Glenn Morgan
Soundelux
9am - East End

Supervising Sound Editor - SOUNDELUX
Born and raised in Los Angeles, California, Glenn has always been enchanted with the entertainment industry. After enrolling at UCLA and while studying at the Lee Strausberg Acting Institute, Glenn began to nurture his enthusiastic passion for drama and cinematic production. This enthusiasm proved very helpful as he started to venture out into the sound community in Hollywood.  While working in various capacities, such as being a picture assistant, sound effects librarian and a music video producer, Glenn’s sensibility for sound selection became more noticeable and this swayed him to pursue sound as a full-time endeavor. Having developed a professional relationship with Lon Bender and Wylie Stateman in the early 80’s, Glenn decided to join Soundelux in 1989. 

Since then, Glenn has amassed an impressive body of work and numerous working relationships with renowned filmmakers. He has worked on such diverse projects as Monster’s Ball, Open Water , Real Women Have Curves, The Mask of Zorro, Jackass: The Movie, Mission Impossible II, JFK, L.A. Story and Last Of The Mohicans.  Glenn is currently working on Emilio Estevez’s “Bobby”. The story of the assassination of U.S. Senator Robert F. Kennedy, on June 6th, 1968, which centers around 22 people who were at the Ambassador Hotel where he was killed.

In addition to Glenn’s passion for drama and sound, his experience with acting has helped him establish artistic credibility with his clients. Glenn has worked with a number of established actors and up-and-coming filmmakers and frequently offers his time as a guest lecturer at universities and film schools.

Today, Glenn T. Morgan is a core member of the Soundelux team, where he continues to bring his passion and talent to both the movies he works on and the filmmakers he works with.

Sound Arts Guest Speaker:
Tony Espinoza
SF Soundworks Studio
2pm - East End

Owner, SF Soundworks Studio
Tony Espinoza, a Texas native who arrived to the Bay Area via Stanford University, and who participated in their prestigious Center for Computer Research in Music and Acoustics (CCRMA) program, found the South of Market space in 2000 which would soon become home to SF Soundworks.

Espinoza installed an SSL 9072 J Series in Studio A. The SSL and a hot-rodded Pro Tools|HD3 workstation (one of five in the building) make up Studio A’s “common operating system,” as Espinoza calls it, with vintage gear from Neve, API, Pultec, GML, Tube-Tech and UREI, as well as additional pieces from Chandler, Pendulum, Thermionic Culture and Crane Song brought in for warmth. Clients can listen on Dynaudio BM15A near-fields, Tannoy Eclipse 8 and 10s, Mackie HRM824s and the popular Yamaha NS10 monitors, as well as a pair of soffit-mounted dual 18-inch JBLs. A 19×14-foot live room containing a Yamaha C7 Grand Piano brought over from Different Fur sits to the engineer’s left.

Studio B contains a Digidesign ProControl, another HD3 rig, Apple Logic 6 Platinum, Digidesign 192 and Apogee AD8000 digital converters, and such accessories as a pair of Neve 1095 (1081) mic pre/EQs, an Avalon 2022 stereo and Telefunken V72 dual-tube mic pre’s, and a laundry list of other EQs and effects. A loudspeaker system courtesy of Dynaudio, JBL, Mackie and Yamaha brings volume to the small overdub/single instrument-tracking room. The control room connects to a 20×17-foot, ultrareverberant concrete drum room designed by Charles Salter and Associates, as well as the two other isolated spaces on the main floor.

Studio C features another Pro Tools system and iso booth, not to mention access to Soundworks’ extensive mic collection, which includes several AKG and Neumann tube mics, Royer R121 and SF12 ribbon mics and others from Sennheiser, Shure, Schoeps and Soundelux. Studio D, a bare-bones room that can be used as either an iso booth or an edit station, rounds out Soundworks’ lower level.

Animation and Visual Effects Guest Speaker:
Alaina Goetz - Visual Effects Designer
and Senior Compositor - Spypost
2pm - Meyer Hall

Alaina Goetz is an accomplished Visual Effects Designer and Senior Compositor with over 10 years experience in Visual Effects on the Discreet Logic platform.  Her broadcast design work, commercials and music videos have won international recognition and awards, including BDA Gold Awards, and extensive publication and exhibitions.  An 11 year career span in the Visual Effects realm has lead her to form creative partnerships with the top Visual Effects post production houses and design firms, commercial and film clients.  Clients include Industrial Light and Magic, SCION, HP Apple, MTV, Fox, Disney, Nike, ATTIK, Budweiser, Sony, IBM, At&T, Coca-Cola, Virgin, HBO, GAP, SUN Microsystems, Adidas, GMC, Toyota, EA Games, and many others.  Most recently, she worked on HP, Scion, GMC and Adidas campaigns and the film SinCityAt Hybride in Quebec.

Currently, she is working at the effects house Spypost in San Francisco as a Flame and Smoke Visual Effects Artist.  Spypost is an effects and telecine facility that focuses on finishing, design and effects work, editorial and telecine She also freelances in filmwork in the US, Canada and abroad.  Her most recent freelance film projects were working on the filmSinCityand Shark Boy and Lava Girl at Hybride in San Savuer, Quebec. 

Before Spypost, Alaina was a Creative Partner and Director at Ntropic, where she worked on jobs as an Inferno/Fire designer and compositor that encompassed a range of broadcast design and commercials, film, music videos, and heavy CG integration.  In 1996, Alaina was recruited from Chicago to join the creative team in opening the post production house Radium where she spent over 5 years as a compositor/designer in their San Francisco and LA locations. Alaina started her illustrious career in Chicago at the post house Cutters, where she was responsible for building their first CG department.  As an Alias at Softimage 3D animator at Cutters, she was quick to transition into compositing and become one of the early adopters of Discreet Logic’s Flame.

Motion Graphic Design and Animation and Visual Effects Guest Speaker:
Rachelle Lewis
Independent computer graphics recruiter
9am - Meyer Hall

Back by popular demand!

Rachelle Lewis has been recruiting talent in the entertainment industry for over a decade. Before starting Rachelle LewisTalent, she supervised talent procurement for Digital Domain, the 5-time Academy Award-winning visual effects company. During her tenure there, she and her team crewed three feature films including Clint Eastwood’s Flags of Our Fathers, Ivan Reitman’s Super Ex-Girlfriend, and Peter Hewitt’s Zoom. She also worked closely with Digital Domain’s Commercials Division, which is recognized worldwide as the most “awarded” visual effects studio in commercials and music videos.

Previous to Digital Domain, Rachelle worked for Sony Pictures Imageworks, where she specialized in finding and placing animators and other digital character artists for feature films including Open Season, The Chronicles of Narnia, Surf’s Up, Monster House and Ghost Rider. She has also been on staff at DreamWorks Feature Animation where she procured talent for such animated feature films as Shark Tale, and Over the Hedge. Rachelle started her career in television animation, working for many years as Director of Recruitment at Klasky Csupo - best known for its Emmy Award-winning TV series Rugrats and Wild Thornberrys.

Rachelle travels throughout Europe and North America lecturing at art schools, universities, festivals and industry events. She also consults with academic institutions and programs, helping schools develop their animation and VFX curricula. She currently resides in Santa Monica, California.