Golden Reel Award for Outstanding Achievement in Sound Editing – Music Score and Musical for Episodic Long Form Broadcast Media | |
---|---|
Country | United States |
Presented by | Motion Picture Sound Editors |
Currently held by | Sebastian Zuleta – Wu-Tang: An American Saga (2021) |
The Golden Reel Award for Outstanding Achievement in Sound Editing - Music Score and Musical for Episodic Long Form Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of music editing in television. The awards title has gone through many incarnations since its inception, but its focus has been on honoring exemplary work of music editors. The term "long form" was added to the category in 2002, as long form television had been awarded under both the category titled Best Sound Editing - Television Movies of the Week - Music, and Best Sound Editing - Television Episodic - Music, or some moniker of them, since 1997 (with the exceptions of 2011 and 2015). The award has been given with its current title since 2018.
Year | Program | Episode(s) | Nominees | Network |
---|---|---|---|---|
1996 [1] | Best Sound Editing - Music - TV series | |||
The Big Easy | "Don’t Shoot the Piano Player" | Fernand Bos (music editor) | USA Network | |
Dream On | "The Spirit of 76th & Park" | Merelyn Davis (music editor) | HBO | |
Lois & Clark: The New Adventures of Superman | "Double Jeopardy" | Lisa A. Arpino (music editor) | ABC | |
The Outer Limits | "Inconstant Moon" | Shawn Pierce (music editor) | Showtime | |
Sliders | "Double Jeopardy" | Fernand Bos (music editor) | Fox | |
The X-Files | "Syzygy" | Jeff Charbonneau (music editor) | ||
Best Sound Editing - Music - TV Films, Pilots, Miniseries | ||||
Gotti | Bill Abbott (supervising music editor) | HBO | ||
Crazy Horse | Virginia Ellsworth (music editor), William Ashford (assistant music editor), Robert Bayless (associate music editor) | TBS | ||
Her Last Chance | Lisa A. Arpino (music editor) | NBC | ||
In Cold Blood | Chris Ledesma (music editor), Bob Beecher (assistant music editor) | |||
1997 | Best Sound Editing - Television Episodic - Music | |||
Fame L.A. | "Pilot" | Lisa A. Arpino (music/scoring editor) | Syndication | |
Buffy the Vampire Slayer | Fernand Bos, Celia Weiner (music editors) | The WB | ||
Hercules: The Legendary Journeys | Philip Tallman (supervising music editor) | Syndication | ||
Stargate SG-1 | Rick Chadock (music editor) | Showtime | ||
Best Sound Editing - Television Movies of the Week - Music | ||||
Holiday in Your Heart | Susan Mick (music editor), Frank Jones (re-recording mixer) | ABC | ||
Annabelle's Wish | Chris Ledesma (music editor), Bob Beecher (assistant music editor) | Fox | ||
Cinderella | Richard Ford (music editor) | ABC | ||
Friends 'Til the End | Lisa A. Arpino (music editor) | NBC | ||
Stargate SG-1 | "Children of the Gods" | Alex Wilkinson (music editor) | Showtime | |
Rescuers: Stories of Courage: Two Women | Chris Ledesma (music editor), Bob Beecher (assistant music editor) | |||
Rose Hill | CBS | |||
The Second Civil War | HBO | |||
1998 | Best Sound Editing - Television Episodic - Music | |||
The Drew Carey Show | "Drew's Dance Party Special" | Merelyn Davis (music editor) | ABC | |
Ally McBeal | Sharyn Gersh (music editor) | Fox | ||
The X-Files | Jeff Charbonneau (music editor) | |||
Brimstone | David Bondelevitch (music editor) | |||
Buffy the Vampire Slayer | Fernand Bos (music editor) | The WB | ||
Fame L.A. | Lisa A. Arpino (music/scoring editor) | Syndication | ||
Hercules: The Legendary Journeys | Philip Tallman (supervising music editor) | |||
Xena: Warrior Princess | ||||
Best Sound Editing - Television Mini-Series - Music | ||||
The Temptations | "Night One" | Tom Villano (music/scoring editor), Kevin Crehan (music editor) | NBC | |
Mama Flora's Family | Michael T. Ryan (supervising music editor) | CBS | ||
A Will of Their Own | Lisa A. Arpino (music editor) | NBC | ||
Best Sound Editing - Television Movies of the Week - Music | ||||
The Rat Pack | Joanie Diener (music/scoring editor) | HBO | ||
The Christmas Wish | David J. Bondelevitch (music editor) | CBS | ||
Saint Maybe | Chris Ledesma (music editor), Bob Beecher (assistant music editor) | |||
My Own Country | Dean Hovey (music editor) | |||
The Informant | Eduardo Ponsdomenech (music editor) | Showtime | ||
The Planet of Junior Brown | Gary Grey (scoring engineer) | |||
Thanks of a Grateful Nation | Michael Baber, Dean Hovey (music editors) | |||
The Wall | Larry Brown (music editor) | |||
1999 [2] | Best Sound Editing - Television Episodic - Music | |||
The Sopranos | "A Hit Is a Hit" | Kathryn Dayak (music editor), Ron Evans (re-recording music mixer) | HBO | |
Ally McBeal | "Seeing Green" | Sharyn Gersh (music/scoring editor) | Fox | |
Angel | "I Will Remember You" | Fernand Bos (music/scoring editor), Tim Isle (music editor) | The WB | |
Buffy the Vampire Slayer | "The Prom" | Fernand Bos (music/scoring editor) | ||
Cold Feet | "Pilot" | David Bondelevitch (music editor) | NBC | |
Freaks and Geeks | "Beers and Weirs" | Jonathan Karp (music editor) | ||
The Famous Jett Jackson | "What Monet Can't Buy" | Carlos Lopes (music/scoring editor) | Disney | |
The Hoop Life | "Road Trip" | Yuri Gorbachow, Chris Jannetta (music editors) | Showtime | |
The Outer Limits | "Better Luck Next Time" | Richard S. Kaufman, Marc S. Perlman (music editors) | ||
Best Sound Editing - Television Movies and Specials (including Mini-Series) - Music | ||||
Shake, Rattle and Roll: An American Love Story | Allan K. Rosen (supervising music editor); Robb Boyd (music editor); Charles Pollard (scoring mixer); Terry O'Bright, Keith Rogers (re-recording music mixers) | CBS | ||
Alice in Wonderland | Andrew Glen (music editor) | NBC | ||
Bartok the Magnificent | Paul Silver (music/scoring editor), Mark Server (music editor) | Fox | ||
Durango | Chris Ledesma (music editor) | CBS | ||
One Special Night | Ed Kalnins (music editor) | |||
Introducing Dorothy Dandridge | Kathy Durning, Chris McGeary (music/scoring editors) | HBO | ||
A Lesson Before Dying | Chris Ledesma (music editor) | |||
Witness Protection | Adam Kay (music/scoring editor) | |||
P.T. Barnum | Bob Beecher (music editor) | A&E | ||
Tuesdays with Morrie | Chris McGeary (music/scoring editor) | ABC | ||
Year | Program | Episode(s) | Nominees | Network |
---|---|---|---|---|
2000 | Best Sound Editing - Television Episodic - Music | |||
Ally McBeal | "The Musical, Almost" | Jennifer Barak, Sharyn Gersh (music editors) | Fox | |
Bette | "The Color of Roses" | Chris Ledesma (music editor) | CBS | |
Buffy the Vampire Slayer | "Superstar" | Fernand Bos (music/scoring editor) | The WB | |
Queer as Folk | "Premiere" | Yuri Gorbachow (music editor) | Showtime | |
The Sopranos | "Commendatori" | Kathryn Dayak (music editor) | HBO | |
Undressed | "330" | Brian Bulman (music editor) | MTV | |
Xena: Warrior Princess | "Coming Home" | Philip Tallman (supervising music editor) | Syndication | |
Best Sound Editing - Television Movies and Specials (including Mini-Series) - Music | ||||
The Sandy Bottom Orchestra | Stephen M. Rowe (music/scoring editor, scoring mixer) | Showtime | ||
The Audrey Hepburn Story | Bob Beecher (music editor) | ABC | ||
Dark Prince: The True Story of Dracula | Steven A. Saltzman (music editor) | USA Network | ||
Deadly Appearances | Christopher Dedrick (music editor) | CTV | ||
Love and Murder | Christopher Dedrick (music editor) | |||
For All Time | Bob Beecher, Chris Ledesma (music editors) | CBS | ||
For Love or Country: The Arturo Sandoval Story | Georgiana Ramsland, Allan K. Rosen, Nicholas Viterelli (music editors) | HBO | ||
Hendrix | David Bondelevitch (music editor) | Showtime | ||
2001 [3] | Best Sound Editing in Television - Music, Episodic Live Action | |||
Buffy the Vampire Slayer | "Once More, with Feeling" | Fernand Bos (supervising music/scoring editor), Tim Isle (music editor) | UPN | |
Ally McBeal | "Cloudy Skies, Chance Of Parade" | Sharyn Gersh (music editor) | Fox | |
Angel | "Carpe Noctem" | Tim Isle (music editor) | The WB | |
Smallville | "Pilot" | Chris McGeary (music editor) | ||
The Drew Carey Show | "Drew Carey's Back-to-School Rock 'n' Roll Comedy Hour" | Merelyn Davis, Suzanne Marie Eller, Gerry Rothschild (music editors) | ABC | |
The Sopranos | "Mr. Ruggerio's Neighborhood" | Kathryn Dayak (music editor) | HBO | |
That's Life | "Touched by a Biker" | Lisa A. Arpino (music editor) | CBS | |
Undressed | "The Showdown" | Brian Bulman (music editor) | MTV | |
Xena: Warrior Princess | "Old Ares Had a Farm" | Philip Tallman (music editor) | Syndication | |
Best Sound Editing in Television - Music, Movies and Specials | ||||
Ruby's Bucket of Blood | David Bondelevitch (music editor) | Showtime | ||
A Colder Kind of Death | Amin Bhatia (music editor) | CTV | ||
Judgment | Gary Koftinoff (music editor) | |||
Dinner with Friends | Michael T. Ryan (music editor) | HBO | ||
Jett Jackson: The Movie | Lawrence Shragge (music editor) | Disney | ||
The Land Before Time VIII: The Big Freeze | Gregory Cathcart (music editor) | |||
Life with Judy Garland: Me and My Shadows | Yuri Gorbachow, Jim Harrison (music editors) | ABC | ||
The Mists of Avalon | Allan K. Rosen (music editor) | TNT | ||
2002 [4] [5] | Best Sound Editing in Television Long Form - Music | |||
Live from Baghdad | James Bladon, Bruno Roussel (music editors) | HBO | ||
Dinotopia | Alex Gibson, Jeremy Raub (music/scoring editors) | ABC | ||
Gleason | Christine H. Luethje (music editor) | CBS | ||
Martin and Lewis | Chris Ledesma (music editor) | |||
Johnson County War | David Bondelevitch (music editor) | Hallmark Channel | ||
A Nero Wolfe Mystery | "Death of a Doxy" | Kevin Banks (music editor), Richard Martinez (scoring editor) | A&E | |
Roughing It | Ed Kalnins (music/scoring editor) | Hallmark | ||
The Stork Derby | David C. Burt (music editor) | |||
2003 [6] [7] | The Music Man | Joanie Diener (supervising music editor, scoring editor) | ABC | |
And Starring Pancho Villa as Himself | Allan K. Rosen, Nicholas Viterelli, Joshua Winget (music editors) | HBO | ||
Dreamkeeper | James Bellamy (music/scoring editor) | ABC | ||
Hitler: The Rise of Evil | Yuri Gorbachow, Craig Pettigrew (music editors) | CBS | ||
Wuthering Heights | Chris McGeary (music/scoring editor), Stuart Goetz (music editor) | MTV | ||
2004 [8] [9] | A Christmas Carol: The Musical | Joanie Diener (supervising music editor, scoring editor) | NBC | |
The Mystery of Natalie Wood | Allan K. Rosen, Nicholas Viterelli (music editors) | ABC | ||
Meltdown | Shie Rozow (music editor) | Fox | ||
Rameses: Wrath of God or Man? | Christopher Kennedy (music editor) | Discovery Channel | ||
A Separate Peace | David Bondelevitch (music editor) | Showtime | ||
2005 [10] [11] | No Direction Home: Bob Dylan | Jennifer L. Dunnington, Annette Kudrak (music editors) | PBS | |
CSI: Crime Scene Investigation | "Grave Danger" | Christine H. Luethje (music editor) | CBS | |
Empire | "The Hunt", "Fortune's Fool" | Tom Villano (music editor) | ABC | |
Trump Unauthorized | Yuri Gorbachow (music editor) | |||
The Triangle | "Episode 1" | Jason Ruder (music editor) | Sci Fi | |
2006 [12] [13] [14] | Best Sound Editing in Music for Television - Long Form | |||
High School Musical | Carli Barber, Michael Dittrick (music editors) | Disney Channel | ||
The Lost Room | Christine H. Luethje (music editor) | Sci Fi | ||
The Ron Clark Story | Joanie Diener (music editor) | TNT | ||
The Cheetah Girls 2 | Carli Barber (music editor) | Disney Channel | ||
Eight Days to Live | Robert Carli (music editor) | Lifetime | ||
The Ten Commandments | David Bondelevitch (music editor) | ABC | ||
2007 [15] | Best Sound Editing - Music for Long Form Television | |||
High School Musical 2 | Michael Dittrick, Amber Funk (music editors) | Disney Channel | ||
Booky & the Secret Santa | Robert Carli (music editor) | CBC | ||
The War | "When Things Get Tough" | Jacob Ribicoff (music editor) | PBS | |
2008 [16] [17] [18] | Best Sound Editing - Long Form Music in Television | |||
Céline | Kevin Banks (supervising music editor) | CBC | ||
Bernard and Doris | Ellen Segal (supervising music editor) | HBO | ||
A Raisin in the Sun | Joanie Diener (supervising music editor) | ABC | ||
2009 [19] [20] [21] | Spectacular! | Michael Dittrick (supervising music editor), Ben Zales (music editor) | Nickelodeon | |
Damages | "Trust Me" | Robert Cotnoir (music editor) | FX | |
Diamonds | Kevin Banks (music editor) | ABC |
Year | Program | Episode(s) | Nominees | Network |
---|---|---|---|---|
2011 [22] [23] | Magic Beyond Words: The J.K. Rowling Story | Michael T. Ryan (supervising music editor), Jeff Toyne (composer) | Lifetime | |
12 Dates of Christmas | Lisa A. Arpino (supervising music editor), Avital Korin (music editor) | ABC Family | ||
Alphas | "Pilot" | Ben Zales (music editor) | Syfy | |
Avalon High | Lisa A. Arpino (supervising music editor) | Disney Channel | ||
Terra Nova | "Occupation/Resistance" | Micha Liberman (supervising music editor), Gary L. Krause (music editor) | Fox | |
2012 [24] [25] | Hemingway & Gellhorn | Joanie Diener (supervising music editor) | HBO | |
Damages | "But You Don't Do That Anymore" | Robert Cotnoir (music editor) | FX | |
Girl vs. Monster | Amber Funk (supervising music editor) | Disney Channel | ||
Hatfields & McCoys | "Part 2" | Kevin Banks, Darrell Hall (music editors) | History | |
Titanic | "Episode 1" | Kevin Banks (music editor), Michael Banton-Jones (scoring editor) | ABC | |
2013 [26] [27] | Best Sound Editing - Long Form Musical in Television | |||
History of the Eagles | Annette Kudrak (music editor) | Showtime | ||
Smash | "The Nominations"/"The Tonys" | Robert Cotnoir, Dan Evans Farkas (music editor) | NBC | |
Teen Beach Movie | Amber Funk (supervising music editor), Nathaniel Hill (music editor) | Disney Channel | ||
2015 [28] [29] | Best Sound Editing in Television- Long Form Music | |||
Saints & Strangers | Del Spiva (music editor) | Nat Geo | ||
Scream Queens | "Pilot"/"Hell Week" | David Klotz (music editor) | Fox | |
The Book of Negroes | Joe Mancuso (music editor) | BET | ||
Best Sound Editing in Television - Long Form: Musical | ||||
Teen Beach 2 | Amber Funk (supervising music editor) | Disney Channel | ||
Drumline: A New Beat | Avital Korin (music editor) | VH1 | ||
Descendants | Amber Funk (supervising music editor) | Disney Channel | ||
2016 [30] [31] | Best Sound Editing - Long Form Music in Television | |||
The Rocky Horror Picture Show: Let's Do the Time Warp Again | Kevin Bassinson (music editor) | Fox | ||
The Get Down | "Where There Is Ruin, There Is Hope for a Treasure" | Jamieson Shaw (supervising music editor), Dave Robertson (music editor) | Netflix | |
Gilmore Girls: A Year in the Life | "Summer" | Scott Schirle (music editor) | ||
Quarry | "You Don't Miss Your Water" | Lodge Worster (music editor) | Cinemax | |
Surviving Compton: Dre, Suge & Michel'le | Wolfgang Amadeus, Kevin Banks (music editors) | Lifetime | ||
2017 [32] [33] | Outstanding Achievement in Sound Editing - Music Score and Musical for Episodic Long Form Broadcast Media | |||
The Get Down | "Only from Exile Can We Come Home" | Jamieson Shaw (supervising music editor); Jordan L. Ross, Dave Robertson (music editors) | Netflix | |
Descendants 2 | Amber Funk (supervising music editor), Richard David Brown (music editor) | Disney Channel | ||
Ozark | Bryant Fuhrmann, Jason Tregoe Newman (music editors) | Netflix | ||
Rebel | "Pilot" | Shie Rozow (music editor) | BET | |
Vikings | "The Fisher King" | Yuri Gorbachow (supervising music editor), Lise Beauchesne (music editor) | History | |
2018 [34] [35] | The Marvelous Mrs. Maisel | "We're Going to the Catskills!" | Annette Kudrak (music editor) | Amazon |
The Assassination of Gianni Versace: American Crime Story | "Manhunt" | David Klotz (music editor) | FX | |
Counterpart | "Birds of a Feather" | Moira Marquis (music editor) | Starz | |
The Handmaid's Tale | "The Word" | Yuri Gorbachow (supervising music editor), Lise Beauchesne (music editor) | Hulu | |
The Little Drummer Girl | "Episode 3" | Andrew Glen (music editor) | AMC | |
Westworld | "The Riddle of the Sphinx" | Christopher Kaller, Allegra De Souza (music editors) | HBO | |
Luke Cage | "I Get Physical" | Michael Brake (music editor) | Netflix | |
Ozark | "The Gold Coast" | Bryant Fuhrmann, Stephen Lotwis, Jason Tregoe Newman (music editors) | ||
2019 [36] [37] | Game of Thrones | "The Long Night" | David Klotz (music editor) | HBO |
American Gods | "Donar the Great" | Kevin Banks (music editor) | Starz | |
Billions | "Fight Night" | Shari Johanson (music editor) | Showtime | |
Carnival Row | "The Gloaming" | Greg Vines (music editor) | Amazon | |
Dark | "An Endless Cycle" | Lewis Morison (music editor) | Netflix | |
The Handmaid's Tale | "Mayday" | Yuri Gorbachow (supervising music editor), Lise Beauchesne (music editor) | Hulu | |
NOS4A2 | "The Shorter Way" | Michael Brake (music editor) | AMC | |
Succession | "This Is Not for Tears" | John Finklea, Todd Kasow (music editors) | HBO |
Year | Program | Episode(s) | Nominees | Network |
---|---|---|---|---|
2020 [38] | The Queen's Gambit | "Adjournment" | Tom Kramer (music editor) | Netflix |
Better Call Saul | "Magic Man" | Jason Tregoe Newman (music editor) | AMC | |
The Boys | "Nothing Like It in the World" | Christopher Brooks (music editor) | Amazon | |
Bridgerton | "Shock and Delight" | Brittany DuBay (music editor) | Netflix | |
Ozark | "Kevin Cronin Was Here" | Stephen Lotwis, Jason Tregoe Newman (music editors) | ||
Raised By Wolves | "Raised By Wolves" | James Bladon, David Menke, Lewis Morison (music editors) | HBO Max | |
2021 [39] [40] | Best Sound Editing - Long Form Music in Television | |||
Wu-Tang: An American Saga | "Protect Ya Neck" | Sebastian Zuleta (music editor) | Hulu | |
Cobra Kai | "The Rise" | Andres Locsey (music editor) | Netflix | |
The Witcher | "A Grain of Truth" | Arabella Winter (music editor) | ||
Squid Game | "Red Light, Green Light" | Jae-il Jung (music editor) | ||
See | "Rock-a-Bye" | Dan Farkas (music editor) | Apple TV+ | |
Ted Lasso | "Rainbow" | Richard David Brown (supervising music editor); Sharyn Gersh (music editor) | ||
Star Trek: Discovery | "Kobayashi Maru" | Moira Marquis (supervising music editor); Matea Prljevic (scoring editor) | Paramount+ | |
The Golden Reel Award for Outstanding Achievement in Sound Editing – Musical for Feature Film is an annual award given by the Motion Picture Sound Editors. It honors music editors whose work has warranted merit in the field of cinema; in this case, their work in musical feature films. It was first awarded in 1999, for films released the previous year, under the title Best Sound Editing – Music – Musical Feature . In 2002, the award dropped "Foreign & Domestic" from its title, going by Best Sound Editing – Music – Musical Feature Film. From this point, until 2017, that title would remain, or some simple variation of it. The award has been given with its current title since 2018. The category was not presented in 2021.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Dialogue and ADR for Feature Film is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of automated dialogue replacement, or ADR. It was first awarded in 1964, for films released the previous year, under the title Best Sound Editing – Loop Lines. The following year, the award was re-titled Best Sound Editing – Dialogue, and would remain this until 1984, before being changed to Best Sound Editing – ADR. In 1991, the "dialogue" and "ADR" aspects of the process were divided into separate categories and would, intermittently, be awarded for the next seven years, before combining again in 1998, under the title Best Sound Editing – Dialogue & ADR. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing - Sound Effects, Foley, Dialogue and ADR for Animated Feature Film is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of animated film. It was first awarded in 1989, for films released the previous year, under the title Best Sound Editing - Animated Feature. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects, Foley, Music, Dialogue and ADR for Non-Theatrical Feature Film Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of non-theatrical film; i.e. films that go direct-to-video or direct-to-streaming. It was first awarded in 1999, for films released the previous year, under the title Best Sound Editing – Direct to Video – Sound. From 1999 until 2011, the award honored both animated and live-action films. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects, Foley, Music, Dialogue and ADR for Non-Theatrical Animated Long Form Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of non-theatrical film; i.e. films that go direct-to-video or direct-to-streaming. It was first awarded in 1999, for films released the previous year, under the title Best Sound Editing – Direct to Video – Sound. From 1999 until 2011, the award honored both animated and live-action films. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Dialogue and ADR for Episodic Short Form Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of automated dialogue replacement, or ADR in short form broadcast media. The "short form" of the title refers to television episodes that have a runtime of less than one hour, though more than 35 minutes, as those episodes now have their own category. It was first awarded in 1998, for episodes premiering the previous year, under the title Best Sound Editing – Television Episodic – Dialogue & ADR. The term "short form" was added to the category in 2005, though long-form television had had its own category by then. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Series 1 Hour – Dialogue/ADR is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of automated dialogue replacement, or ADR in long form broadcast media. The "long form" of the title refers to television episodes that have a runtime of more than one hour. It was first awarded in 2002, for episodes premiering the previous year, under the title Best Sound Editing in Television – Dialogue & ADR, Long Form. The term "long form" was added to the category in 2002, as long form television had been award under the category titled Best Sound Editing – Television Movies and Specials – Dialogue & ADR, or some moniker of it, since 1997. The award has been given with its current title since 2022.
The Golden Reel Award for Outstanding Achievement in Sound Editing - Dialogue and ADR for Episodic Short Form Broadcast Media is an annual award given by the Motion Picture Sound Editors in the United States. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of sound effects and foley work in short form broadcast media. The "short form" of the title refers to television episodes that have a runtime of less than one hour, though more than 35 minutes, as those episodes now have their own category. It was first awarded in 1998, for episodes premiering the previous year, under the title Best Sound Editing - Television Episodic - Effects & Foley. The term "short form" was added to the category in 2005, though long form television had had its own category by then. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Series 1 Hour – Effects / Foley is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of sound effects and foley work in long form broadcast media. It was first awarded in 2002, for episodes premiering the previous year, under the title Best Sound Editing in Television - Effects & Foley, Long Form. The term "long form" was added to the category in 2002, as long form television had been award under the category titled Best Sound Editing - Television Movie of the Week - Effects & Foley, or some moniker of it, since 1998. The award has been given with its current title since 2022. Also in 2022, limited and anthology series were separated from other hour-long programs and given their own category, Outstanding Achievement in Sound Editing – Limited Series or Anthology.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects and Foley for Feature Film is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of sound effects and foley. It was first awarded in 1954, for films released the previous year, under the title Best Sound Editing - Feature Film. In 1964 the award was split in two, this to honor sound effects editing, while the other honored adr. It wasn't until 1974 that the title specified that it was being awarded to sound effects, under the title Best Sound Editing - Sound Effects. The "foley" of the title wasn't recognized until 1997. Between then and 2018, the category's title fluctuated between similar variations. The award has been given under its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing - Sound Effects, Foley, Dialogue and ADR for Foreign Language Feature Film is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of non-English language film. It was first awarded in 1983, for films released the previous year, but was separated into two categories: Best Sound Editing - Foreign Feature - Dialogue and Best Sound Editing - Foreign Feature - Sound Effects This was amended in 1985, when ADR and sound effects were combined for the category Best Sound Editing - Foreign Feature. It was not until 2018, when this award was first given under its current title, that this category awarded, exclusively, non-English language films. Previously, the award was given to either foreign language films and/or English language films produced outside of the United States.
Donald Sylvester is an American sound editor who has worked on over 100 films. He is best known for his work with James Mangold on the films Ford v Ferrari (2019), Logan (2017), 3:10 to Yuma (2007), and Walk the Line (2005). Sylvester won the Academy Award for Best Sound Editing at the 92nd Academy Awards for Ford v Ferrari and BAFTA Award for Best Sound at the 59th British Academy Film Awards for Walk the Line. He has been a member of BAFTA since 2007.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects, Foley, Music, Dialogue and ADR for Live Action Broadcast Media Under 35 Minutes is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work on episodes with run times 35 or less. The "short form" of the title refers to television episodes that have a runtime of less than one hour, though more than 35 minutes, as those episodes now have their own category. The award has been given with its current title since 2019. Previously, series eligible for this award could be nominated for the short form dialogue & ADR and sound effects & foley categories.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Feature Underscore is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of film; in this case, their work in the field of music editing in theatrically released motion pictures. The awards title has gone through many incarnations since its inception, but its focus has been on honoring exemplary work of music editors. Until 2005, animated films had their own category; since then, they have been eligible for this award.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Music Score and Musical for Episodic Short Form Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of music editing in television. The awards title has gone through many incarnations since its inception, but its focus has been on honoring exemplary work of music editors. The term "short form" was added to the category in 2002, as long form television has its own separate category. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing - Sound Effects, Foley, Dialogue and ADR for Documentary Feature Film is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of documentary feature (theatrical) film. The award has been given with its current title since 2018.
The Golden Reel Award for Outstanding Achievement in Sound Editing - Sound Effects, Foley, Dialogue and ADR for Feature Documentary is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of cinema; in this case, their work in the field of documentary films. It was first awarded in 2010.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects and Foley for Non-Theatrical Documentary Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of sound effects and foley work in non-theatrical documentary broadcast media.
The Golden Reel Award for Outstanding Achievement in Sound Editing – Sound Effects, Foley, Music, Dialogue and ADR for Short Form Animation Broadcast Media is an annual award given by the Motion Picture Sound Editors. It honors sound editors whose work has warranted merit in the field of television; in this case, their work in the field of sound effects and foley work in short form animated broadcast media.
The 69th Golden Reel Awards, were held on March 13, 2022, by the Motion Picture Sound Editors (M.P.S.E.) to honor the best in sound editing for film, television, computer entertainment and student productions in 2021. The nominations were announced on January 24, 2022, the film Dune led the nominations with three.