News2024-09-18T00:29:28+00:00
1712, 2024

2024 Year in Review

December 17th, 2024|

Wow, it’s already been another year?

We’ve been fortunate to ride the waves of this industry for 9 years now (!), and this one was full of growth, transitions, expansions and new adventures!

We recently opened the doors to our new location on the Fox Studio Lot, located near West LA.  Building out this brand new mix stage came with some unique challenges, but our lead engineer Rob Marshall rose to the occasion and we’re quite please with the results.  It’s located in a historic room that’s 37 feet long and over 12 feet high.  In addition to having this nice new stage, we’re excited to be closer to our clients on the west side of LA such as game studios and ad agencies to better serve them going forward.

This summer we built our first ever convention booth experience for MGS Con, which demanded everything from non-digital hardware to social media posting.  As a lifelong Metal Gear fan, this was a true labor of love.  Seeing the look on fans faces after being able to step into the shoes of their favorite characters as a voice actor was priceless.  The voice actor who played Fortune in MGS2, Maura Gale, even came in to re-voice her own character’s lines!

We had a number of films premiere at prestigious film festivals in 2024, including “Color Book” and “Nuked” at the Tribeca Film Festival, as well as “My Dead Friend Zoe” and “The World According to Allee Willis” at SXSW.  We had great experiences collaborating with all of the brilliant filmmakers on these films, and it was breathtaking to experience them with audiences at both festivals for their world premieres.

We’ve also enjoyed working on a number of game trailers this year, both on sound as well as music.  Some of our trailer work this year included sound work on Fortnite, Apex Legends and Dragon Age campaigns, and we licensed music tracks for Amazon’s New World, Skydance’s Behemoth and WB Multiversus trailers.

On a personal note, I was elected to be the new Vice President of the Motion Picture Sound Editors this year.  It was quite the high honor and something that I don’t take lightly.  In this new position, I have aimed to better serve our global sound community, and hope to connect with and inspire others along the way too.

In my growing role at the MPSE, I’ve been deeply fortunate to interview some of my heroes, including Academy Award Winners Dane Davis, Mark Mangini, and prestigious leaders in our community such as Ren Klyce, Scott Gershin and more.  Hearing their stories about how the soundscapes of legendary films like The Matrix, The Fifth Element and Fight Club came to life has been endlessly fascinating.  For non-MPSE members, I’ve provided links to some of these interviews on the Transported Audio website under “Inspiration.”

Thank you to all of our incredible collaborators, both new and old.  The future is bright, and we are excited to see what 2025 has in store for us and the industry at large!

  • Eric
1809, 2024

Transported Audio expands to the Fox lot!

September 18th, 2024|

We are thrilled to announce the opening of our brand new mix stage on the Fox Studio Lot!  

Welcome to Broken Arrow, a stage equipped with 4k laser projection that can comfortably seat 12 clients at a time.  Our stage is in a historic building that has housed Fox post production on films for over 90 years, but includes all the modern amenities.

Being located near the West side of LA, we’re excited to better support ad agencies, game studios as well as film teams.  While our sound and music teams have grown, it was always a long term goal to work more closely with our friends in commercials and the interactive space.

Broken Arrow is more than twice as large as our Burbank stages, and when playing back a mix you can literally feel the difference!  We still provide all the immersive sound design, dialogue cleanup, foley and ADR that we’ve always delivered as well.

Need ADR, foley, scoring or a giant theatrical stage while you’re here?  These are services we’ve always provided, but now you can walk next door and have easy access to even more robust options.  Our friends at Fox have been amazing and welcoming whenever our projects have on-site needs.

We hope you can come by!  Whether you’ve never been on the Fox lot or you’re just curious what we’re up to nowadays, please reach out and we’d love to show you around.  Please email us at [email protected] to schedule a tour.

Sincerely,

Eric Marks

707, 2024

Get to know our ADR Mixer Eric Schwartz!

July 7th, 2024|

How did you initially become interested in ADR and VO recording?
 
I have always had a fascination with recording voices. My experience with recording vocalists for music translated over well to some of the projects I worked on in film school that I recorded ADR/VO for. During my internship at The Dub Stage, I got to shadow ADR sessions and I really got interested not only in the technical aspects of ADR, but the psychological aspects as well. For VO, I was kind of thrown into the fire with it and realized I loved doing it while in said fire!
What qualities do you think make a good ADR engineer?
 
I believe being an empathetic communicator above all things is the most important quality for an ADR engineer. Post-production can get very stressful at times and I think being a calm, collected, and positive person will bring the best out in your talent/clients. I think there’s a fairly well known stereotype of sound guys being grumpy and I really try to be the opposite of that. I will always be happy to see you! Also, being flexible when changes come up during a session is not only important, but mandatory. I think that sentiment is shared across the industry as well.
What do you enjoy the most about recording with actors?
 
They are such an incredibly diverse group of people. Every actor/actress has their own unique way of going about ADR/VO and it makes every session I run unique as well. It’s a very fun challenge for me to learn what each of their preferences are while they record. I’ve been lucky to work with so many different perspectives.
What qualities have you seen in different directors while recording, and how do you go about working with various types of creative leaders on projects?
 
Much like actors, directors are all unique in their own way as well. My job is to figure out what they are looking for out of a session which can vary depending on the project. I try to feel out what those expectations are before we meet up for the session. I think the best directors I’ve worked with have had a very solid game plan going into the session rather than a “work it out in the session” approach. Obviously changes will happen from time to time, but being prepared is an important quality for directors in the ADR world.
What makes recording dialogue for games unique, compared to dialogue for films or TV?
 
The pace. Games can have much more dialogue material to work through than a film, so the recording process can be like engineering olympics. When we worked on Jedi Survivor and Octopath Traveler 2, we would crank out 100+ lines per hour (if needed). It was a boot camp for my upper extremities!
What is the workflow like between you and supervising sound editors and re-recording mixers at Transported Audio?
 
I try to get in contact with the mixers before I start on anything- whether that be ADR, VO, Foley, Editing etc. I work hard to make sure everything I’m sending off to them is done to make their lives easier. I have some freedom to mess around with or change things if it’s needed, but I like to give that freedom to the mixer/supervisor since they can do much more with it.
What do you think makes the Transported Audio team unique within the post production industry?
 
We’re a pretty tight-knit group of sound people. Even people who have moved on to other jobs stay in contact with us. Generally speaking, in a hyper competitive industry it’s nice to find a place like this. I think that translates into our work well as we all know each other’s unique preferences/idiosyncrasies, so it becomes easier and more pleasant to work with each other. I also see our team constantly tinkering with workflows and ideas in the pursuit of sounding as good as we can. While we have established expectations for each other, we aren’t 100% bound to our workflows and are flexible when we need to be.
What are some of your favorite projects that you’ve worked on so far, and why?
 
For games, Star Wars Jedi: Survivor was such an incredible experience for many reasons. It was one of the first projects I worked on for Transported Audio. I can’t say enough nice things about all of the incredible voice actors/directors/writers I got to work with during that whole recording process. They kept it fun and light, even when things got pretty stressful at points. The finished game looks and sounds absolutely incredible.
For film, I recently just recorded and edited foley for a film called Color Book that just premiered at the Tribeca Film Festival in New York. I thought the production was incredibly well done and detail oriented. The story will tug at your heart, make you cry, and might even challenge some pre-existing notions you may have. I think I cried at least 5 times working on it haha! Beautiful film.
Has there been anything that has surprised you the most about being an ADR engineer that you weren’t expecting coming into this line of work?
 
I was surprised at how much of my previous customer service skills I would be putting to use. In a way, my job is 30% recording and 70% people skills. Definitely didn’t expect that coming out of school. I actually recommend students who want to get into this pick up a part time job that’s customer facing (cashier, serving etc.) while in school. It’s an invaluable skill set in this industry. And specifically with game VO engineering, I had no idea they ran sessions as quickly as they do. I broke a decent sweat on my first few sessions!
What excites you the most about coming to work each day?
 
Simply that I get to work a job in a creative field. 4 years ago I was delivering burritos to people during Covid lockdowns and couldn’t have imagined I would be where I am today. Now I deliver ADR/VO sessions to clients and couldn’t be happier with the switch! It’s nice to actually enjoy what you’re doing!
2311, 2023

Introducing Transported Music Group

November 23rd, 2023|

Have you heard about our quickly expanding music offerings?  If not, here’s the latest.
Thanks to the tremendous growth of TA’s music work over the past year, Transported Audio has now spun off its music division to become Transported Music Group, which is being run by myself and my partner, Daniel Berk.  Within TMG, we have two main offerings:
Library Music – Our own music library, Transported Tracks, has been a resounding success already with three of our cues being licensed in AAA game trailers.  Our library has over 400 tracks and 60 exceptional composers writing for it.  At the moment, our library is geared towards Game Trailers, Sports Promos and Advertising.  Here’s a sampling of tracks from our Transported Tracks library.  You can also browse the entire library here.
Custom Music – This is original, custom, composed music from our team of composers as well as Daniel.  Among our credits, we wrote and composed all of the music for NFL 360: The Indelible Legacy of Jimmy Raye, which won a Sports Emmy this year!
We’ve been fortunate to get some press coverage about Transported Music Group as well:
Let us know how we can support you on your future projects!  We’re here to support you however we can.
Sincerely,
Eric
1811, 2022

VoyageLA interview with our CEO!

November 18th, 2022|

Our CEO Eric Marks was recently interviewed by VoyageLA about his career and how Transported Audio came to be.  Enjoy!

1609, 2022

The Importance of Timecode

September 16th, 2022|

Deity Microphones came by our Zion mix stage to chat with us about the value of timecode in post production.  We hope you enjoy this interview!

Skip ahead to 05:41 into the Youtube link for the fun stuff :-)