Close ☰
Menu ☰

71st Emmy Award nominations – sound – Creative Arts Emmys

Posted on: Friday 19th of July 2019

The Television Academy has announced the nominations for the 71st Emmy Awards, including the categories of outstanding sound editing and sound mixing. HBO’s Game of Thrones secured 32 nominations, the most for any program in a single season. The series received a total of 161 nominations over its eight-season run. Game of Thrones was followed by The Marvelous Mrs. Maisel (20 nominations), Chernobyl (19), Saturday Night Live (18), Barry (17), Fosse/Verdon (17) and When They See Us (16).

The Creative Arts Emmy Awards will air on Saturday, September 21 at 8 p.m. ET/PT on FXX.

The 71st Emmy Awards will air live from the Microsoft Theatre in Los Angeles. Live in Los Angeles on Sunday, September 22 (8-11 p.m. ET live/5-8 p.m. PT live) on FOX.

The Emmy nominations in the sound editing and mixing categories are as follows:

Outstanding Sound Editing for a Comedy or Drama Series (One Hour)
Better Call Saul • “Talk”
Kurt Nicholas Forshager, Sound Supervisor
Kathryn Madsen, ADR Supervisor
Matt Temple, FX Editor
Mark Cookson, FX Editor
Jane Boegel-Koch, Dialogue Editor
Jason Newman, Music Editor
Jeff Cranford, Foley Editor

Game of Thrones • “The Long Night”
Tim Kimmel, MPSE, Sound Supervisor
Tim Hands, Supervising ADR Editor
Paula Fairfield, Sound Designer
Bradley C. Katona, MPSE, Sound Effects Editor
Paul Bercovitch, Supervising Dialogue Editor
John Matter, Dialogue Editor
David Klotz, Music Editor
Brett Voss, Foley Editor

Gotham • “Legend of the Dark Knight: I Am Bane
George Haddad, MPSE, Sound Supervisor
Chad J. Hughes, MPSE, Sound Editor
Julie Altus, Sound Editor
Ashley Revell, Music Editor
Joseph T. Sabella, Foley Artist
Rick Owens, Foley Artist
Star Trek: Discovery • “Such Sweet Sorrow, Part 2”
Matthew E. Taylor, Sound Supervisor
Tim Farrell, Sound Designer
Mike Schapiro, Sound Effects Editor
Clayton Weber, Sound Effects Editor
Dan Kenyon, Sound Effects Editor
Rickley W. Dumm, ADR Editor
Sean Heissinger, Dialogue Editor
Bob Jackson, Dialogue Editor
Matt Decker, Music Editor

Star Trek: Discovery • “Such Sweet Sorrow, Part 2”
Matthew E. Taylor, Sound Supervisor
Tim Farrell, Sound Designer
Mike Schapiro, Sound Effects Editor
Clayton Weber, Sound Effects Editor
Dan Kenyon, Sound Effects Editor
Rickley W. Dumm, ADR Editor
Sean Heissinger, Dialogue Editor
Bob Jackson, Dialogue Editor
Matt Decker, Music Editor

Tom Clancy’s Jack Ryan “Pilot”
Benjamin Cook, MPSE, Co-Supervising Sound Editor
Jon Wakeham, Co-Supervising Sound Editor
Hector Gika, Sound Effects Editor
David Esparza, MPSE, Sound Effects Editor
Tim Tuchrello, Dialogue Editor
Alex Levy, Music Editor
Brett Voss, Foley Editor

Outstanding Sound Editing for a Comedy or Drama Series (Half-Hour)
Ballers“This Is Not Our World”
Mark Relyea, Sound Supervisor
David Barbee, Sound Effects Editor
Julie Altus, ADR Supervisor
Chris Kahwaty, Dialogue Editor
Bruno Roussel, MPSE, Music Editor
Damian Smith, Foley Editor

Barry“ronny/lily”
Matthew E. Taylor, Co-Supervising Sound Editor
Sean Heissinger, Co-Supervising Sound Editor
Rickley W. Dumm, MPSE, Sound Effects Editor
Mark Allen, Sound Effects Editor
John Creed, Dialogue Editor
Harrison Meyle, Dialogue Editor
Michael Brake, MPSE, Music Editor
Clayton Weber, Foley Editor

Love, Death & Robots • “The Secret War”
Brad North, Sound Supervisor/Dialogue Editor
Craig Henighan, Sound Designer
Jordan Wilby, Sound Effects Editor
Troy Prehmus, Sound Effects Editor
Jeff Charbonneau, Music Editor

Russian Doll • “The Way Out”
Alex Soto, Sound Effects Editor
Thomas Ryan, Dialogue Editor
Wen-Hsuan Tseng, Foley Editor

What We Do in the Shadows • “Werewolf Feud”
Steffan Falesitch, Supervising Sound Editor
David Barbee, Sound Effects Editor
Angelina Faulkner, Dialogue Editor
Steve Griffen, Music Editor
Sam Lewis, Foley Editor
John Guentner, Foley Editor

Outstanding Sound Editing for a Limited Series, Movie or Special
Catch-22 • “Episode 1”
Jerry Ross, Sound Supervisor
Doug Mountain, Dialogue Editor
Byron Wilson, Dialogue Editor
Chris Assells, Sound Designer
Jeff Fuller, Sound Effects Editor
Michael Alexander, Music Editor
Clayton Weber, Foley Editor

Chernobyl • “1:23:45”

Stefan Henrix, Supervising Sound Editor

Joe Beal, Sound Designer

Michael Maroussas, Dialogue Editor

Harry Barnes, ADR Supervisor

Andy Wade, Music Editor

 

Deadwood

Mandell Winter, MPSE, Sound Supervisor

Daniel Coleman, MPSE, Supervising Sound Effects Editor

Ben Cook, MPSE, Sound Designer

Bernard Weiser, MPSE, Dialogue Editor

Brian Armstrong, MPSE, Dialogue Editor

Shane Hayes, Dialogue Editor

Rob Chen, ADR Edit or

Dhyanna Carlton-Tim, ADR Editor

Micha Liberman, Music Editor

Eryne Prine, MPSE, Foley Editor

John Sievert, Foley Artist

 

True Detective • “The Great War and Modern Memory”

Mandell Winter, MPSE, Sound Supervisor

David Esparza, MPSE, Sound Designer

Micah Loken, MPSE, Dialogue Editor

Bernard Weiser, MPSE, Dialogue Editor

Ryan Collins, MPSE, Sound Effect s Editor

Fernand Bos, MPSE, Music Editor

Jason Wormer, Music Editor

Eryne Prine, MPSE, Foley Editor

 

When They See Us • “Part Four”

John Benson, Sound Supervisor

Susan Dudeck, Supervising ADR/Dialogue Editor

Bruce Tanis, Sound Designer

Chase Keene, Dialogue/ADR Editor

Jesse Pomeroy, Dialogue Editor

Naaman Hayes, Dialogue Editor

Bobbi Banks, Dialogue Editor

Elliott Koretz, Sound Effects Editor

Mat t Wilson, Sound Effects Editor

Suat Ayas, Sound Effects Editor

Jen Monnar, Music Editor

 

Outstanding Sound Editing for a Nonfiction Program (Single or Multi-Camera)
Anthony Bourdain Parts Unknown • “Far West Texas”

Benny Mouthon, Sound Supervisor

Hunter Gross, Sound Editor

Free Solo

Deborah Wallach, Sound Supervisor

Filipe Messeder, Sound Effects Editor

Jim Schult z, Music Editor

Roland Vajs, Foley Editor

 

FYRE: The Greatest Party That Never Happened

Nathan Hasz, Sound Supervisor

Tom Paul, Sound Designer

Jeremy Bloom, Sound Effects Editor

Esther Regelson, Dialogue Editor

Daniel Ward, Dialogue Editor

 

Leaving Neverland

Ross Millership, Dialogue Editor

Poppy Kavanagh, Music Editor

Our Planet • “Frozen Worlds”

Kate Hopkins, Sound Supervisor

Tim Owens, Sound Editor

Outstanding Sound Mixing for a Comedy or Drama Series (One Hour)
Better Call Saul • “Talk”

Larry Benjamin, Re-Recording Mixer

Kevin Valentine, Re-Recording Mixer

Phillip W. Palmer, Production Mixer

Game of Thrones • “The Long Night”

Onnalee Blank, Re-Recording Mixer

Mat hew Waters, CAS, Re-Recording Mixer

Simon Kerr, Production Mixer

Danny Crowley, Production Mixer

Ronan Hill, Production Mixer

The Handmaid’s Tale • “Holly”

Lou Solakofski, Re-Recording Mixer

Joe Morrow, Re-Recording Mixer

Sylvain Arseneault, Production Mixer

The Marvelous Mrs. Maisel • “Vote for Kennedy, Vote for Kennedy”

Ron Bochar, CAS, Re-Recording Mixer

Mat hew Price, CAS, Production Mixer

David Bolt on, ADR Mixer

George A. Lara, Foley Mixer

Ozark • “The Badger”

Larry Benjamin, Re-Recording Mixer

Kevin Valentine, Re-Recording Mixer

Felipe ‘Flip’ Borrero, Production Mixer

Dave Torres, Foley Mixer

Outstanding Sound Mixing For A Limited Series Or Movie
Chernobyl • 1:23:45

Stuart Hilliker, Re-Recording Mixer

Vincent Piponnier, Production Mixer

Deadwood

John W. Cook II, Re-Recording Mixer

Mikael Stewart, FOH Product ion Mixer

John Harris, Broadcast Music Mixer

Erik Schilling, Broadcast Music Mixer

Ron Reaves, FOH Music Mixer

Thomas Pesa, Foldback Mixer

Michael Parker, Foldback Mixer

Eric Johnston, Playback Music Mixer

Pablo Mungia, Pre-Recorded Music Mixer

Juan Pablo Velasco, Pre-Recorded Music Mixer

Josh Morton, Video Package Audio Mixer

Paul Sandweiss, Video Package Audio Mixer

Kristian Pedregon, Video Package Audio Mixer

Bob LaMasney, Sweetening Mixer

Last Week Tonight with John Oliver • “Authoritarianism”

Steve Watson, A1 Production Mixer

Charlie Jones, Supervising/Pro Tools Mixer

Max Perez, Pro Tools Mixer

Steve Lettie, Front of House PA Mixer

The Oscars
Paul Sandweiss, Production Mixer

Tommy Vicari, Orchestra/Music Mixer

Pablo Munguia, Pre-Recorded Music Programming Supervisor

Kristian Pedregon, Post Audio

Patrick Baltzell, PA Mixer

Michael Parker, Monitor Mixer

Christian Schrader, Supplemental Audio

John Perez, VO Mixer

Tom Pesa, Orchestra Monitor Mixer

Mark Repp, Orchestra Monitor Mixer

Biff Dawes, Orchestra Mixer

Outstanding Sound Mixing for a Nonfiction Program (Single or Multi-Camera)
Anthony Bourdain Parts Unknown • “Kenya”

Brian Bracken, Re-Recording Mixer

Free Solo

Tom Fleischman, CAS, Re-Recording Mixer

Ric Schnupp, Re-Recording Mixer

Tyson Lozensky, Scoring Mixer

Jim Hurst, Production Mixer

FYRE: The Greatest Party That Never Happened

Tom Paul, Re-Recording Mixer

Leaving Neverland

Matt Skilton, Re-Recording Mixer

Marguerite Gaudin, Production Mixer

Our Planet • One Planet

Graham Wild, Re-Recording Mixer

www.emmys.com

71st Emmy Award nominations – sound – Creative Arts Emmys full list



Latest News & Blog articles

  • After a successful inaugural year (see Resolution V21.2), The Sound of the Year Awards is returning. A celebration of everyday sound in all its forms, the awards are presented by The Museum of Sound in partnership with The New BBC Radiophonic Workshop and others. Submissions are accepted and encouraged from around the world. Anyone over […]
  • Salsa Sound has upgraded its MIXaiR system. The AI-driven automix software for pitch/court-based sporting events, enables you to automatically create an immersive listening experience using standard mic setups without the need for tracking or manual operation. It does this by analysing the signals of multiple inputs and adjusting accordingly to its sports-specifc ‘trained’ AI. The […]
  • Exhibitors are signing up to take part in ISE 2022, due to take place in Barcelona at the start of February. NIGEL JOPSON takes a look. Registration for ISE 2022 is now open, offering the international audio, visual, and systems integration community a long-anticipated opportunity to reconnect in person at ISE’s new home at the […]
  • Merging will show several new introductions at the Amsterdam IBC2021 show, including developments relevant to broadcasters as IP infrastructures and remote production are ever more important. Its Pyramix digital audio workstation is often used for immersive content, and the 25th Anniversary edition of Pyramix included many of the hooks needed to simplify the workflow when […]
  • DPA Microphones has released a new accessory, the MS4099 mic stand mount, for its 4099 CORE instrument mic – and is also shipping brown versions of its 4466 CORE omnidirectional and 4488 CORE directional headset mics (Resolution V21.3). A solution for mounting the 4099 onto any mic stand, the MS4099 can be used for ⅜” […]
  • When AMS Neve got in touch with us to talk about the fact that its iconic 88R desk turns twenty this year, it occurred to us that the history of Resolution is somewhat intertwined with it. The very first issue of this magazine appeared in May of 2002, not all that long after the launch […]
  • Trinnov Audio has announced a complete hardware and software refresh of its D-MON speaker optimisation and management range. The upgrades are designed to deliver new features that can meet customer and studio requirements as the music industry incrementally adopts Dolby Atmos. Effective from December, the current D-MON 6 and 12 hardware units will be replaced […]
  • Fender Musical Instruments Corporation has today announced it has signed a definitive agreement of merger with PreSonus Audio Electronics, Inc. The Baton Rouge, Louisiana based brand is a manufacturer of recording and live-sound hardware. The musical instrument giant, best known for its guitars and amplifiers, is over 75 years old now – but sees potential […]
Translate »