The Hollywood Professional Association Award for Outstanding Sound in a Feature Film is an annual award, given by the Hollywood Professional Association (HPA) to post-production workers in the film and television industry, in this case sound. First awarded in 2006, it has been presented every year since. From 2006 to 2009, the category was titled HPA Award for Outstanding Audio Post - Feature Film.
Outstanding Audio Post - Feature Film
| Year | Film | Winners/Nominees |
|---|---|---|
| 2006 [1] | Flightplan | Dave McMoyler, Michael Minkler, Myron Nettinga |
| The Producers | Lon Bender, Lee Dichter | |
| 2007 [2] | The Bourne Ultimatum †† | Karen Baker Landers, Per Hallberg, Scott Millan, David Parker |
| Meet the Robinsons | David E. Fluhr, Myron Nettinga, Todd Toon | |
| 2008 [3] | WALL-E ‡‡ | Ben Burtt, Tom Myers, Michael Semanick, Matthew Wood |
| Into the Wild | Michael Minkler, Lora Hirschberg, Martin Hernández | |
| Wanted ‡‡ | Wylie Stateman, Harry Cohen, Chris Jenkins, Frank A. Montaño | |
| 2009 [4] | Watchmen | Chris Jenkins, Frank A. Montaño, Scott Hecker, Eric A. Norris |
| Quantum of Solace | Eddy Joseph, James Boyle | |
| Up ‡‡ | E.J. Holowicki, Tom Myers, Michael Silvers, Michael Semanick |
Outstanding Sound - Feature Film
| Year | Film | Winners/Nominees |
|---|---|---|
| 2010 [5] | District 9 | Chris Ward, Brent Burge (supervising sound editors); Michael Hedges, Gilbert Lake (re-recording mixers) |
| The Book of Eli | Steven D. Williams, Eric A. Norris (sound designers/supervising sound editors); Chris Jenkins, Frank A. Montaño (re-recording mixers) | |
| Inception †† | Richard King (sound designer/supervising sound editor); Lora Hirschberg, Gary Rizzo (re-recording mixers) | |
| The Princess and the Frog | Odin Benitez (sound designer/supervising sound editor); David E. Fluhr, Dean Zupanic (re-recording mixers) | |
| Toy Story 3 ‡‡ | Tom Myers (re-recording mixer/sound designer/supervising sound editor), Michael Silvers (supervising sound editor), Michael Semanick (re-recording mixer) | |
| 2011 [6] | Green Lantern | Per Hallberg, Karen Baker Landers (supervising sound editors); John T. Reitz, Gregg Rudloff, Rick Kline (re-recording mixers) |
| Cars 2 | Tom Myers (re-recording mixer/sound designer/supervising sound editor), Michael Silvers (supervising sound editor), Michael Semanick (re-recording mixer) | |
| Fast Five | Peter Brown (sound designer/supervising sound editor); Jon Taylor, Frank A. Montaño (re-recording mixers) | |
| Sucker Punch | Scott Heccker, Eric A. Norris (sound designers/supervising sound editors); Chris Jenkins, Frank A. Montaño (re-recording mixers) | |
| True Grit ‡‡ | Skip Lievsay, Craig Berkey (re-recording mixers/supervising sound editors); Greg Orloff (re-recording mixer) | |
| 2012 [7] [8] | The Adventures of Tintin | Chris Ward, Brent Burge (supervising sound editors); Christopher Boyes, Michael Hedges, Andy Nelson (re-recording mixers) |
| Brave | Gwendolyn Yates Whittle (supervising sound editor), E.J. Holowicki (sound designer), Gary Rydstrom (re-recording mixer/sound designer), Tom Johnson (re-recording mixer) | |
| Extremely Loud & Incredibly Close | Blake Leyh (supervising sound editor); Eliza Paley (supervising dialogue editor); Skip Lievsay, Paul Urmson (re-recording mixers) | |
| The Hunger Games | Lon Bender (sound designer/supervising sound editor); Bill R. Dean, Kris Fenske (sound designers); Glynna Grimala (supervising dialogue editor); Michael Keller, Mike Prestwood Smith (re-recording mixers) | |
| Safe House | Per Hallberg (supervising sound editor); Chris Jenkins, Frank A. Montaño (re-recording mixers); Nico Louw, Conrad Kuhne (production sound mixers) | |
| 2013 [9] [10] | Argo ‡‡ | Erik Aadahl, Ethan Van der Ryn (sound designers/supervising sound editors); John T. Reitz, Gregg Rudloff (re-recording mixers) |
| Gangster Squad | Cameron Frankley (sound designer/supervising sound editor); Jason W. Jennings (sound designer); Dean Zupanic, Jon Taylor (re-recording mixers) | |
| Iron Man 3 | Mark Stoeckinger, Andrew DeCristofaro (supervising sound editors); Michael Keller, Mike Prestwood Smith (re-recording mixers) | |
| Pacific Rim | Scott Martin Gershin (sound designer/supervising sound editor); Tim LeBlanc, John T. Reitz, Gregg Rudloff (re-recording mixers) | |
| Turbo | Richard King (supervising sound editor); Andy Nelson, Michael Babcock (re-recording mixers); Nico Louw, Conrad Kuhne (production sound mixers) | |
| 2014 [11] [12] | Gravity †† | Glenn Freemantle (sound designer/supervising sound editor); Skip Lievsay, Christopher Benstead, Niv Adiri (re-recording mixers) |
| Frozen | Odin Benitez (sound designer/supervising sound editor), David E. Fluhr (re-recording mixer), Gabriel Guy (re-recording mixer/original dialogue mixer) | |
| Godzilla | Erik Aadahl, Ethan Van der Ryn (sound designers/supervising sound editors); Tim LeBlanc, John T. Reitz, Rick Kline (re-recording mixers) | |
| The Hunger Games: Catching Fire | Jeremy Peirson (re-recording mixer/sound designer/supervising sound editor), Skip Lievsay (re-recording mixer) | |
| Noah | Craig Henighan (re-recording mixer/supervising sound editor), Skip Lievsay (re-recording mixer), Jill Purdy (supervising dialogue editor) | |
| 2015 [13] | American Sniper †‡ | Alan Robert Murray (supervising sound editor); Tom Ozanich (sound designer); John T. Reitz, Gregg Rudloff (re-recording mixers) |
| Birdman or (The Unexpected Virtue of Ignorance) ‡‡ | Martin Hernández, Aaron Glascock (sound designers/supervising sound editors); Jon Taylor, Frank A. Montaño (re-recording mixers) | |
| Interstellar ‡‡ | Richard King (sound designer/supervising sound editors); Gary Rizzo, Gregg Landaker (re-recording mixers); Mark Weingarten (production sound mixer) | |
| Mad Max: Fury Road †† | Mark Mangini, Scott Hecker (supervising sound editors); Chris Jenkins, Gregg Rudloff (re-recording mixers) | |
| Unbroken ‡‡ | Becky Sullivan, Andrew DeCristofaro (supervising dialogue editors); Jon Taylor, Frank A. Montaño (re-recording mixers) | |
| 2016 [14] | Sicario ‡ | Alan Robert Murray (supervising sound editor), Tom Ozanich (re-recording mixer/sound designer), John T. Reitz (re-recording mixer) |
| Batman v Superman: Dawn of Justice | Scott Hecker (supervising sound editor); Chris Jenkins, Michael Keller (re-recording mixers) | |
| Eye in the Sky | Bill R. Dean (supervising sound editor/sound designer), Craig Mann (re-recording mixer/supervising sound editor), Adam Jenkins (re-recording mixer), Chase Keehn (dialogue editor) | |
| Room | Niall Brady (supervising dialogue editor), Steve Fanagan (re-recording mixer/sound designer), Ken Galvin (re-recording mixer) | |
| Zootopia | Addison Teague (sound designer/supervising sound editor), David E. Fluhr (re-recording mixer), Gabriel Guy (re-recording mixer/original dialogue mixer) | |
| 2017 [15] | Guardians of the Galaxy Vol. 2 | Addison Teague, David Acord (sound designers/supervising sound editors), Christopher Boyes, Lora Hirschberg (re-recording mixers) |
| Doctor Strange | Shannon Mills, Daniel Laurie (supervising sound editors); Tom Johnson, Juan Peralta (re-recording mixers) | |
| The Fate of the Furious | Peter Brown, Mark Stoeckinger (supervising sound editors); Paul Aulicino (assistant supervising sound editor); Stephen P. Robinson (sound designer), Bobbi Banks (supervising adr editor) | |
| John Wick: Chapter 2 | Mark Stoeckinger (supervising sound editor); Alan Rankin (sound designer/supervising sound editor); Andy Koyama, Martyn Zub, Gabriel J. Serrano (re-recording mixers) | |
| Sully ‡ | Alan Robert Murray, Bub Asman (supervising sound editors); John T. Reitz (re-recording mixer); Tom Ozanich (re-recording mixer/sound designer) | |
| 2018 [16] | The Shape of Water ‡‡ | Nelson Ferreira, Nathan Robitaille (supervising sound editors); Christian Cooke, Brad Zoern (re-recording mixers) |
| Ant-Man and the Wasp | Addison Teague, Katy Wood (supervising sound editors); Tom Johnson, Juan Peralta (re-recording mixers) | |
| Avengers: Infinity War | Shannon Mills, Daniel Laurie (supervising sound editors); Tom Johnson, Juan Peralta (re-recording mixers) | |
| Black Panther ‡‡ | Benjamin A. Burtt (supervising sound editor), Steve Boeddeker (supervising sound editor/re-recording mixer), Brandon Proctor (re-recording mixer) | |
| Blade Runner 2049 ‡‡ | Mark Mangini (supervising sound editor); Theo Green (sound designer); Mac Ruth (production sound mixer); Ron Bartlett, Doug Hemphill (re-recording mixers) | |
| 2019 [17] | Godzilla: King of the Monsters | Erik Aadahl (sound designer/supervising sound editor); Jason W. Jennings, Nancy Nugent (supervising sound editors); Tim LeBlanc, Tom Ozanich (re-recording mixers) |
| Aquaman | Eliot Connors, Stephen P. Robinson (sound designers); Joe Dzuban (sound designer/re-recording mixer); Peter Brown (supervising sound editor); Tim LeBlanc (re-recording mixer) | |
| Roma ‡‡ | Sergio Diaz (sound designer/supervising sound editor), Skip Lievsay (sound designer/supervising sound editor/re-recording mixer), Ruy García (supervising adr editor), Craig Henighan (re-recording mixer), Carlos Honc (dialogue editor), Caleb Townsend (music editor) | |
| Shazam! | Bill R. Dean (sound designer/supervising sound editor); Erick Ocampo (sound designer); Kelly Oxford (supervising adr editor); Michael Keller, Kevin O'Connell (re-recording mixers) | |
| Smallfoot | Michael Babcock (sound designer/supervising sound editor/re-recording mixer), Chris Diebold (sound effects editor), Harrison Meyle (dialogue supervisor), Jeff Sawyer (foley supervisor), David E. Fluhr (re-recording mixer) |
Michael Minkler is a motion picture sound re-recording mixer. He has received Academy Awards for his work on Dreamgirls, Chicago and Black Hawk Down. His varied career has also included films like Inglourious Basterds, JFK and Star Wars, as well as television programs like The Pacific and John Adams. Minkler works at Todd-AO Hollywood. He is also the Managing Director of Moving Pictures Media Group, a company that specializes in film development, packaging projects for production funding acquisition.
Simon Hayes is a British sound engineer. Hayes won an Academy Award for Best Sound at the 85th Academy Awards for his work on Les Misérables. He won a BAFTA for Best Sound for the same film. In 2022, the 94th Academy Awards included Hayes as a nominee for Best Sound Mixing for his work on No Time to Die.
The Cinema Audio Society Award for Outstanding Achievement in Sound Mixing for a Motion Picture – Live Action is an annual award given by the Cinema Audio Society to live action motion picture sound mixer for their outstanding achievements in sound mixing. The award came to its current title in 2013, when feature motion pictures were separated into two categories; achievement in live action sound mixing, and achievement in animated sound mixing. Before this, the category was labeled Outstanding Achievement in Sound Mixing for Motion Pictures, and was given annually starting in 1994.
The Hollywood Professional Association Award for Outstanding Editing in a Feature Film is an annual award given by the Hollywood Professional Association (HPA) to post production workers in the film and television industry, in this case film editors. It was first awarded in 2008, and has been presented every year since.
The Hollywood Professional Association Award for Outstanding Editing - Television is an annual award, given by the Hollywood Professional Association (HPA) to post production workers in the film and television industry, in this case film editors. While television editors have been awarded since 2006, the category first marked a distinction between half-hour series and series longer than that in 2018.
The Hollywood Professional Association Award for Outstanding Color Grading in a Feature Film is an annual award, given by the Hollywood Professional Association, or HPA, to post production workers in the film and television industry, in this case color graders. It was first awarded in 2006, and has been presented every year since. From 2006 to 2011, the category was titled HPA Award for Outstanding Color Grading Feature Film in a DI Process. The "DI" in the title refers to a Digital intermediate, a motion picture finishing process which a motion picture is digitized and the color and other image characteristics manipulated. As the filmmaking has evolved more into a digital forum, the added "DI Process" of the title became, essentially, antiquated.
The Hollywood Professional Association Award for Outstanding Color Grading for Television is an annual award given by the Hollywood Professional Association (HPA) to post production workers in the film and television industry, in this case color graders. It was first awarded in 2006, and has been presented every year since.
The HPA Award for Outstanding Sound – Television is an annual award, given by the Hollywood Professional Association (HPA), to post-production workers in the film and television industry, in this case sound. It was first awarded in 2006 and has been presented every year since. From 2006 to 2009, the category was titled HPA Award for Outstanding Audio Post – Television.
The Hollywood Professional Association Award for Outstanding Editing - Television is an annual award given by the Hollywood Professional Association (HPA) to post production workers in the film and television industry, in this case film editors. While television editors have been awarded since 2006, the category first marked a distinction between half-hour series and series longer than that in 2018.
The Hollywood Professional Association Award for Outstanding Visual Effects in a Feature Film is an annual award, given by the Hollywood Professional Association (HPA) to post production workers in the film and television industry, in this case visual effects artists. It was first awarded in 2006, and, outside of 2007 and 2008, has been presented every year since. From 2006 to 2012, the category was titled HPA Award for Outstanding Compositing - Feature Film.
The Hollywood Professional Association Award for Outstanding Visual Effects - Television is an annual award given by the Hollywood Professional Association (HPA) to post production workers in the film and television industry, in this case visual effects artists. It was first awarded in 2006, and outside of 2008 and 2010, has been presented every year since. From 2006 to 2012, the category was titled HPA Award for Outstanding Compositing - Television. In 2018, the category started separating series that had more than 13 episodes a season, and those that had less than 13.
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 theater; 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.
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.