sound designFOR

innovative audio post production for motion picture sound in nyc

_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.

_c5's sound designers have been creating dramatic movie sounds for over 30 years. Each footstep, door slam, dish clink, explosion, leaf whisper, period vehicle, or insect chirp 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, sound design and mixing, including foley recording and editing, Automatic Dialogue Replacement, sound 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 or upcoming projects where you can hear our work:

Doug Liman's ROADHOUSE Liesl Tommy's RESPECT Ari Aster's BEAU IS AFRAID Ahmir Thompson's SUMMER OF SOUL Martin Scorsese's KILLERS OF THE FLOWER MOON Tom McCarthy's STILLWATERAnnie Baker's JANET PLANET Stephen Chbosky's DEAR EVAN HANSEN Lin-Manuel Miranda's TICK TICK BOOM!!!!Amy Sherman-Palladino and Daniel Palladino's THE MARVELOUS MRS. MAISEL

[ services ]

state of the art mixing capabilities

_c5 owns and manages three Dolby-tuned ATMOS / 7.1 / 5.1 Mix and Sound 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.

past projects mixed at c5:

Spike Lee's DA 5 BLOODS Bennett Miller's FOXCATCHER Richard Press's BILL CUNNINGHAM NEW YORK Martin Scorcese's THE WOLF OF WALL STREET Philip Noyce's SALT Ethan Hawke's BLAZETom McCarthy's SPOTLIGHT Spike Lee's CHI-RAQ John Patrick Shanley's DOUBT Ang Lee's LUST CAUTION Martin Scorsese's THE DEPARTED Shari Springer Bermann and Bob Pulcini's AMERICAN SPLENDORBennett Miller's CAPOTE Michel Gondry's BE KIND REWIND

innovator in digital sound

_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.

the largest foley stage in the nyc area

_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 or 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

sound effects library

_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.

[ ADR ]

_adr recording at c5 is always with a constant eye to the modern and highest fidelity as well as an organic approach against the backdrop of the time honored methods of Automatic Dialogue Recording.

_traditional Boom/Lav recording using industry standard microphones is the baseline, but we also have an extensive mic closet with many more esoteric options including various stereo configurations including M/S, LCR, and 5.0. Continuous backup with time-of-day timecode stamp is created during every session. The moment the actor walks in the door the backup is engaged, so you'll never a miss a good performance, regardless of how informal or "just a rehearsal" it might have been.

_proprietary software keeps the session fully automated with beeps / visual wipes and visual take feedback as well as dedicated monitor and keyboard for the ADR Supervisor.

download ADR session DELIVERY SPECS

[ foley ]

_foley has been a priority for the owners of c5 since the inception of the company in 1989 and there has always been an integral foley stage at c5. Our current main stage is one of the largest and most advanced 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.

[ talent ]

[ c5 partners ]

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 New York 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 MONEYBALL, THE BIRDCAGE, PHILADELPHIA, JULIE AND JULIA, NON-STOP and MORTDECAI. Ron recently completed the 2nd season ofTHE MARVELOUS MRS. MAISEL and A WALK IN THE WOODS, and is currently the supervising sound editor and re-recording mixer for ITHACA.
_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 and an Academy Award Nominee for mixing MONEYBALL.

phil stockton - resume @IMDB
_as a founding member and co-manager of C5, Phil has had the opportunity to work on an impressive array of feature films and documentaries for such directors as Martin Scorsese, Spike Lee, John Sayles, Ang Lee, Terry George and many others.
_Phil has received numerous awards and nominations. He won both an Oscar and BAFTA (British Academy Award) for HUGO, and was nominated for an Oscar and BAFTA for LIFE OF PI. He also has 4 Primetime Emmy nominations with a win for BOARDWALK EMPIRE, and several MPSE Golden Reel Awards – most recently for LIFE OF PI and GEORGE HARRISON, LIVING IN THE MATERIAL WORLD.
_Phil has had the good fortune to work on over 130 films including such classics as RAISING ARIZONA, GOODFELLAS, DO THE RIGHT THING, ETERNAL SUNSHINE OF THE SPOTLESS MIND and BROKEBACK MOUNTAIN. _
_He is currently (March, 2015) working on the documentary, FRANK SINATRA: ALL OR NOTHING AT ALL for Alex Gibney and HBO.

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 Ari Aster's film BEAU IS AFRAID for A24. Other projects include sound supervision for directors Harold Ramis, Gary Ross, Lin-Manuel Miranda as well as 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. Other projects include Sam Mendes' AWAY WE GO, and Tom McCarthy's critically acclaimed films SPOTLIGHT, WIN WIN and THE VISITOR.

[ additional talent ]

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.

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.

[ tech specs ]

guidelines for turnover from picture departments:

every project has unique technical aspects but here are guidelines in .pdf form


feature filmQuickTime tv and documentaryQuickTime

FOLEY cueing guidelines Mix & Surround formats 101


[ contact ]


134.west.25th.street.4th.floor [between 6th+7th aves]

For sales and marketing information, or to start a project:

.pdf of c5's full filmography

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