The new developments include a state-of-the-art TV studio including audience participation, upgraded sound production studios, a second sound mixing suite to host tent-pole productions with Dolby Atmos in both and, central to the transformation, will be the construction of a brand new entrance building creating new public spaces with flexible workspaces, a boutique cinema, a café and rooftop social bar area.
News Links February 15th 2021
News of the World is a 2020 American Western drama film co-written and directed by Paul Greengrass, based on the 2016 novel of the same name by Paulette Jiles, and starring Tom Hanks and Helena Zengel.
The film follows a Civil War veteran who must return a young girl who was taken in by Native Americans as an infant to her last remaining family.
Witness an inspiring story of survival, discovery and friendship. Tom Hanks and Helena Zengal are brought together by fate, driven by survival and bound by a friendship.
News of the World was released by Universal Pictures in the US and has its debut release on Netflix today – visit Netflix to watch it now.
The film has had numerous award nominations including a number of Golden Globes nominations and an incredible 12x Bafta nominations including Best Film, Best Director, Best Actor, Best Supporting Actress and Best Sound amongst others.
The Twickenham Studios SOUND and FOLEY team were so proud to work on this Western feature, alongside the amazing Oliver Tarney and team. Our very own Will Miller carried out the Re-recording Mix and Foley was done by Adam Mendez, Oli Ferri, Sophia Hardman and Sue Harding.
We couldn’t be any prouder that Rocks film has been longlisted for 8 Bafta Awards this year.
– Outstanding British Film
– Outstanding Debut by British Writer, Director or Producer
– Best Director
– Best Screenplay
– Leading Actress – Bukky Bakray
– Supporting Actress, Kosar Ali
– Best Casting
– Best Editing
Twickenhamstudios SOUND and FOLEY team loved working on this heart-breaking, life-affirming, teen drama that has had such a positive reaction at all film festivals since its launch.
>> We caught up with our Twickenham Film Studios Re-Recording Mixer Will Miller following his hugely deserved recent promotion. Will tells us more about his favourite sound projects, working alongside Queen’s Brian May on Bohemian Rhapsody, the TFS studios team, what he’s listening to right now and how he is getting through lockdown <<
Tell us about your recent promotion from TFS Sound Mix Technician to Re-recording Mixer?
WM >> The last 6 years have absolutely flown by. I cannot quite believe it’s been that long. I joined TFS shortly after graduating from the Sound Technology course at LIPA, one which I loved and set me up for my career ahead. I initially started out as a Sound Assistant. I was in that role for about a year before progressing onto being a Mix Technician. Over the last few years, I have gained more and more opportunities mixing up to a point where I am now leading and overseeing each project as a Re-recording Mixer. There have been so many amazing and hugely different feature films and TV series that I have had the opportunity to be a part of – some of my favourite projects include: Amy, Bohemian Rhapsody, Black Mirror, Baby Driver, Murder on the Orient Express, Legend, Alien: Covenant, Maleficent: Mistress of Evil and News of The World.
What’s it like working as part of the multi-awarded TFS Sound team?
WM >> TFS is such a fantastic place to work, especially in the Sound department where there’s always a fun vibe amongst such a talented team of people. I think the great reputation we have in the industry is as much about the studios set up, offering, and state of the art tech, as it is about the award winning mixers and foley artists who clients love working with. I really think everyone in the team is committed to ensuring we provide the best experience and give our full commitment to delivering the best and most unique work on each and every project we get involved with. Working in the post-production industry requires many hours of commitment, we spend a lot of our lives in the studio. Working alongside colleagues that are close friends is a luxury that means I really enjoy my job.
Talk us through your road to becoming a Re-recording Mixer?
WM >> The very first projects I worked on at Twickenham were Amy and Legend. I had just started as a Sound Assistant and knew very little about the process. These projects were a huge learning curve in how a film’s sound mix is put together and also how to provide technical support for them. I knew that I eventually wanted to be a Re-Recording Mixer and being a Mix Technician allowed me to work closely with numerous mixers who I much admire. My first big scale project as a Mix Technician was Alien: Covenant back in 2017; by this point I had been in the role for about a year and was ready to get stuck in on a high-pressure job. It was an incredibly daunting project to get involved with having to provide technical support for prolific Re-Recording Mixers Paul Massey and Mark Taylor and Sound Supervisor Oliver Tarney. Following on from this I continued to watch and learn from other mixers and take any chances I got to mix myself.
My first opportunity to mix a big budget movie came from sound supervisor James Mather who got me involved with Maleficent: Mistress of Evil and then Artemis Fowl. It was great fun being involved with both and important lessons in how Disney films are mixed. They really were my first chance to get to mix in Dolby Atmos, so I had a whole lot of fun experimenting with the format’s limits and ability to create immersive soundscapes. It was great to also try out object based audio to create dynamic pans and fly sound effects around the room to add that extra level of immersion and entertainment.
You were part of the TFS Oscar winning Sound team on Bohemian Rhapsody right – tell us more about that key sound feature?
WM >> Bohemian Rhapsody was a surreal experience. Having both Brian May and Roger Taylor attending the sound mix from the very early stages along with their studio engineers was something quite special to witness. At one point during the mix myself and a few of the sound crew were hanging out in the client area with Brian May – one of the guys had a guitar in the studio with them and Brian picked it up and just started playing. It was a very unreal moment, one that I actually managed to unashamedly film on my phone. It’s not every day Queen’s lead guitarist gives you a personal performance! The member of the crew whose guitar it was, couldn’t quite believe it either.
I worked closely supporting Re-Recording Mixers Paul Massey and Tim Cavagin who were responsible for putting the soundtrack together using the original multi-tracks from Live Aid and an entire archive of studio and live recordings. At the same time we were mixing, Queen were also on tour and their UK date was at the O2 Arena. Paul had asked Queen’s engineers if they could set up mics around the area and capture the reverb of the room whilst playing back the original live aid recordings, during their sound checks. He then incorporated these recordings, using Dolby Atmos objects to map them to the same positions as they would be in the area. This helped create the sense of scale that you get when in a huge venue like Wembley stadium. It’s that level of detail that I think made the difference and took this project that much further. It really was a once in life-time project to be a part of. Tim, Paul and us as a whole TFS team winning the Oscar for ‘Best Sound Mix’ on this feature felt like the most incredible way to end that project.
The Bohemian Rhapsody team collecting their 2019 ‘Best Sound Mix’ Oscar – including Twickenham Studios Tim Cavagin, alongside Paul Massey and John Casali.
How have you worked closely and learnt from Tim Cavagin?
WM >> Working with Tim is great, we have been involved in many projects together over the last few years where he has always been very supportive and a fantastic mentor. His passion, creativity, experience, attention to detail, patience, and his technical knowledge have helped me and the rest of the team grow and evolve. In 2018 we actually attended the CAS awards in LA together alongside some of the other TFS Sound Team Sophia Hardman and Dafydd Archard for our work on Black Mirror: USS Callister and Eric Clapton: Life in 12 Bars which earned us nominations and a win for ‘Best Sound Mix’ on Black Mirror. That was certainly an early career highlight.
What tech do you use as part of your role at TFS you couldn’t live without? How has the TH 1 and TH 2 set up assisted in the high sound quality produced from the team?
WM >> The 4x feature Sound Studios at Twickenham are equipped with Neve DFC mixing consoles, Dolby Atmos and Avid S6 control surfaces for our Pro Tools systems that are armed with a huge number of plugins. I tend to stay mostly ‘in the box’ when I’m mixing relying on plugins to get the sound I want. I usually opt for the Avid Channel Strip for EQ and compression along with Altiverb 7XL, Slapper and R2 surround for my reverbs and delays.
TFS are also in the process of a full redesign and full tech upgrade to the main Sound Mix Theatres 1 and 2 making them the most advanced sound mixing theatres around. Alongside a full redesign and fit out inside – the new install will include the addition of new Neve DFC 3D consoles with integrated Avid S6 M40s in both rooms plus the addition of new protools rigs, whilst also adding Dolby Atmos and IMAX 12.0 to both theatres. This is such an exciting development, and I can’t wait to get mixing in both.
What music are you listening to right now? Any new albums you’d recommend?
WM >> At this exact moment I am listening to ‘Amperland’ by Pinegrove which came out last week. Pinegrove are one of my favourite bands and their album ‘Marigold’ is one of my top albums of last year. Other top albums of 2020 include Deftones ‘Ohms’, Raleigh Ritchie ‘Andy’ and The 1975 ‘Notes On a Conditional Form’. I love music and it has always been a key passion of mine. I am always listening to music be it at work, home – it is a real backdrop to my life. The importance of music as a way to be transported has never been more needed than during this lockdown.
Have you any favourite films with best sound mixes / musical scores you wished you had worked on?
WM >> We cannot talk about this topic without discussing Star Wars. I am a huge fan of the franchise as a whole and Episode IV: A New Hope is a benchmark in film making, sound design and score. Its release was an iconic moment in cinema history and even if you haven’t seen Star Wars I bet you’d recognise Ben Burtt’s sound design and John Williams’s music anywhere. More to the point, if you haven’t seen Star Wars, why not?! Other favourites – Arrival, Drive, Lone Survivor and of course Gravity.
What work highlights were you proud to work on in 2020? And so far this year?
WM >> 2020 was a wild year for many obvious reasons. Despite the ongoing pandemic, Brexit, BLM and everything else it was actually a very exciting year for work. My first mix after lockdown was News of The World Directed by Paul Greengrass. Which was an incredible opportunity getting to work for Sound Supervisor Oliver Tarney and mix alongside Re-Recording Mixer Mike Prestwood Smith. I have not mixed a Western before so it was a crash course in how to mix sandstorms, horse chases and shootouts! Later in the year I also got the chance to mix on Edgar Wright’s new movie Last Night in Soho with Sound Supervisor / Re-Recording Mixer Julian Slater; Edgar is another film Director whose work I’m a great fan of so it was a pleasure to have the opportunity to be involved.
How has it been working as part of the TFS Sound team during Covid? How have the Sound department ensured you and clients are kept Covid safe?
WM >> I have been back at TFS full time since the first lockdown restrictions began to ease in May of last year as we have been so busy with lots of client projects. The Film and TV industry has had such amazing support from the Government and UK Screen Alliance, to continues to support productions whilst ensuring the whole team and clients feel fully safe doing so. With the numerous Twickenham COVID STUDIO SAFE MEASURES and protocols that have been put in place across the complex – at no point have I felt uncomfortable being back at work. I’m very grateful as are the whole team that TFS has been able to successfully remain operational especially for all our artists working across feature films, TV series, commercials and music video projects. The on-site TFS staff Gov approved weekly COVID testing is working really well, as is our ability to now support all our clients and productions with on-site efficient Gov approved client weekly COVID testing.
>> The TFS Sound department Theatre 2 and shortly Theatre 1 are going through an extensive renovation and tech upgrade, as part of the TW1 complex redevelopment making us the most state of the art, technically advanced Sound theatres in the UK.
The exciting changes for both TFS Theatre 1 & Theatre 2 include:
– Extensive structural changes to the acoustic design and layout.
– Bespoke designed furniture, plus a new fit out and finish.
– Neve DFC 3D consoles with integrated Avid S6 M40s in both theatres plus the addition of new protools rigs.
– Addition of Dolby Atmos in both theatres.
– Addition of IMAX 12.0 in both theatres.
The new TFS Sound theatres will be complete before Easter with more news to follow <<
Jeremy and the Twickenham Studios team played host to ARTE TV to talk about our 100 year feature and independent film and TV series legacy, the bright future of film in the UK, how we have remained open fully COVID safely allowing productions to continue apace at TW1 and the future planned Liverpool Studios.
Watch the interview here.
We journey through the symbolic landscape of the subconscious mind as we follow the story of an unbreakable bond between father and son. A bond that transcends SPACE AND TIME.
Directed by: Ravi Chopra
Written by: Gavin Mclenaghan and Ravi Chopra
Starring amongst others: Andrew Scott, Jeremy Irvine, Lucy Russell
TW1 ‘s SOUND team carried out the intense Sound Mix on this high budget short Sci-Fi film.
Re-Recording Mixers: Craig Irving & Harry Jones
Emmy Winning Supervisor Sound Editor: Stuart McCowan Dolby Atmos Mix
The film is out now in the UK
Worldwide release across 92 countries on the 1st December.
On Tuesday evening the team behind THE LAST FULL MEASURE hosted an exclusive pre BAFTA screening.
Starring Sebastian Stan, Christopher Plummer, William Hurt, Ed Harris, Samuel L. Jackson, Jeremy Irvine and Peter Fonda in his final cinema performance.
Director | Todd Robinson.
Production Company | Foresight Unlimited SSS Entertainment
The Last Full Measure is the incredible true story of Vietnam War hero U.S. Air Force Pararescue medic William H. Pitsenbarger. During a rescue mission he was offered the chance to escape on the last helicopter out of a combat zone heavily under fire, but he stayed behind to save the lives of over sixty fellow soldiers. Thirty-four years after his death, the men he saved face their memories and campaign for William to be awarded the highest military honour.
Twickenham Studios were proud to work closely on the feature film – it was a TW1 Investment Project, and the team also carried out Post Production with a Sound Remix by Craig Irving and Max Walsh, Foley by Sophia Hardman and Oli Ferris, Picture Post Grade by Tom Cairns and Finish.
Watch the trailer here.
A Christmas Gift From Bob launches with post production by Twickenham Studios
Lionsgate UK is delighted to debut A Christmas Gift From Bob – the much-anticipated sequel to A Street Cat Named Bob, released in 2016.
The trailer, previously released, gives a taste about what to expect from the ‘puffect’ follow-up film – watch it here.
It is the latest cinematic tale about everyone’s favourite street cat. Made famous by his exploits busking and selling on the streets of London with Big Issue vendor James Bowen, Street Cat Bob became a local celebrity and has been the subject of best-selling books and films in recent years. A Street Cat Named Bob was a smash hit on its release in 2016 and the follow-up has been anticipated by fans around the world.
Bob the cat sadly died this summer but was involved in the filming late last year. He shared his role with several other cats and was onset to oversee his doubles.
The Twickenham Studios team loved working on this sequel following on from their work on A Streetcat Named Bob – with Sound Remix by Tim Cavagin and Craig Irving, Foley by Adam Mendez, Sophia Hardman and Oli Ferris, Stages being used for shooting and Picture Post Grade by Michelle Cort.
A Christmas Gift From Bob is in cinemas and available to rent on November 6th.
Director: Charles Martin Smith
Writer: Garry Jenkins
Stars: Luke Treadaway, Anna Wilson-Jones, Kristina Tonteri-Young amongst others
Twickenham Studios remains fully open working with STUDIO SAFE Covid-19 measures in place
TWICKENHAM STUDIOS continues to stay open for business with important safety measures in place to guard against Covid-19, whilst also ensuring all our clients, tenants and team are able to work without concerns.
As advised by the UK Screen Alliance CEO Neil Hatton and in line with the Culture Secretary Oliver Bowden who confirmed that Film and TV Production will be able to continue working with measures in place.
“If post-production and VFX companies are already working in a Covid-safe manner following the UK Screen Alliance Guidelines; there should be no problem for them to provide a full range of services including colour grading, audio dubbing and complex editing operations” – UK Culture Secretary, Oliver Dowden.
The comprehensive TW1 COVID STUDIO SAFE program we previously put in place when we reopened the studios has been further dialled up with our Total Safe Set – STAGES + SOUND protocols and procedures ensuring we are leading the way, protecting the safety of our TWI team, cast, crew and suppliers going above and beyond Government regulations and guidelines.
OUR EXISTING TW1 MEASURES IN PLACE
TW1 Covid training for all staff members is in line with full social distancing rules – so that incoming productions understand the measures and can frame risk assessments around the new protocols.
TW1 Covid app is in place – this features a daily self-certification from all staff, cast, crew and suppliers upon arrival on site. This will be reviewed to ensure no access unless within the safe temperature limit – TW1 Covid Declaration.
TW1 Thermometers are in place to conduct a routine daily temperature check upon arrival on site.
TW1 Covid aware signage is in place and complex wide swipe doors safely limit human movement into certain areas.
TW1 Masks are worn on site by all.
TW1 staff will follow on set and in theatre protocols established by the industry task force and government guidelines.
Additional cleaning staff have been hired and are on constant vigil, ready with sanitisation procedures. We can provide audits of exactly which area have been cleansed and when.
We have a dedicated TW1 bio-fogging specialist on standby to treat each space being hired by productions.
All studios and equipment have localised Sanitation Stations at each entrance with identifying signage.
TW1 have deployed rigorous new cleaning standards and include hand sanitisers fitted next to each door in the whole studio complex.
Each TW1 space will be cleaned at the start and end of each day. In absolute alignment with green initiatives, Safe Set products will be earth friendly.
OUR NEW ADDITIONAL TW1 MEASURES INTRODUCED
Everyone to receive a TW1 Welcome Covid Pack (including hand sanitiser, face mask, site map and zoned areas and on site Covid measures on a card).
New wall mounted digital temperature check screens on site.
People working on productions to be working in dedicated zoned areas and with the same team members.
This STUDIO SAFE program has allowed for a major Hollywood production to now be in situ at Twickenham Studios, as well as such independent features as Alone starring Derek Jacobi and Sadie Frost (amongst others) to be shot on site, as well as the Clean Bandit & Mabel (feat, 24kGoldn) Tick Tock music video shoot.
“With the measures we have introduced we think it is a perfect place for people to re-boot various production workflows by accessing the site safely and securely. Being set in a secluded location in the leafy suburb of Richmond offers several obvious advantages in these Covid-times, in contrast to more urban locations. We have done everything we possibly can in order to ensure the space is as safe as can be for everyone entering the site by maintaining clear protocols needed to work on set or in theatres.” – comment from New Twickenham Studios MD Cara Sheppard and Managing Partners Piers Read & Jeremy Rainbird.
PRESS ABOUT ALL OUR COVID MEASURES ON SITE
We look forward to working closed on all STAGES + SOUND and wider post projects. For all enquiries please call 0208 607 8888, email Dan Pagan who awaits details of your next project or contact sales@www.twickenhamstudios.com
A story about a young black girl’s relationship with her hair and name, and how it helps her understand who she really is.
We loved working on the picture post colour grade by Tom Cairns and online here at TW1 on this project.
Director: Ethosheia Hylton
Writers: Joan Iyiola, Chibundu Onuzo
Stars: Gina McKee, Pamela Nomvete, Joseph Mydell
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