In it’s 17th year of business, audio postproduction company LIME Studios Santa Monica has launched NYC remote audio services. The new venture is spearheaded by sr. mixer Glen Landrum, NYC executive producer Becca Falborn and assistant engineer Chris Perepezko, all formerly of Sound Lounge.
Bruce Horwitz, LIME managing member, is enthused over bringing Landrum into the company fold, describing him as “a seminal fixture in commercial audio.” Horwitz added, “LIME NYC couldn’t be off to a better start in the steady hands of Becca and Glen.”
Landrum brings 20 years of audio post experience as a mixer and sound designer. He’s mixed commercials for brands such as Mastercard, NFL, Pringles, US Cellular, TDAmeritrade, AstraZeneca, Novartis, Unilever and Johnson & Johnson.
“I am beyond excited to have this opportunity to join LIME studios and head the development of their East coast presence. I have a newly refreshed and bright outlook on my career moving forward,” said Landrum.
Falborn is an active member of the advertising industry not just in NYC but the East Coast as a whole. With a diverse professional path starting out in reality TV and transitioning into the world of postproduction, she spent time on the agency side before ending up in audio. Falborn has produced the audio for more than 20 Super Bowl campaigns in her three-plus years working in audio post.
“Being part of a team with such a flawless reputation and having the opportunity to expand the unparalleled services they bring to the industry to NYC is incredible,” related Falborn.
Budding talent Perepezko studied audio engineering at Fredonia State University. “As a young mixer in the industry, the opportunity to be part of the expansion of a well-known brand like LIME is somewhat of a dream,” said Perepezko.
The LIME NYC team will be working remotely with plans to open a brick and mortar studio space in 2021, navigating through development and changes due to COVID-19 restrictions.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More