Laura Karpman

Paradise is a musical challenge

Emmy and Grammy award-winning composer Laura Karpman is a true 21st century composer. She has combined imagination and prodigious musical talent with progressive use of technology to achieve an impressive, eclectic resumé spanning film, television, videogames, concert and theatre scoring. Equally at home in front of a DAW or a Steinway, Karpman relishes a musical challenge and approaches all her projects with an awe-inspiring passion and creativity - whether it’s a PlayStation game, a cutting-edge documentary, or a multimedia opera. Having embraced technology as a fundamental part of composition and even converted her beachfront home into a “total studio” to accommodate it, Karpman rates Video Slave as one of her ultimate pieces of gear: she explained to us recently how it has revolutionised her workflow.

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Stephan Fandrych

Finding ADR Freedom with ADR Master

German ADR specialist Stephan Fandrych got started reversioning the Flinstones into German. Since then he and his team have become one of the go-to post houses in Germany for dialogue and ADR. We sat down and talked about how they got started and how a product called ADR Master has given them a new freedom in their dubbing workflow.

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Keegan DeWitt

The most normal guy in the room

Keegan DeWitt didn’t set out in life to be a prodigious film composer, but since making his name at the South by Southwest Festival in the 2000s and establishing himself as a firm favourite at the Sundance Festival, he has scored for movies scooping an Academy Award, three Sundance Audience Awards, several New York Times awards and an Independent Spirit Award between them, not to mention working on top TV shows such as Divorce for HBO. 

We talk to him about his rise to fame, his approach to composition, and the part Non-Lethal Applications have played in his journey.

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Frank Ilfman

The freedom of streamers

Perhaps due to his eclectic musical background encompassing trombone and Dixieland jazz - or perhaps due to his self-professed inability to say no to anything - Frank Ilfman’s movie-scoring resume is fascinatingly varied, from orchestrating the Legendary Pictures logo fanfare, to scoring more than 40 films and numerous TV shows including the most recent Ghost Stories and The Etruscan Smile. Ilfman regards composing music as a deeply personal process, continuing to execute all his own writing himself. And one of the most prized tools in his personal toolbox is Video Slave: he explains to us the freedom of being able to use the program to create streamers in his scoring, allowing an organic approach he has found absolutely liberating.

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Christopher Doucet

A powerful collaboration between technology and talent

Chris Doucet is in the enviable position of working a real job doing what he loves. As a film composer, and co-owner of Strawberry Sound Studios in Salt Lake City, he has composed powerful scores for award-winning films, TV spots and commercials and worked as a session musician and arranger for artists from around the world.

Doucet is a passionate advocate of Video Slave, describing its elegance as an absolute must-have for anyone writing for media. We catch up with him to hear about his work and why Video Slave has made all the difference.

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Bruce Miller

the traditionalist working magic with the modern

The mastermind behind the theme tunes for hit American TV shows including Frasier, Knots Landing, and Wings, Bruce Miller’s work will be familiar to many of us; but his resume extends far beyond TV hits. A composer, arranger, conductor and instrumentalist, in the course of a fascinating career Miller has cut his teeth in a military jazz band, arranged for top artists from The Temptations to Rod Stewart, and composed for film as well as TV. He talks to us about his unconventional use of modern technology, whilst still remaining a purist at heart; and how Video Slave is for him a complete “no-brainer”.

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Jérémy Rodeschini

Even experts need back-up

Jérémy Rodeschini is one of those fascinating people you meet, who you think ‘how on earth have you ended up where you are today?’ Half-Swiss, half-Italian, the talented sound editor and mixer cut his teeth in Switzerland before working at Technicolor in Asia, where he built an impressive technical and creative portfolio including dialogue editing, SFX, track laying, ADR, music recording, re-recording, and mixing. His specialism now is feature film work, earning a name on movies such as Rocket; and he has recently landed the plum role of Senior Supervising Engineer at the UK’s National Film and Television School. He talks to us about keeping everything in sync, always having a back-up option, and why Video Slave is a “no-brainer”.

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