_founded in 1989 by working sound editors FOR sound editors and their clients, c5 was a pioneer in the use of digital sound editing technology and continues to be an industry innovator. c5 works on a variety of projects - major studio motion pictures as well as independent productions.
_the c5 consortium of top sound designers has been creating dramatic movie sounds for over 20 years. Every footstep, door slam, dish clink, explosion, leaf whisper, period vehicle, cricket chirp, you name it, is seamlessly woven together to bring feature films, shorts, and documentaries, regardless of the budget, vividly to life.
_c5 specializes in state-of-the-art sound editing, design and mixing, including foley recording and editing, Automatic Dialogue Replacement, effects editing, and the latest in dialogue editing technologies. c5 provides a huge range of sound design - from the creation of Angel wings or period aircraft, to the whispering song of bamboo sticks or destruction of a laboratory, to delicate rustle of clothing or frantic flurry of animated creatures, the designers manipulate thousands of original digitized clips to enhance the depth and impact of each movie frame.
_some recent/upcoming projects where you can hear c5's work: Bennett Miller's FOXCATCHER Martin Scorsese's THE WOLF OF WALL STREET Paul Weitz's ADMISSION Jaume Collet-Serra's NON-STOP Ang Lee's LIFE OF PI Noah Baumbach's FRANCES HA and Jon Alpert and Matthew O'Neill's REDEMPTION.
_c5 owns and manages three Dolby-tuned 5.1 Mix / Design Studios. Using the power of Digidesign's Pro Tools software and hardware, c5 has taken the philosophy of "the edit is the mix, the mix is the edit" and applied it in various ways to every production. Technology now allows the application of decades-old mixing techniques to be implemented in combination with the newest methods. Editors and Mixers working in our studios are able to not just pick the right sound, but to place those sounds properly anywhere within the sound field.
_every project is unique and has different needs, something c5 is acutely attuned to. Experience across a very wide range of budgets and styles allows us to take advantage of the constantly evolving technological environment and maximize benefits for projects of every budget size.
_c5 is responsible for final mixing on many films including WIN WIN, RED HOOK SUMMER, and BAGHDAD ER. Predub mixes for films such as DOUBT, LUST CAUTION, THE DEPARTED, AMERICAN SPLENDOR, CAPOTE, and BE KIND REWIND, to name just a few, were also completed at c5.
_c5 was one of the first sound studios to transition from linear to digital sound editing. c5 also pioneered the use of media-sharing capabilities over a Storage Area Network (SAN) to exponentially increase the speed at which post sound production could take place. c5 engineers thrive on developing new ways to incorporate state-of-the-art digital technology into their productions in the midst of an always-changing industry.
_c5 foley artists recreate sound effects in a state-of-the-art 3,700 sq. ft. facility, completely replacing original sound and/or augmenting existing sounds to create a richer track. One of the largest of its kind, c5's foley stage has water, mud and sand pits, and a warehousing space large enough to accommodate cars, boats, as well as oversized props.
_c5 personnel have been recognized in the form of nominations / wins by all the major industry organizations: Cinema Audio Society (CAS), British Academy of Film and Television Arts (BAFTA), Academy of Television Arts and Sciences (Emmys), Motion Picture Sound Editors (MPSE), and Academy of Motion Picture Arts and Sciences (Oscars).
_c5 hosts a very comprehensive sound effects library featuring thousands of original digitally recorded high resolution sounds. This library of proprietary sounds is available to every workstation in the facility.
_foley has been a priority for the owners of c5 since the inception of the company in 1989. There has always been a foley stage integrated at c5. Our current main stage is one of the largest and most advanced foley facilities in North America at 3,700 sq. ft. with a main pit of 256 sq. ft.
_a former warehousing facility, the location was transformed into a state-of-the-art sound stage that features a wide range of surface pits including salt, sand, dirt, and brick. Equipped with a vast array of props, including a full-size working motorboat, the stage allows c5's foley team to develop large, dramatic, true-to-life sounds.
_the pits are supported by a cement foundation, producing a very solid realistic sound. The size, depth, and unique acoustics of the foley stages create the perfect environments for the generation of production-quality sound. Perfecting a time-honored technique, renowned foley artist Marko Costanzo and foley engineer George Lara use the comprehensive array of surfaces, materials, acoustic angles, and unique spatial dimensions of the stage to create the vivid and complex sounds for every film done by the community of sound editors at c5, as well as work by outside sound supervisors.
ron bochar - RESUME - IMDB
_a founding member and co-manager of c5, Ron has managed a diverse range of editorial projects over the last 20 years. He has supervised the sound editing for films of many notable directors including Alan J. Pakula, Nora Ephron, Jonathan Demme, Mike Nichols, Frank Oz, Milos Foreman, and Barbet Schroeder. Ron has also been re-recording mixer for well-known films like DEVIL'S OWN, THE BIRDCAGE, ANGELS IN AMERICA, JULIE AND JULIA, and THE PELICAN BRIEF. Ron recently completed RABBITHOLE, and is currently the supervising sound editor and re-recording mixer for MONEYBALL.
_as c5's first foley artist and now as a sound designer and supervisor, Ron contributes a wealth of sound expertise to the industry-leading consortium he both founded and co-manages day-to-day.
_Ron was the recipient of both the Cinema Audio Society's Mixing Award as well as an Emmy for Outstanding Sound Mixing for a Miniseries or Movie for his work on ANGELS IN AMERICA.
phil stockton - RESUME - IMDB
_as a founding member and co-manager of c5, Phil does most of the dialogue editing on the films he supervises. He is credited as supervising sound editor on an array of films directed by Martin Scorsese, Ang Lee, John Sayles, Barry Sonnenfeld, and others. He recently completed SALT for director Phillip Noyce and Sony Pictures and is currently working on David Koepp's PREMIUM RUSH.
_Phil has been recognized numerous times in the form of Awards or Nominations, including an Academy Award win for HUGO. He took home Golden Reels for GANGS OF NEW YORK, THE AVIATOR, and ETERNAL SUNSHINE OF THE SPOTLESS MIND. His nominations include BAFTAs for THE AVIATOR and GANGS OF NEW YORK, Emmy for NO DIRECTION HOME: BOB DYLAN, as well as Golden Reels for THE AVIATOR and GANGS OF NEW YORK.
paul hsu - RESUME - IMDB
_in addition to being co-manager of c5, Paul has a multitude of credits as re-recording mixer, composer, sound designer, and supervising sound editor. Paul recently completed work on Phillip Noyce's film SALT for Sony Pictures. Other projects include sound supervision for director Harold Ramis and multiple projects with visionary director Michel Gondry. Among films he's mixed at c5 is BAGHDAD ER, an HBO documentary nominated for 4 primetime Emmys including Best Sound Editing and Best Sound Mixing. Paul recently completed work as supervising sound editor and re-recording mixer for director Noah Baumbach's film GREENBERG. Other projects include Sam Mendes' AWAY WE GO, and Tom McCarthy's critically acclaimed films THE VISITOR and the forthcoming WIN WIN.
eugene gearty - RESUME - IMDB
_starting in 1982, Eugene was one of THE first digital sound editor/designers in the film industry. He pioneered the use of the ACCESS and the Synclavier systems for use in creating sound effects for movies such as SILENCE OF THE LAMBS, DO THE RIGHT THING, MEN IN BLACK, and THE HUDSUCKER PROXY. He has worked with many New York directors including Joel & Ethan Coen, Jim Jaramusch and Lee Daniels. He's been nominated twice for an Academy Award, winning for HUGO in 2012. He has won the Golden Lion (Taiwan) and the Hong Kong "Oscar" (China) for CROUCHING TIGER/HIDDEN DRAGON. He has also won the MPSE Golden Reel for sound effects editing for THE AVIATOR. Recently he supervised and sound designed the movie STONE for the director John Curran and sound edited/designed the first season of BOARDWALK EMPIRE for HBO.
marko costanzo - IMDB
_working as a freelance foley artist for almost 30 years, Marko has had the opportunity to collaborate with many of the finest directors, sound designers, and foley editors in the industry. He's made c5 his home since 1990 and has over 400 film credits under his belt. Marko continues to work his magic for big budget feature films as well as independent projects with shoe-string budgets. Whether it's a child cowgirl tumbling backwards down a vine-covered cave into a pit of snakes, or the gentle flutter of a hummingbird's wings as it navigates a marshy landscape, Marko's passion for creating sound effects is available for you at c5's massive prop-intensive foley stage.
sean garnhart - RESUME - IMDB
_Sean is an award-winning supervising sound editor, mixer, and sound designer for c5. Sean supervised and mixed the animated hits ICE AGE and ROBOTS, each earning him Golden Reel nominations for best sound. Sean enjoys working for The Lonely Island who made HOT ROD and MACGRUBER. He also appreciates working with Joel Schumacher for whom he designed and mixed TWELVE and TRESPASS. Sean’s sound design can be heard in many other movies including BUTTER, DOUBT, EVERYONE’S HERO, CAPOTE, SLEEPY HOLLOW, and MEN IN BLACK II. Sean is especially proud of his music mixing in the Coen Brother’s O BROTHER WHERE ART THOU. Sean has vast experience working in television as well. Earning credits in younger years for hit shows like NYPD BLUE, CHICAGO HOPE, and THE PRACTICE, he is currently the re-recording mixer for the award-winning show, DAMAGES.
george lara - IMDB
_with countless hours behind the board as foley mixer, george has recorded the subtle but crucial foley elements for hundreds of films both commercial and independent.
nick renbeck - RESUME - IMDB
_Nick has many credits including supervising sound editor for David Frankel's MARLEY & ME and THE DEVIL WEARS PRADA, Shari Springer Berman & Robert Pulcini films THE NANNY DIARIES and AMERICAN SPLENDOR, Barbet Schroeder's MURDER BY NUMBERS and Jonathan Demme's THE AGRONOMIST. As a dialogue/ADR supervisor, he has recently worked on Jorma Taccone's MACGRUBER, Allen Coulter's REMEMBER ME, as well as Demme's RACHEL GETTING MARRIED. In documentaries, Nick has supervised and been the re-recording mixer on NURSERY UNIVERSITY, I LIKE KILLING FLIES, and WHAT'S ON YOUR PLATE? Nick has also been the sfx re-recording mixer & supervisor on the features THE GOOD GUY, DIGGERS, and AWAKE. He has been nominated for the Golden Reel Award on Sam Mendes' REVOLUTIONARY ROAD, Martin Scorsese's THE AVIATOR, and Chris Wedge's two animated features ROBOTS and ICE AGE. Currently he is working on the second seasons of HBO's BORED TO DEATH and USA's ROYAL PAINS.
fred rosenberg - RESUME - IMDB
_Fred is an Emmy and Golden Reel awards winning supervising sound editor and dialogue/ADR editor who has considered c5 home since 1989. Projects of note are TV series BOARDWALK EMPIRE and DAMAGES, and feature films INSIDE MAN, ETERNAL SUNSHINE OF THE SPOTLESS MIND, OH BROTHER, WHERE ART THOU, SLEEPY HOLLOW, SILENCE OF THE LAMBS, GOODFELLAS, and many other titles.
every project has unique technical aspects, but here are some general guidelines:click below for pdf documents:
134.west.25th.street.4th.floor [between 6th+7th aves]
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email - firstname.lastname@example.org
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connect to c5server.com
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