Peter Handford 1982 Academy Award Best Sound E. T. the Extra Terrestrial Robert Knudson, Robert Glass, Don Digirolamo and Gene S. Cantamessa 1979 Academy Award Best Sound 1941 Robert Knudson, Robert Glass, Don MacDougall and Gene S. Cantamessa 1978 Academy Award Best Sound Hooper Robert Knudson, Robert Glass, Don MacDougall and Jack Solomon 1977 Academy Award Best Sound Sorcerer Robert Knudson, Robert Glass, Richard Tyler and Jean Louis Ducarme 1977 Academy Award Best Sound Close Encounters of the Third Kind Robert Knudson, Robert Glass, Don MacDougall and Gene S. Cantamessa 1976 Academy Award Best Sound A Star is Born Robert Knudson, Dan Wallin, Robert Glass and Tom Overton 1973 Academy Award Best Sound The Exorcist Robert Knudson and Chris Newman 1972 Academy Award Best Sound Cabaret Robert Knudson and David Hildyard 1965 Academy Award Best Sound The Sound of Music Fred Hynes 1963 Academy Award Best Sound Cleopatra Fred Hynes 1961 Academy Award Best Sound West Side Story Fred Hynes 1960 Academy Award Best Sound The Alamo Fred Hynes 1959 Academy Award Best Sound Porgy and Bess Fred Hynes 1958 Academy Award Best Sound South Pacific Fred Hynes 1957 Academy Award Academy Scientific and Technical Award Todd AO System Todd AO Corp Westrex Corp 1955 Academy Award Best Sound Recording Oklahoma! Fred Hynes

Year Award Category Type Title Honorees 2013 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One Hour) Game of Thrones: And Now His Watch Is Ended Mathew Waters, Onnalee Blank, Ronan Hill 2013 Emmy Award Outstanding Sound Editing for a Series Game of Thrones: And Now His Watch Is Ended Tim Kimmel, Paula Fairfield, Jed M. Dodge, Bradley C. Katona, David Klotz, Brett Voss, Jeffrey Wilhoit, James Moriana 2013 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One Hour) Mad Men: The Flood Ken Teaney, Alec St. John, Peter Bentley 2013 Emmy Award Outstanding Sound Editing for a Series Nikita: Aftermath George Haddad, Ruth Adelman, Chad J. Hughes,Steve Papagiannis, Dale Chaloukian, Ashley Revell,James M. Bailey 2013 CAS Award Sound Mixing Television Series Game of Thrones: Blackwater Onnalee Blank, Mathew Waters, Ronan Hill and Brett Voss 2013 CAS Award Sound Mixing Television Series Mad Men: Commissions and Fees Ken Teaney, Alec St. John, Peter Bentley 2012 Emmy Award Outstanding Sound Editing for a Series CSI: Miami: Blown Away Timothy I. Kimmel, Brad Katona, Ruth Adelman, Todd Niesen, Skye Lewin, Joseph Sabella and James Bailey 2012 Emmy Award Outstanding Sound Editing for a Series Game of Thrones: Blackwater Peter Brown, Kira Roessler, Tim Hands, Paul Aulicino, Stephen P. Robinson, Vanessa Lapato, Brett Voss, James Moriana, Jeffrey Wilhoit and David Klotz 2012 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One Hour) Game of Thrones: Blackwater Mathew Waters, Onnalee Blank, Ronan Hill, Mervyn Moore 2012 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half Hour) and Animation Entourage: The End Tom Stasinis, Dennis Kirk, Todd Orr 2011 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half Hour) and Animation Family Guy: Road to the North Pole James F. Fitzpatrick and Patrick Clark 2011 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One Hour) Mad Men: The Suitcase Ken Teaney, Todd Orr, Peter Bentley 2011 Emmy Award Outstanding Sound Editing for a Series Nikita: Pandora George Haddad, Dale Chaloukian, Ruth Adelman, Chad J. Hughes, Ashley Revell, James Bailey and Joseph T. Sabella 2011 Emmy Award Outstanding Sound Editing for a Series CSI: NY: Life Sentence Mark Relyea, Edmund Lachmann, David Barbee, Ruth Adelman, Kevin McCullough, Joshua Winget, Joseph T. Sabella and James M. Bailey 2010 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie The Pacific: Part Two Michael Minkler, Daniel Leahy, Andrew Ramage 2010 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie The Pacific: Part Five Michael Minkler, Daniel Leahy, Craig Mann, Andrew Ramage 2010 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie 'The Pacific: Part Eight Michael Minkler, Daniel Leahy, Marc Fishman, Gary Wilkins 2010 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie The Pacific: Part Nine Michael Minkler, Daniel Leahy, and Gary Wilkins 2010 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half Hour) and Animation Entourage: One Car, Two Car, Red Car, Blue Car' Tom Stasinis CAS, Dennis Kirk, Alec St. John and Todd Orr 2010 CAS Award Sound Mixing Television Series Mad Men: Guy Walks Into an Advertising Agency Ken Teaney, Todd Orr, Peter Bentley 2009 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half Hour) And Animation Entourage: Pie Tom Stasinis CAS, Dennis Kirk and Bill Jackson 2009 Emmy Award Outstanding Sound Editing for a Series CSI: Crime Scene Investigation: Mascara Mace Matiosian, Ruth Adelman, Jivan Tahmizian, David Van Slyke, Joseph Sabella and James Bailey 2008 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie John Adams: Don't Tread On Me Marc Fishman and Tony Lamberti 2008 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie John Adams: Join Or Die Michael Minkler and Bob Beemer 2008 Emmy Award Outstanding Sound Editing for a Series CSI: Crime Scene Investigation: Fight Night Mace Matiosian, Ruth Adelman, Jivan Tahmizian, David Van Slyke, Chad Hughes, Joseph Sabella, Zane Bruce 2008 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half Hour) and Animation Entourage: Adios Amigo Dennis Kirk and Bill Jackson 2007 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half Hour) And Animation Entourage: One Day In The Valley Dennis Kirk and Mark Fleming 2007 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One Hour) CSI: Crime Scene Investigation: Living Doll Yuri Reese and Bill Smith 2007 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One Hour) The Sopranos: Stage 5 Kevin Burns and Todd Orr 2007 Emmy Award Outstanding Sound Editing for a Series CSI: Miami: No Man's Land Tim Kimmel, Ruth Adelman, Todd Niesen, Bradley C. Katona, Skye Lewin, Zane Bruce, Joseph Sabella 2006 Emmy Award Outstanding Single Camera Sound Mixing for a Series CSI: Crime Scene Investigation: A Bullet Runs Through It Yuri Reese and Bill Smith 2006 Emmy Award Outstanding Sound Editing for a Series CSI: Crime Scene Investigation: A Bullet Runs Through It: Part 1 Mace Matiosian, Ruth Adelman, Mark Allen, Zane Bruce, Troy Hardy, Joseph Sabella, Jivan Tahmizian, David Van Slyke 2005 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special The Life and Death of Peter Sellers Anna MacKenzie, Victoria Brazier, Felicity Cottrell, Zack Davis, Richard Ford, Tim Hands, Laura Lovejoy, James Mather, Geoff Rubay, Ruth Sullivan 2005 Emmy Award Outstanding Sound Editing for a Series CSI: Miami: Lost Son Ruth Adelman, Zane Bruce, Ann Hadsell, Bradley C. Katona, Skye Lewin, Todd Nieson, Joseph Sabella 2005 Emmy Award Outstanding Sound Editing for a Series CSI: Crime Scene Investigation: Down the Drain Mace Matiosian, Ruth Adelman, Zane Bruce, Christine Luethje, Todd Nieson, Joseph Sabella, Jivan Tahmizian, David Van Slyke 2005 Emmy Award Outstanding Single Camera Sound Mixing for a Series CSI: Crime Scene Investigation: Down the Drain Yuri Reese and Bill Smith 2005 Emmy Award Outstanding Single Camera Sound Mixing for a Miniseries or a Movie Warm Springs Adam Jenkins and Rick Ash 2005 Emmy Award Outstanding Single Camera Sound Mixing for a Miniseries or a Movie The Life and Death of Peter Sellers Adam Jenkins and Rick Ash 2005 Emmy Award Outstanding Single Camera Sound Mixing for a Miniseries or a Movie Lackawanna Blues Adam Jenkins and Rick Ash 2004 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special And Starring Pancho Villa as Himself Tony Lamberti, Zack Davis, Lou Kleinman, Michael Lyle, Carey Milbradt, Allan K. Rosen, Geoffrey G. Rubay, Bruce Tanis, Karen Vassar, Nicholas Viterelli, Dave Williams, Joshua Winget 2004 Emmy Award Outstanding Single Camera Sound Mixing for a Series CSI: Crime Scene Investigation: Grissom vs. The Volcano Yuri Reese and Bill Smith 2004 Emmy Award Outstanding Single Camera Sound Mixing for a Series The Sopranos: Irregular Around The Margins Todd Orr and Kevin Burns 2004 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Traffic: Part 1 Marc Fishman, Tony Lamberti, Kevin Burns 2004 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Something the Lord Made Adam Jenkins and Rick Ash 2003 Emmy Award Outstanding Sound Editing for a Series CSI: Crime Scene Investigation: Fight Night Mace Matiosian, Ruth Adelman, Zane Bruce, Sheri Ozeki, Joseph Sabella, Jivan Tahmizian, David Van Slyke 2003 Emmy Award Outstanding Single Camera Sound Mixing for a Series CSI: Crime Scene Investigation: Revenge Is Best Served Cold" Yuri Reese and Bill Smith 2003 Emmy Award Outstanding Single Camera Sound Mixing for a Series The Sopranos: Whoever Did This Todd Orr and Kevin Burns 2003 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Live From Baghdad Adam Jenkins, Rick Ash, Drew Webster 2003 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie The Music Man Todd Orr and Kevin Burns 2003 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie A Painted House Todd Orr and Kevin Burns 2002 Emmy Award Outstanding Sound Editing for a Series CSI: Crime Scene Investigation: Chasing the Bus Mace Matiosian, Ruth Adelman, Zane Bruce, Sheri Ozeki, Joe Sabella, Jivan Tahmizian, David Van Slyke 2002 Emmy Award Outstanding Single Camera Sound Mixing for a Series CSI: Crime Scene Investigation: Another Toothpick Yuri Reese and Bill Smith 2002 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Band of Brothers: Carentan Todd Orr and Kevin Burns 2001 Emmy Award Outstanding Sound Editing for a Series CSI: Crime Scene Investigation: 35K OBO Mace Matiosian, Ruth Adelman, Zane Bruce, Stan Jones, Joe Sabella, Jivan Tahmizian, David Van Slyke 2001 Emmy Award Outstanding Single Camera Sound Mixing for a Series The Sopranos: D Girl Todd Orr, Kevin Burns, Fred Tator 2001 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie South Pacific Rick Ash, Joe Earle, Joel Moss 2001 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Dirty Pictures Todd Orr, Kevin Burns, Tom Perry 2000 Emmy Award Outstanding Sound Editing for a Series The Others: Eyes Mace Matiosian, Harry Cohen, Ruth Adelman, Mike Broomberg, Zane Bruce, Diane Griffen, Jivan Tahmizian and Guy Tsujimoto 2000 Emmy Award Outstanding Sound Mixing for a Drama Series The Sopranos: D Girl Todd Orr, Kevin Burns, Tom Perry 1999 Emmy Award Outstanding Sound Editing for a Series Buffy The Vampire Slayer: Lover's Walk Anna MacKenzie, Mike Marchain, William Angarola, Fernand Bos, Zane Bruce, Mark Cleary, Robert Guastini, Rick Hinson, Cindy Rabideau, Joe Sabella and Ray Spiess, Jr. 1999 Emmy Award Outstanding Sound Editing for a Series The Sopranos: I Dream Of Jeannie Cusamano Anna MacKenzie, Mike Marchain, William Angarola, Benjamin Beardwood, Zane Bruce, Mark, Kathryn Dayak, Robert Guastini, Rick Hinson, Cindy Rabideau, Joe Sabella, Ray Spiess, Jr. and Bruce Swanson 1999 Emmy Award Outstanding Sound Mixing for a Drama Series The Sopranos: A Hit Is A Hit Todd Orr, Ron Evans, Adam Sawelson 1999 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special A Soldier's Sweetheart Anna MacKenzie, Mike Marchain, William Angarola, Ron Finn, Robert Guastini, Rick Hinson, Jason Lezama, Chris Moriana, Cindy Rabideau, Catherine Rose, Raymond Spiess III and Ray Spiess Jr. 1999 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special Houdini Anna MacKenzie, Mike Marchain, Skip Adams, William Angarola, Zane Bruce, Robert Guastini, Rick Hinson, Cindy Rabideau, Joe Sabella, Ray Spiess, Jr. and Jeanette Surga 1998 Emmy Award Outstanding Sound Editing for a Series The Visitor: Pilot Anna MacKenzie, William Angarola, Michael Broomberg, Mark J. Cleary, Robert Guastini, Rick Hinson, Jimmy Moriana, Cindy Rabideau, Jay Richardson, Raymond Spiess III, Ray Spiess Jr. 1998 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie A Lesson Before Dying Rich Ash and Gary Alexander 1998 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special Creature Anna MacKenzie, Mike Marchain, William Angarola, Steve Bissinger, Mark J. Cleary, Robert Guastini, Ellen Heuer, Rick Hinson, Jason Lezama, Aaron Martin, Craig Ng, Cindy Rabideau, Raymond Spiess III, Ray Spiess Jr. 1998 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Movie 12 Angry Men Adam Jenkins and David E. Fluhr 1998 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Movie From The Earth To The Moon: Le Voyage Dans La Lune Todd Orr and Kevin Burns 1998 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Movie From The Earth To The Moon: 1968 Scott Millan and Brad Sherman 1998 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Movie From The Earth To The Moon: That's All There Is Rich Ash and Adam Sawelson 1997 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Special Titanic Adam Jenkins, Don Digirolamo, Davide E. Fluhr 1997 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Special Apollo 11 Todd Orr, Kevin Burns, Jon Taylor 1997 Emmy Award Outstanding Sound Mixing Flipper Jon Taylor, Kevin Burns and Todd Orr 1996 Emmy Award Outstanding Sound Mixing Flipper Kevin Burns, Jon Taylor and Chris Minkler 1993 Emmy Award Outstanding Sound Mixing for a Comedy Series or a Special Doogie Howser, M. D.: Doogie Got a Gun Joe Kenworthy, Mike Getlin, Dean Okrand and Bill Thiederman 1992 Emmy Award Outstanding Sound Mixing for a Comedy Series or a Special Doogie Howser, M. D.: Lonesome Doog Joe Kenworthy, Bill Thiederman, Dean Okrand and Mike Getlin 1992 Emmy Award Outstanding Sound Editing for a Series Law & Order: Heaven David Hankins, Frank A. Fuller Jr., Peter Bergren, David A. Cohen, Richard Thomas, Barbara Issak, James Hebenstreit, Albert Edmund Lord III and Barbara Schechter 1991 Emmy Award Outstanding Sound Mixing for a Comedy Series or a Special Doogie Howser, M. D.: Doogenstein Joe Kenworthy, Dean Okrand, Bill Thiederman and Mike Getlin 1987 Emmy Award Outstanding Sound Editing for a Miniseries or a Special Unnatural Causes Vince Gutierrez, William H. Angarola, Clark Conrad, Doug Gray, Mace Matiosian,Anthony Mazzei, Michael J. Mitchell, Matt Sawelson, Edward F. Suski, Dan Carlin Sr., James Wolvington, Barbara Issak and Jon Johnson 1987 Emmy Award Outstanding Sound Editing for a Series Max Headroom: Blipverts Doug Grindstaff, Richard Corwin, Clark Conrad, Brad Sherman, Richard Taylor, James Wolvington and Dick Bernstein 1985 Emmy Award Outstanding Live And Tape Sound Mixing And Sound Effects For A Series Cheers: The Executive's Executioner Doug Gray, Michael Ballin, Thomas J. Huth and Sam Black 1985 Emmy Award Outstanding Film Sound Mixing For A Limited Series Or A Special Space: Part 5 Clark King, David J. Hudson, Mel Metcalfe and Terry Porter 1985 Emmy Award Outstanding Film Sound Mixing For A Series Cagney & Lacey: Heat Maury Harris, John Asman, Bill Nicholson and Ken S. Polk 1984 Emmy Award Outstanding Live and Tape Sound Mixin and Sound Effects for a Series Real People: Hawaii Show Sarah's Wedding Mark Hanes, Stu Fox, Dean Okrand and Edward F. Suski 1984 Emmy Award Outstanding Film Sound Mixing for a Limited Series or a Special A Streetcar Named Desire Richard Raguse, William L. McCaughey, Mel Metcalfe and Terry Porter 1983 Emmy Award Outstanding Film Sound Mixing for a Limited Series or a Special The Scarlet and the Black John W. Mitchell, Gordon L. Day, Stan Wetzel and Howard Wilmarth 1983 Emmy Award Outstanding Film Sound Editing for a Series Hill Street Blues: Stan the Man Sam Horta, Donald W. Ernst, Avram D. Gold, Eileen Horta, Constance A. Kazmer and Gary Krivacek 1982 Emmy Award Outstanding Film Sound Mixing Hill Street Blues: Personal Foul Bill Marky, Robert W. Glass Jr., Bill Nicholson and Howard Wilmarth 1980 Emmy Award Outstanding Film Sound Mixing The Ordeal of Dr. Mudd Ray Barons, David E. Campbell, Robert Pettis and John T. Reitz 1979 Emmy Award Outstanding Film Sound Editing Friendly Fire Bill Wistrom 1970 Emmy Award Outstanding Film Sound Mixing Mission: Impossible Dominick Gaffey and Gordon L. Day