Soundworks Collection: Recent Episodes
Soundworks Collection
The goal for the SoundWorks Collection is simple; we are dedicated to profiling the greatest and upcoming sound minds from around the world and highlight their contributions. The SoundWorks Collection was created by Director Michael Coleman in November of 2009 in a partnership with MIX Magazine, several audio focused college schools and programs, and the support of the online sound community worldwide.
The SoundWorks Collection takes you behind the scenes and straight to the dub stage for a look into audio post-production for feature films, video game sound design, and original soundtrack composition. This exclusive and intimate video series focuses on individuals and teams behind-the-scenes bringing to life some of the worlds most exciting projects.
Visionary director Denis Villeneuve discusses the creative benefits of early collaboration with his sound team, the process of crafting Dune's unique soundscapes including: Arrakis desert, sandworm, ornithopter, spice (melange) and the voice of the Bene Gesserit.
Featuring Supervising Sound Editor & Sound Designer Mark Mangini, Supervising Sound Editor & Sound Designer Theo Green and Re-recording Mixer Ron Bartlett.
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In this exclusive conversation we chat with Director Neill Blomkamp about his new horror film, Demonic which is being released by IFC Midnight. We also feature his sound team including Vince Renaud (Sound Supervisor, Dialogue Editor, Re-recording Mixer) Jo Rossi (Sound Supervisor, Sound Designer, Re-recording Mixer, Sound Effects Editor) Nolan McNaughton (Sound Designer, Sound Effects Editor) and Maureen Murphy (Foley Artist).
From the director of DISTRICT 9 and ELYSIUM, a young woman unleashes terrifying demons when supernatural forces at the root of a decades old rift between mother and daughter are revealed.
MORE INFORMATION: https://www.ifcfilms.com/films/demonic
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In our conversation we chat with Director Jeff Orlowski about his Emmy nominated documentary, The Social Dilemma now streaming on Netflix. We also feature Supervising Sound Editor & Sound Designer Richard Gould, Foley Artist Andrea Gard and Composer & Production Sound recordist Mark Crawford.
The Social Dilemma premiered at the 2020 Sundance Film Festival on January 26, 2020, and was released on Netflix on September 9, 2020. The documentary went on to be viewed in 38,000,000 homes within the first 28 days of release. It received 7 nominations for the 73rd Annual Emmy Awards in 2021.
We tweet, we like, and we share— but what are the consequences of our growing dependence on social media? As digital platforms increasingly become a lifeline to stay connected, Silicon Valley insiders reveal how social media is reprogramming civilization by exposing what’s hiding on the other side of your screen.
We chat with Director R. J. Cutler and Emmy-nominated Music Director Aron Forbes who was nominated for Outstanding Music Direction and Outstanding Sound Mixing for a non-fiction or reality programming about their recent collaboration on Billie Eilish: The World's A Little Blurry now streaming on AppleTV+.
"Billie Eilish: The World’s A Little Blurry” tells the true coming-of-age story of the singer-songwriter and her rise to global superstardom. From award-winning filmmaker R.J. Cutler, the documentary offers a deeply intimate look at this extraordinary teenager’s journey, at just seventeen years old, navigating life on the road, on stage, and at home with her family, while writing, recording and releasing her debut album “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?”
The documentary is from Apple Original Films, in association with Interscope Films, The Darkroom, This Machine and Lighthouse Management & Media. Directed by R.J. Cutler and starring Billie Eilish, Finneas O’Connell, Maggie Baird, and Patrick O’Connell as themselves.
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In the exclusive conversation we talk with the creative team behind Zenimation on Disney+ including creator and editor David Bess, Executive Producer Amy Astley, Re-recording Mixer David Fluhr and Supervising Sound Editor and Sound Designer Shannon Mills.
Unplug, relax, and refresh your senses for a moment of mindfulness with Walt Disney Animation Studios’ “Zenimation” – an animated soundscape experience. Whether it’s baby Moana being called by the ocean, Anna and Kristoff walking through an icy forest, or Baymax and Hiro Hamada flying over San Fransokyo, these iconic scenes become an aural experience like no other with the sounds of ocean waves, an icy forest and soaring flight. “Zenimation” pays tribute to both the visual and sound artists who have created Walt Disney Animation Studios’ legacy of films.
In this conversation we talk with Re-recording Mixers Jon Taylor and Frank A. Montaño about their longtime collaboration with Director Justin Lin and their explosive and dynamic sound mix on F9: The Fast Saga.
Dom Toretto is living the quiet life off the grid with Letty and his son, but they know that danger always lurks just over the peaceful horizon. This time, that threat forces Dom to confront the sins of his past to save those he loves most. His crew soon comes together to stop a world-shattering plot by the most skilled assassin and high-performance driver they've ever encountered -- Dom's forsaken brother.
In the exclusive conversation we chat with sound designer and sound supervisor Mark Mangini about the new Pro Sound Effects, Odyssey Creatures library.
Sonify the beasts and critters of your wildest dreams with The Odyssey Collection: Creatures. Add life and energy to any project with characterful animal recordings ranging from rare and exotic to common and domesticated – plus designed beasts and mythical beings.
Create realistic scenes and otherworldly soundscapes with animal sounds from around the globe, including leopard growls, lion roars, horse whinnies, rhinoceros bellows, bird calls, monkey vocals, dog barks, insect swarms and more. This library features thorough coverage of more common creatures like birds, dogs, horses and insects – as well as many obscure animals.
Developed in exclusive collaboration with Academy Award®-winners Mark Mangini & Richard L. Anderson, Odyssey Creatures delivers a huge variety of natural, high-quality, one-of-a-kind animal recordings and masterfully designed creature sounds – so you can stay creative and deliver your best sound.
www.prosoundeffects.com/odyssey
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We chat with Composer Jermaine Stegall about the music of Coming 2 America directed by Craig Brewer and now streaming on Amazon Prime Video.
Set in the lush and royal country of Zamunda, newly-crowned King Akeem (Eddie Murphy) and his trusted confidante Semmi (Arsenio Hall) embark on an all-new hilarious adventure that has them traversing the globe from their great African nation to the borough of Queens, New York - where it all began.
We chat with Supervising sound editor Sergio Diaz and re-recording mixer Zach Seivers about Director Chloé Zhao’s new film, Nomadland.
Frances McDormand and director Chloé Zhao met a day before the 33rd Independent Spirit Awards in March 2018, and instantly wanted to do a film together. Filming for Nomadland took place over four months in fall 2018, with writer-director Zhao splitting time between set and pre-production for Eternals (2021). McDormand, Zhao, and other crew members lived out of vans over the course of production. David Strathairn, and real-life nomads Linda May, Charlene Swankie, and Bob Wells, also star. The sound design was very important to the film and was tailored to the very different specific landscapes Fern travels through. For this Zhao and her team worked with Mexican born Sergio Diaz, who has collaborated with renowned directors Alfonso Cuarón (Roma), Guillermo del Toro (Pan's Labyrinth, Hell Boy II: The Golden Army), and Alejandro González Iñarritu (21 Grams, Babel). For Nomadland he partnered with Los Angeles based Zach Seivers who also served as re-recording mixer. “We wanted to keep the sound design true to the soundscapes of the places where Fern finds herself, explains Zhao. “Very much like the music, we didn’t want to use “tricks” in sound design to tell the audiences how and what to feel. We wanted to be creative, experiential in our sound design, as well as true and honest.”
We chat with Director Leigh Whannell about the sound and music of his new science fiction horror film, The Invisible Man starring Elisabeth Moss.
Also featuring Composer Benjamin Wallfisch, Supervising Sound Editor & Re-recording Mixer Will Files and Supervising Sound Editor & Sound Designer Philip Hooker.
ABOUT THE FILM: After staging his own suicide, a crazed scientist uses his power to become invisible to stalk and terrorize his ex-girlfriend. When the police refuse to believe her story, she decides to take matters into her own hands and fight back.
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In this chat we explore Director Aaron Sorkin's new film, The Trial of the Chicago 7 with Supervising Sound Editor Renee Tondelli and Re-recording Mixer Julian Slater.
The film is based on the infamous 1969 trial of seven defendants charged by the federal government with conspiracy and more, arising from the countercultural protests in Chicago at the 1968 Democratic National Convention. The trial transfixed the nation and sparked a conversation about mayhem intended to undermine the U.S. government.
The film is now streaming on Netflix!
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We're excited to have Supervising Sound Editor and Sound Designer Richard King and Re-recording Mixer Gary Rizzo, who recently collaborated with Director Christopher Nolan on his latest science fiction action-thriller film TENET.
Tenet was released in September of 2019 and was the first major Hollywood release since the coronavirus pandemic started and is now available on 4K Ultra HD, Blu-ray, DVD, and digital services.
If you haven’t seen the film, you should definitely check it out as today’s discussion is going to cover many of the key plot points and exciting sound moments in the film!
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We chat with Composer Christophe Beck about his return to the Marvel universe scoring original music for the new Disney+ series, WandaVision.
Disney is releasing official WandaVision soundtracks the week after episodes air, including the incredibly catchy theme songs by Kristen Anderson-Lopez and Robert Lopez (who have previously done original music for Frozen, Avenue Q, and The Book of Mormon), and the original music by Christophe Beck.
http://www.christophebeck.com
WandaVision is an American television miniseries created by Jac Schaeffer for the streaming service Disney+, based on the Marvel Comics characters Wanda Maximoff / Scarlet Witch and Vision. Set in the Marvel Cinematic Universe (MCU), it shares continuity with the films of the franchise, and takes place after the events of the film Avengers: Endgame (2019). WandaVision was produced by Marvel Studios, with Schaeffer serving as head writer and Matt Shakman directing.
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Because of the ongoing COVID-19 pandemic, this year’s Sundance Film Festival will be entirely virtual. But what exactly does a virtual film festival look like? Glenn sits down with Keri Putnam, CEO of the Sundance Institute, Tabitha Jackson, the brand new director of the Sundance Film Festival, and Michelle Satter, director of the Sundance Labs, to answer all these questions and more. It’s a fascinating conversation about not just the challenges of hosting the Sundance Film Festival in 2021, but also the new opportunities this situation may have uncovered. Indeed, this year could become the road map for the future of The Institute, The Labs, and The Sundance Film Festival itself.
“It was such a privilege to be trusted with this incredible thing that is the festival. And so I approached it like holding this precious metal. And I must not break it. I'm going to carry it with two hands. I must not break it. [Then] the pandemic hit. And it was clear that, oh, I've got to break it. I've got to break it into pieces so that we can rebuild something to meet the moment.” - Tabitha Jackson, Sundance Film Festival director
Buy tickets to the 2021 Sundance Film Festival. https://festival.sundance.org
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We chat with Composer Steven Price about the music of Netflix’s animated musical, Over the Moon and documentary feature, David Attenborough: A Life on Our Planet.
Steven Price is an Academy Award winning film composer. His unique, story-driven approach to the craft of film scoring has seen him work on some of the most innovative productions of recent years. From Alfonso Cuaron’s GRAVITY to Edgar Wright’s BABY DRIVER, Steven’s individualistic scores seek to enhance the ideas and images of great filmmakers in truly bespoke ways.
Price’s diverse music reflects the wide range of movie and television projects he has been involved with. Beginning his career in the late 1990s, Price contributed to productions such as The Lord of the Rings trilogy and Batman Begins, before making his scoring debut in 2011 with Joe Cornish’s inner-city horror comedy, ATTACK THE BLOCK. Recent years have seen him compose distinctive scores for Claire McCarthy’s reimagining of Hamlet, OPHELIA, David Ayer’s SUICIDE SQUAD, and the Paramount Animation WONDER PARK.
From his incorporation of original WW2 tanks in the percussion of the Brad Pitt starring FURY to the wind instrument driven score created for Tom Harper’s THE AERONAUTS, the music created for each production seeks to give each story its unique voice, the result of an experimental and collaborative process.
His work in the Natural History realm, working alongside Sir David Attenborough on THE HUNT, (for which Price won a Bafta), and the Netflix Original OUR PLANET, (nominated for two score Emmys), will continue in 2022 with a new live arena spectacular, OUR PLANET LIVE IN CONCERT, the premiere for which will be held at London’s O2 Arena in January 2022.
Future projects include the Netflix Animation OVER THE MOON, directed by Glen Keane, autobiographical documentary, DAVID ATTENBOROUGH – A LIFE ON OUR PLANET, Gavin Rothery’s ARCHIVE, and, in the continuation of a collaboration that began with SCOTT PILGRIM vs THE WORLD in 2010, Edgar Wright’s forthcoming LAST NIGHT IN SOHO.
Steven’s music has received many accolades and been performed at iconic venues around the world including The Royal Albert Hall and The Hollywood Bowl.
www.stevenpricemusic.com
We chat with Composer Jack Wall about his work on Call of Duty: Black Ops Cold War. Set during the early 1980s of the Cold War. Its campaign follows CIA officer Russell Adler as he pursues Perseus, an alleged Soviet spy, whose stated goal is to subvert the United States and tilt the balance of power toward the Soviet Union.
https://www.jackwall.net
This episode we chat with Dallas Taylor, the host and creator of Twenty Thousand Hertz, a lovingly crafted podcast revealing the stories behind the world’s most recognizable and interesting sounds. Dallas is also the Creative Director of Defacto Sound, where he has led thousands of high-profile projects ranging from blockbuster trailers and advertising campaigns to Sundance award-winning films and major television series.
www.20k.org. www.defactosound.com.
We chat with Composer John Frizzell about his recent work on Alex Winter's new music documentary, Zappa and explore the creative process for melodically representing the life of musician and composer Frank Zappa.
With unfettered access to the Zappa family trust and all archival footage, ZAPPA explores the private life behind the mammoth musical career that never shied away from the political turbulence of its time. Alex Winter’s assembly features appearances by Frank’s widow Gail Zappa and several of Frank’s musical collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others.
In this episode, we chat with the sound team from Muse's Simulation Theory live concert film featuring Supervising Sound Editor & Sound Designer Gerry Vazquez, Re-recording Mixer Aleks von Korff and Re-recording Mixer James Parnell.
The latest live film coming from Muse, based around the 2019 album, Simulation Theory, was released in select IMAX cinemas on August 17th with digital downloads from Amazon, Google Play and iTunes released on August 21st with a deluxe box-set set to be released on 11th December, featuring a 5.1 DTS Master Audio Blu-Ray, together with an LP, both with audio from the film, paired with a Casette of the film score, which was written by Bellamy himself.
The film was shot in 2019 at the O² Arena concerts, on 14th and the 15th September 2019.
The movie follows a team of scientists investigating the source of an unknown paranormal anomaly, spreading across the globe. The center of the anomaly is in London and appears to be at Muses stage. One of the scientists, known as Murphy touches the simulation theory arcade game and is electrocuted. He breaks the fabric of his reality and breaks into our own, standing alone out on the stage. He is soon pulled back, but shortly after is "bitten" by a phantom of a Muse Dancer. He then starts transforming into a monster after being infected by a mysterious pathogen.
Told through the eyes of quirky, charming, and humble bandmates: Shawn, Jon, Matt, and Justin, Bleeding Audio is an intimate portrait detailing The Matches' promising career, defeating break up, and inspiring reunion, as they reflect on what success truly means for musicians in today's digital industry.
The Matches’ story overlaps with the drastic changes the music industry has undergone in the past several years. From declining record sales, to excessive touring, to illegal downloading and streaming. This documentary uses The Matches history and recent reunion to dig deeper into the root of the challenges the average musician faces in the digital age of the industry, and how artists can navigate their careers today.
Bleeding Audio features interviews from The Matches, their family and music industry friends; including Nick Hexum of 311, Mark Hoppus of Blink 182, Cassadee Pope from The Voice, Biffy Clyro, Plain White T’s, Motion City Soundtrack, Zebrahead, and more!
We chat with Composer Mark Isham about his recent Emmy nomination on the Hulu show, Little Fires Everywhere and explore the close collaboration with Florence + the Machines' Isabella Summers and drummer Vinnie Colaiuta. We also discuss their work on the Ingrid Michaelson song "Build it Up" and the covers of "In the Air Tonight" sung by Judith Hill and "Bitch" sung by Ruby Amanfu.
We also talk about Mark's recent work on "Bill & Ted Face the Music" to craft the main title using a Prophet-5 and Moog Modular synthesizers and the direct influence the musical group Weather Report had on Mark's career.
In this conversation we chat with the sound team from Naughty Dog to discuss their extensive work on The Last of Us: Part 2. We explore the gun and foley sound recordings, creating the terrifying sounds of the infected, the whistle language of the Seraphites, the unique glass and breathing sound systems, Ellie’s guitar gameplay sounds and much more!
Robert Krekel - Audio Lead Neil Uchitel - Senior Sound Designer Jonathan Lanier - Audio Programmer Maged Khalil Ragab – Dialogue Supervisor
Netflix’s new limited series Unorthodox follows Esty, a young woman growing up in an ultra-Orthodox community in Brooklyn, as she seeks to escape the restrictive life of her community for a new life in Berlin. But her husband and members of the community want her back home, and follow Esty into her new life, seeking to convince her to return. In this in-depth conversation about the sound design and mix of the show, the sound team discusses getting the authenticity of the ultra-Orthodox community right and how sound helped flashbacks slowly reveal the details of Esty’s story. We also discuss how director Maria Schrader created great sound moments at the script stage, and preserved and created room for those moments as she edited and filmed the show.
Adrian Baumeister – Re-Recording Mixer Linus Nickl – Re-Recording Mixer Daniel Iribarren – Supervising Sound Editor
In Locke & Key, a mother and her children move to an ominous ancestral house after the mysterious death of the children’s father. There, they begin to discover the house’s ancient mysteries, which revolve around a series of keys which unlock magical environments and disturbing powers.
In this podcast episode, Sound Supervisor J.R. Fountain and Re-recording mixer Eric Apps guide us through the creation of the fantastic sounds of the show, including a terrifying mirror room, a sinister portal to another dimension, and whispering keys that only children can hear. They also discuss an important challenge: hitting the right tone of the series to emphasize the fantastic and magical over the terrifying horror.
Eric Apps – Re-Recording Mixer J.R. Fountain – Supervising Sound Editor
Composer Mac Quayle discusses working on The Last of Us Part II with Composer Gustavo Santaolalla and Naughty Dog Studios.
We discuss the creative process for scoring a wide range of musical textures that were implemented throughout the game including Mac's music that was used for the 2018 E3 game preview. Mac shares his approach to scoring for video games and using the Resonant Garden, an acoustic-electronic hybrid instrument.
In the Netflix series Ozark, Marty and Wendy appear to have a normal suburban life, but that’s all a front for their real job: laundering money for a Mexican drug cartel. As with the story, the sound in the show is working on multiple levels, and in this episode Sound Supervisor Nick Forshager and Mixer Larry Benjamin take us through constructing the sonic environments of riverboat casinos and basement dungeons, and talk about how to use sound design and music to relentlessly build tension until the shocking resolution of the final episode of season 3.
Larry Benjamin - Re-Recording Mixer Nick Forshager - Supervising Sound Editor
Hamilton is a landmark Broadway production of remarkable scope, now streaming into your home on Disney+. In producing the film version, the show’s creative team sought to give the audience “the best seat in the house,” and in this podcast we talk with original Broadway team artists Alex Lacamoire and Nevin Steinberg along with the film’s sound team Tony Volante, Roberto Fernandez, and Dan Timmons about a number of Hamilton topics, including the challenges of designing a custom sound system for the historic Richard Rodgers Theatre, translating the live show into a cinematic world, and how Dolby Atmos played a key part in giving the audience at home the transformative theatrical experience. We also review clips and discuss in detail the numbers “Alexander Hamilton,” “Satisfied,” and “The Room Where It Happens.”
Cinema director David Fincher created one of the first original streaming series with House of Cards, and his innovative spirit infuses the Netflix original series Mindhunter, now in its second season.
In this podcast episode, the sound team discuss Fincher’s unique approach to the sound of serial killer interrogation scenes, a hallmark of this fascinating, dark series. The team discuss setting the acoustic tone of the series, including the oppression of the FBI agents’ basement office (and a very special door), why it was important to Fincher to always hear trainee agents at Quantico at target practice, and the joy of receiving Fincher’s incredibly detailed mix notes.
Steve Bissinger - Sound Effects Editor Scott Lewis - Re-Recording Mixer Stephen Urata - Re-Recording Mixer
In this exclusive conversation we chat with Re-recording Mixer Marc Fishman and Supervising Sound Editor Mark Relyea about Little Fires Everywhere which is based on the 2017 novel of the same name by Celeste Ng and currently streaming on Hulu.
The series stars Reese Witherspoon and Kerry Washington, both of whom also executive produced, alongside Liz Tigelaar, Lauren Neustadter, and Pilar Savone.
Set in the Cleveland suburb of Shaker Heights, Ohio during the late 1990s, it features Witherspoon and Washington as mothers from different socioeconomic backgrounds. The story explores the weight of secrets, the nature of art and identity, the ferocious pull of motherhood – and the danger in believing that following the rules can avert disaster.
In season 3, the Emmy-award winning Westworld leaves the parks behind for the sounds of the “real” world, circa 2057. In this episode, the sound team behind the remarkable show discusses showrunner Jonah Nolan’s design concept that noise-reduction technology has progressed to the point that the world seems quiet and peaceful...until the climactic end when all technology fails and the world devolves into chaos. The conversation also includes a discussion of mixing the show natively in Dolby Atmos, and the challenges of finishing postproduction as the world went into Covid-19 lockdown.
Susan Cahill — Supervising Sound Editor Benjamin Cook — Sound Designer/Re-recording Mixer Keith Rogers — Re-recording mixer
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About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.
Bonnie Wild, the sound effects editor and re-recording mixer of Disney+’s hit show The Mandalorian, takes us behind the scenes for a conversation about achieving cinematic scale and production value on a television budget, balancing the palette of new sound creation with classic Star Wars sounds we all know and love, why mixing in a home theater environment was important for the show, and how to do a Jawa loop group session.
Bonnie Wild — Sound Effects Editor/Re-Recording Mixer
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About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular.
This week we chat with Composer Kris Bowers about his recent work on the new Hulu show, Mrs. America and the challenges of completing his score during the COVID-19 pandemic.
ABOUT KRIS BOWERS
Emmy Award-winning composer and pianist, Kris Bowers, creates genre-defying music that pays homage to his jazz roots with inflections of alternative and R&B influences. The result is a sound rife with contradictions, a work of nuanced alchemy situated at the summit of his influences. A confluence of jazz greats, classical standards, and the alternative and experimental music of his youth, along with the cinematic storytelling of his most studied film scores. Bowers’ earliest musical inspirations were varied, transcending generation and genre to include work by artists such as Steve Reich, Radiohead, Stevie Wonder, Brian Eno, Herbie Hancock, and Jimi Hendrix. As a young musician, Bowers brought the language of jazz to his covers of artists like Death Cab For Cutie, Tune-Yards, Radiohead, and Kendrick Lamar.
Since 2013, the Juilliard-educated pianist has established himself at the forefront of Hollywood’s emerging generation of genre-defying composers. What sets Bowers apart is his unique ability to compose music that resonates across such a diverse continuum of artists, storytellers, and audiences. From scoring documentaries like Kobe Bryant’s Muse (SHOWTIME, 2015) and Norman Lear: Just Another Version of You (2016), to scripted series including Shonda Rhimes and Paul William Davies’ For The People (ABC), Netflix’s Dear White People, and SHOWTIME’S Black Monday (Exec. Produced by Seth Rogen & Evan Golberg), Bowers’ work as a film and television composer is a testament to his versatility as an artist.
Bowers first made a name for himself in 2011, when he won the prestigious Thelonious Monk International Jazz Piano Competition at the Kennedy Center in Washington, D.C., where Aretha Franklin chose him as a favorite to win during the semi-finals concert. The win earned him a record deal with Concord Jazz, who later released his debut album, Heroes+Misfits, which opened at number one on the iTunes jazz chart in 2014.
ABOUT MRS. AMERICA
Mrs. America tells the story of the movement to ratify the Equal Rights Amendment (ERA), and the unexpected backlash led by a conservative woman named Phyllis Schlafly, aka “the sweetheart of the silent majority.” Through the eyes of the women of the era – both Schlafly and second wave feminists Gloria Steinem, Betty Friedan, Shirley Chisholm, Bella Abzug and Jill Ruckelshaus – the series explores how one of the toughest battlegrounds in the culture wars of the 70s helped give rise to the Moral Majority and forever shifted the political landscape.
Mrs. America features an all-star team in front of and behind the cameras. Two-time Academy Award and Golden Globe Award winner Cate Blanchett headlines as Phyllis Schlafly, leading a stellar cast portraying some of the most iconic women of the era, including Emmy Award nominated Rose Byrne as Gloria Steinem, Emmy Award winner Margo Martindale as Bella Abzug, Emmy and Golden Globe Award winner Uzo Aduba as Shirley Chisholm, Emmy Award nominated Elizabeth Banks as Jill Ruckelshaus, and Emmy and Golden Globe Award winner Tracey Ullman as Betty Friedan. The cast also boasts Emmy and Golden Globe Award winner Sarah Paulson, Emmy Award nominated John Slattery, Emmy Award nominated Jeanne Tripplehorn, Ari Graynor, Melanie Lynskey and Kayli Carter. Executive Producers are Emmy Award winner Dahvi Waller (Mad Men), who serves as creator and showrunner, Academy Award nominated Stacey Sher (Django Unchained, Erin Brockovich), Coco Francini, Cate Blanchett and Anna Boden & Ryan Fleck (Captain Marvel, Billions), who directed four of the nine episodes, including the first two.
In this exclusive roundtable conversation we talk with documentary Director Brandon Vedder and re-recording mixer Tony Villaflor about their work on the biographical music documentary, Strange Negotiations.
After abandoning his long-held Christian beliefs and walking away from his critically-acclaimed band, Pedro the Lion, musician David Bazan retreated into a solitary life as a solo musician — modest house shows, weeks away from family, and lingering questions about his faith, music, and America. STRANGE NEGOTIATIONS, which premiered at the SXSW Film Festival, follows Bazan a decade into his journey as a reluctant prophet for a generation wrestling with America’s own crisis of faith, highlighted by the 2016 presidential election.
Watch the film: www.strangenegotiationsfilm.com
In this episode we chat with re-recording mixer Eric Fischer from Autumn Audio who worked on the new Youtube music documentary, Coachella: 20 Years in The Desert.
A documentary feature two decades in the making, “Coachella: 20 Years in the Desert” opens up the vault for the very first time to present the legendary performances and behind-the-scenes stories that shaped the seminal music festival.
The film provides a rare look at Coachella’s colorful beginning, presents exclusive, never-before-seen footage, interviews, and key performances from some of the biggest names in music.
Produced and directed by Chris Perkel Executive Produced by Raymond Leon Roker and Paul Tollett A Goldenvoice Production in association with Hamsterdam Productions
James Mockoski, head of production and archives at American Zoetrope joins us this week to discuss his work supervising the restoration department for Director Francis Ford Coppola's production company.
We discuss his recent work on the 4K Dolby Atmos release of Apocalypse Now: Final Cut and other titles including The Conversation, The Godfather and Lost in Translation.
ABOUT AMERICAN ZOETROPE: American Zoetrope (also known as Zoetrope Studios from 1979 until 1990) is a privately run American film production company, centered in San Francisco, California and founded by Francis Ford Coppola and George Lucas.
Opened on December 12, 1969, the studio has produced not only the films of Coppola (including Apocalypse Now, Bram Stoker's Dracula and Tetro), but also George Lucas's pre-Star Wars films (THX 1138, American Graffiti), as well as many others by avant-garde directors such as Jean-Luc Godard, Akira Kurosawa, Wim Wenders and Godfrey Reggio. American Zoetrope was an early adopter of digital filmmaking, including some of the earliest uses of HDTV.
Four films produced by American Zoetrope are included in the American Film Institute's Top 100 Films. American Zoetrope-produced films have received 15 Academy Awards and 68 nominations.
Initially located in a warehouse on Folsom Street, the company's headquarters have since 1972 been in the historic Sentinel Building, at 916 Kearny Street in San Francisco's North Beach neighbourhood.
Coppola named the studio after a zoetrope he was given in the late 1960s by the filmmaker and collector of early film devices, Mogens Skot-Hansen. "Zoetrope" is also the name by which Coppola's quarterly fiction magazine, Zoetrope: All-Story, is often known.
American Zoetrope is now owned entirely by Coppola's son and daughter, directors Roman Coppola and Sofia Coppola, while a majority of the film library is now owned by Lionsgate.
www.zoetrope.com/american-zoetrope
In this episode we chat with Crip Camp Directors James Lebrecht & Nicole Newnham about how the project developed, structuring their complex storyline and the deeper issues the film addresses.
Crip Camp won the Audience Award for U.S. Documentary at the 2020 Sundance Film Festival and is now streaming on Netflix worldwide.
About Crip Camp Just down the road from Woodstock, in the late 1960s and early 1970s, a parallel revolution blossomed in a ramshackle summer camp for disabled teenagers. Steeped in the humor and music of the era, Crip Camp explores the universal experience of summer camp awakenings that would transform lives and shape the future of the disability rights movement. Told from the point of view of former camper Jim LeBrecht, the film traces the journeys of campers up to the present day, in this compelling and untold story of a powerful journey towards inclusion.
Jim LeBrecht has over 35 years of experience as a film and theater sound designer and mixer, author and disability rights activist. Jim began his career in theater, working as the resident sound designer at the Berkeley Repertory Theater for 10 years. His fim credits include The Island President, The Waiting Room, The Kill Team and Audry and Daisy. A complete list of his film credits (over 145) can be viewed at IMDB. Jim co-authored Sound and Music for the Theater: the art and technique of design. Now in its 4th edition, the book is used as a textbook all over the world. Jim’s work as an activist began in high school and continued at UC, San Diego, where he helped found the Disabled Students Union. Jim is currently a board member of the Disability Education and Defense Fund, which works for the rights of the disabled through education, legislation, and litigation.
Nicole Newnham is an Emmy-winning documentary producer and director, Sundance Film Festival alumnus and five-time Emmy-nominee. She has recently produced two virtual reality films with the Australian artist / director Lynette Wallworth: the breakthrough VR work Collisions, which won the 2017 Emmy for Outstanding New Approaches to Documentary, and Awavena, featured this year at the World Economic Forum in Davos and at the 2017 Sundance Film Festival. Previously she co-directed The Revolutionary Optimists, winner of the Sundance Hilton Sustainability Award, Nicole also instigated, co-produced and directed the acclaimed documentary The Rape of Europa, about the Nazi war on European culture, which was nominated for a WGA award and shortlisted for the Academy Award. With Pulitzer-prize winning photographer Brian Lanker, she produced They Drew Fire, about the Combat Artists of WWII, and co-wrote the companion book, distributed by Harper Collins. A 1997 graduate of the Stanford Documentary Film Program, Nicole lives in Oakland with her husband Tom, and two sons, Finn and Blaine.
About Higher Ground Productions Barack and Michelle Obama signed a deal on May 22, 2018 to produce docu-series, documentaries and features for Netflix under the Obamas' newly formed production company, Higher Ground Productions. On the deal, Michelle said "I have always believed in the power of storytelling to inspire us, to make us think differently about the world around us, and to help us open our minds and hearts to others." Higher Ground's first film, American Factory, won the Best Documentary Oscar in 2020.
From the creators of Ori and the Blind Forest - the acclaimed adventure game with more than 50 awards and nominations - comes the highly-anticipated sequel, Ori and the Will of the Wisps.
Embark on an all-new adventure in a vast and exotic world where you’ll encounter towering enemies and challenging puzzles on your quest to unravel Ori’s true destiny.
Gareth Coker is a British composer for film, games, and commercials. Since moving from Japan to Los Angeles in 2009, Gareth has developed a compositional style focusing on memorable, melodically-driven themes and motifs, combined with unique, and unconventional soundscapes. This approach, and his ability to apply it in a way that always serves to enhance the story earned him the attention of Moon Studios, which led to a highly successful collaboration on the acclaimed game Ori and the Blind Forest, released in March 2015 and reviewed as one of the highest rated games on Xbox One. The universally critically acclaimed soundtrack has won several prestigious awards, including an Academy of Interactive Arts & Sciences award for Outstanding Music Composition, a SXSW Gaming Award for Excellence in Musical Score, and the Game Audio Network Guild’s Audio of the Year.
www.gareth-coker.net www.garethcoker.bandcamp.com www.soundcloud.com/garethcoker
We chat with Miles Rogers from Meyer Sound about a wide range of cinema focused speakers including the Bluehorn System, Amie Precision Studio Monitor, HMS Cinema Surround Loudspeakers and the VLFC (Very Low Frequency Control Element) recently used by Director Francis Ford Coppola for Apocalypse Now: Final Cut.
Supervising sound editors Matthew Wood and David Acord delve into the conceptual and sonic intricacies of evolving “force lightning,” and about working in stages from temp mixes to the final mix in a film with a legacy. They share experiences working playfully and dynamically with director J.J. Abrams, recording lines in actor Adam Driver’s closet, and working on previous Star Wars films.
As a large-scale historical film, 1917 creates an intense and realistic soundscape of World War I. In this episode, we talk with the sound team, nominated for Best Sound Editing and Best Sound Mixing, about the challenges and fun experiences that arose from this film. In part 1, we talk with ADR and dialogue supervisor Rachael Tate about blending the unique amount of sound coverage into the film, trying to work with minimum ADR, and making sure that even background chatter is historically realistic. In part 2, production sound mixer Stuart Wilson shares challenges with mic placements, the importance of on-set sound for creating realistic tension, and the trust and communication among the production.
In this episode, 7 time Academy Award-winner Gary Rydstrom delves into using sound to create an increasingly unsettling journey for the audience through the use of subliminal ambiences, manipulated vocal loops, and strategically used distortion. We also deconstruct the film’s signature lunar rover chase sequence and discuss the film’s rules of sound, an important topic to director James Gray.
Three time Academy Award-winning re-recording mixer Michael Minkler, multiple Oscar-nominated supervising sound editor Wylie Stateman, and effects mixer Christian Minkler discuss how they recreated 1969 Los Angeles for director Quentin Tarantino, including their approach to building the distinctive sound of the vintage television shows within the movie. They deconstruct the sound of the extraordinary Spahn Movie Ranch sequence, and discuss why Tarantino chooses to use songs rather than traditional musical score.
Ford v Ferrari is so much more than a race car movie. At its core, it’s a movie about a friendship, and about two men fighting for what they believe. In this episode production sound mixer Steven Morrow shares some insight to recording cars for Ford v Ferrari, his humble roots as an unpaid boom operator and his theories on why sound people are the nicest people on set.
Academy Award-winning production sound mixer Mark Ulano talks about his double nominations for Ad Astra and Once Upon a Time... in Hollywood, and his remarkable 25-year collaboration with filmmaker Quentin Tarantino. He discusses how he uses microphones to achieve different kinds of emotion for the audience and gives practical advice for how to keep your cool on a tense movie set.
Academy Award-winning sound supervisor Alan Murray and re-recording mixers Tom Ozanich and Dean Zupancic discuss how they used impressionistic sound design to take the audience inside Arthur Fleck’s mind. They also deconstruct the film’s centerpiece subway confrontation and let the audience in on how a simple door creak can unnerve an audience. In the second part of this conversation, production sound mixer Tod Maitland discusses the challenges of capturing a gritty and disturbing 1970s Gotham City on the streets of a very modern-day New York.
SoundWorks Collection was started in 2009 with the simple goal to profile the greatest and upcoming sound minds from around the world and highlight their contributions.
Over the past decade we have had the incredible honor to meet hundreds of sound artists and help share their incredible stories. We are excited for the future and thank the worldwide sound community for the ongoing support!
In this special 90-minute conversation, SoundWorks Collection founder Michael Coleman chats with friend and longtime collaborator Michael Tucker (Lessons from the Screenplay) and discuss how it all started.
Martin Scorsese’s longtime sound collaborators Eugene Gearty and Tom Fleischman (Oscar-winners for Hugo) have joined the acclaimed filmmaker once again for the epic film The Irishman. Much has been written about the visual effects used to de-age the actors playing the main characters, and in this episode we talk about the attempts made to de-age the sound of the actors voices, the challenges of building the film’s minimalist sound track, and the working collaboration Eugene and Tom have crafted over the years with Scorsese and his legendary film editor, Thelma Schoonmaker.
Eugene Gearty, Supervising sound editor/Re-recording mixer Tom Fleischman, Re-recording mixer
Moderated by Glenn Kiser, Dolby Institute
Supervising Sound Editor Hunter Curra describes his work over the past four seasons of Rick and Morty and collaborating with co-creators Justin Roiland and Dan Harmon. We discuss the various interdimensional adventures, unique animation workflow and Rick's burping sound library.
After having been missing for nearly 20 years, Rick Sanchez suddenly arrives at daughter Beth's doorstep to move in with her and her family. Although Beth welcomes Rick into her home, her husband, Jerry, isn't as happy about the family reunion. Jerry is concerned about Rick, a sociopathic scientist, using the garage as his personal laboratory. In the lab, Rick works on a number of sci-fi gadgets, some of which could be considered dangerous. But that's not all Rick does that concerns Jerry. He also goes on adventures across the universe that often involve his grandchildren, Morty and Summer.
Matthew Wood and David Acord, co-sound supervisors on Star Wars: The Rise of Skywalker, have been working on the sound of the SW films for nearly two decades. Join us for a wide-ranging conversation on the audio restorations of the original films, the voice of Baby Yoda from the new streaming series The Mandalorian, the importance of sound to George Lucas...and even the controversy about whether Han or Greedo shot first and the notorious “Maclunkey.”
We chat with re-recording mixer and supervising sound editor Lee Walpole about his recent work on Director Tom Harper's film, The Aeronauts. The film is in theaters now and will be streaming on Amazon Prime Video starting December 20th!
In 1862, daredevil balloon pilot Amelia Wren (Felicity Jones) teams up with pioneering meteorologist James Glaisher (Eddie Redmayne) to advance human knowledge of the weather and fly higher than anyone in history. While breaking records and advancing scientific discovery, their voyage to the very edge of existence helps the unlikely pair find their place in the world they have left far below them. But they face physical and emotional challenges in the thin air, as the ascent becomes a fight for survival.
In this episode we catch up with the picture editor and sound team behind the Elton John biopic Rocketman to discuss the film’s unique blend of pre-recorded music, live singing on set, and post-recorded songs. The team unpacks numerous musical sequences in the film, including the famous Troubadour concert featuring the song “Crocodile Rock,” and the collaboration with music producer Giles Martin to create the film’s signature sound.
Danny Sheehan, Supervising sound editor Matthew Collinge, Supervising sound editor & re-recording mixer Mike Prestwood Smith, Re-recording mixer Chris Dickens, Film editor
Join filmmakers Josh & Benny Safdie for a behind-the-scenes conversation about their new film Uncut Gems. The brothers discuss how they used sound design and music to create the perilous, uncomfortable world of Adam Sandler’s character, Howard Ratner. They are joined by composer Daniel Lopatin, who talks about using the classic 1970s Moog synthesizer to create the movie’s emotional score, and re-recording mixer Skip Lievsay, who talks about how he used Dolby Atmos to give the audience the experience of being in the world of the characters. Recorded in front of a live audience at the New York Film Festival Artist Academy.
Josh Safdie, Co-writer, Co-director Benny Safdie, Co-writer, Co-director Daniel Lopatin, Composer Skip Lievsay, Re-recording mixer
ASCAP winning and MTV VMA nominated composer Tom Salta is one of the most versatile and prolific music artists/producers working in film, television, advertising and video games. Renowned for crafting emotionally engaging soundtracks for multimedia, Salta has received widespread industry acclaim for his world-class produced hybrid scores featured in film, television and video games such as Machine Games’ WOLFENSTEIN : Youngblood & Cyberpilot, Microsoft’s iconic HALO series (G.A.N.G. Best Original Soundtrack Award), Ubisoft’s PRINCE OF PERSIA: The Forgotten Sands and RED STEEL (IGN Award for Best Original Score), Tom Clancy’s GHOST RECON and H.A.W.X series, as well as the epic theme music for the record-breaking online multiplayer game PLAYERUNKNOWN’s BATTLEGROUNDS, which has sold in excess of 50 million units with over 400 million players.
Salta’s long-time collaborations with 343 Industries and Microsoft Studios include the re-imagined soundtracks to HALO: Combat Evolved Anniversary and HALO 2: Anniversary, as well as composing the original scores for HALO: Spartan Assault and HALO: Spartan Strike (the first HALO video game to be released on Apple devices). Additionally, Salta returned to the beloved sci-fi franchise to score the animated series, HALO: The Fall of Reach, adapted from the best-selling novel and produced by the award-winning animation studio Sequence. His third solo outing in the iconic HALO universe, Salta also composed, arranged and produced the first original pop song in the franchise’s history, “Take This Life”, featured exclusively on HALO: The Fall of Reach soundtrack.
Prior to his composing career, Salta toured with and worked on releases by a diverse array of popular recording artists. After several years of touring, Salta became increasingly immersed in studio work, producing, remixing and songwriting. Recording under the artist name “Atlas Plug,” Salta released the critically acclaimed electronic / orchestral music album “2 Days or Die” which quickly caught the attention of leading music supervisors. His album introduced a new hybrid sound to the visual entertainment industry at large, garnering high-profile placements on numerous television shows, international commercials and movie trailers, simultaneously launching his music career in video games, which he continues to embrace as a cutting-edge and powerful musical voice in modern scoring.
Join Lindsey Alvarez and Robert Stambler as they share their creative process behind some of today’s most interesting-sounding creatures, superheroes, and villains. This masterclass presentation will illuminate the important role of creative sound work and the close collaboration of the sound team and director.
Moderated by Michael Coleman, SoundWorks Collection
Recorded on October 28th, 2019 at the Savannah Film Festival
American automotive designer Carroll Shelby and fearless British race car driver Ken Miles battle corporate interference, the laws of physics and their own personal demons to build a revolutionary vehicle for the Ford Motor Co. Together, they plan to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.
Paul Massey - Re-recording Mixer Don Sylvester - Supervising Sound Editor David Giammarco - Re-recording Mixer & Sound Designer
Moderated by Glenn Kiser, Dolby Institute
Recorded at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.
We chat with the Obsidian Entertainment sound team to discuss their recent video game release, The Outer Worlds!
Justin E. Bell, Studio Audio Director – Audio Director, Composer Scott Gilmore, Senior Audio Designer – Creatures and Gameplay Zachary Simon, Senior Audio Designer – Weapons and Foley Dylan Hairston, Audio Designer – Ambiences and Emitters Jerrick Flores, Technical Designer – Chatter, Spatialization, and Optimization
Lost in transit while on a colonist ship bound for the furthest edge of the galaxy, you awake decades later than you expected only to find yourself in the midst of a deep conspiracy threatening to destroy the Halcyon colony.
As you explore the furthest reaches of space and encounter a host of factions all vying for power, who you decide to become will determine the fate of everyone in Halcyon. In the corporate equation for the colony, you are the unplanned variable.
www.obsidian.net
Carnival Row is an expansive, visually and aurally opulent murder mystery series from Amazon. Join mixers Marc Fishman and Robert Carr as they talk about how one goes about creating the sound of flying faeries’ wings, why Dolby Atmos was part of the concept of the sound of the series right from the beginning, and how one of the major plot points of the series was communicated to the audience through Foley, with no dialog.
Marc Fishman - Re-recording Mixer Robert Carr - Re-recording Mixer
Moderated by Glenn Kiser, Director of the Dolby Institute
Recorded at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.
Join the team behind the sound and music of Stranger Things 3 for a discussion about how the sound of the show has evolved and grown over three seasons, delivering cinema quality sound on an episodic schedule and budget, how to preserve that experience across all home platforms, the challenges of keeping creature sounds fresh and new, and finally, how the famous Neverending Story sequence came together.
Craig Henighan - Sound Supervisor Mark Patterson - Dx and Music Mixer David Klotz - Music Editor Angelo Palazzo - SFX Editor Katie Halliday - SFX Editor
Moderated by Glenn Kiser, Director of the Dolby Institute
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We chat with Supervising Sound Editor, Sound Designer and Re-recording Mixer Damian Volpe to discuss his recent collaboration with visionary Director Robert Eggers and explore his new film, The Lighthouse.
Shot in black-and-white, the film follows two lighthouse keepers (portrayed by Willem Dafoe and Robert Pattinson) as they are faced with solitude, but start to lose their sanity and become threatened by their worst nightmares.
Damian Volpe is a Brooklyn based sound designer, supervisor, and mixer. He is a founding member of Harbor Sound, and a working partner of ((Audience)), a non- profit group dedicated to presenting music and sound art in new contexts, including specifically the use of movie theaters as concert halls. He has had the good fortune to collaborate over several decades with an amazing cast of directors including Ira Sachs, Debra Granik, Robert Eggers, Dee Rees, Marielle Heller, Ted Melfi, Mira Nair, Peter Hedges, Jim Jarmusch, and Matthew Barney.
Damian’s work can be heard in a wide variety of feature films (The Lighthouse, Can You Ever Forgive Me?, Leave No Trace, St. Vincent, Mudbound, Drive, Winter’s Bone, Margin Call, Forty Shades of Blue, Happiness), documentaries (Billy the Kid, Trouble the Waters) and art pieces (Drawing Restraint 9, States of Unbelonging, Last Address). His work can also be heard at the award-winning Gear Platte River Road Archway Monument and at The George Washington Museum and Education Center in Mount Vernon.
His sonic interests include susurration, hypnogogia, tintinnabulation, buzz, bottomlessness, and decay.
Film sound legends Walter Murch (The Godfather, Apocalypse Now), Ben Burtt (Star Wars, Wall•E), Gary Rydstrom (Jurassic Park, Saving Private Ryan) and Making Waves director Midge Costin join Dolby Institute director Glenn Kiser in conversation before a live audience after the film’s premiere at the Tribeca Film Festival. The wide-ranging discussion touches on the role of subjective sound in creative storytelling, why the sound of Wall•E’s voice made some people cry, and how famed director Francis Ford Coppola uses what he calls “silent take 6.”
Re-recording mixer Cheryl Ottenritter discusses documentary sound design & Dolby Atmos mixing at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.
Hidden Pacific's Sound Team: Rick Rush, Sound Design Cheryl Ottenritter, Sound Design and Re-Recording Mixer Adam Parrish King, Sound Design and Re-Recording Mixer
Moderated by Michael Coleman, SoundWorks Collection
Ott House Audio, or OHA as it’s often called, is a boutique studio based in Silver Spring, Maryland. The heart and soul of this woman-owned business is Cheryl Ottenritter. Cheryl's love for the art of sound shines through every project that comes through her doors. Launched in 2006 in the basement of John and Cheryl’s home, it wasn’t until 2007 that OHA moved into a small studio; allowing her to expand the services she offered. In 2019, Ott House moved into its current space on Fenton Street. OHA now boasts a Dolby Atmos® mix suite, three surround sound mix suites, a record booth, a fully equipped machine room, and a brigade of sound engineers with over 50 years of experience.
OHA provides clients with a full range of audio services; including but not limited to, sound design, mixing (surround and stereo), recording, radio, casting, paymaster, and audio description. OHA is on the forefront of new technologies and mediums; thus assuring that they will always be able to deliver creative and effective audio for their clients. We also provide remote review sessions - allowing instant collaboration with clients from all over the world.
www.otthouseaudio.com
George Massenburg discusses mixing an Alicia Keys track in Dolby Atmos at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.
"Composing for Television" panel recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019
Composers: Danny Lux, Fred Coury, Bobby Summerfield
Moderated By: Greg Ondo - Steinberg
Composer Shie Rozow conversation recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019
"Composing for Film" panel recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019
"Follow the Tracks" panel recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019
A panel of experts discusses where our dialog tracks come from, where they go, and what happens to them along the way, from set to screen.
Panelists: Gary Bourgeois - CAS Re-recording Mixer Adam Carl - Recordist Matt "Smokey" Cloud - Assistant Editor Chris Jacobson - CAS Re-recording Mixer Anna Mackenzie - Dialog Editor Ben Patrick - CAS Production Mixer Tod A. Maitland - Production Mixer
Moderated by: Gary Bourgeois - CAS Re-recording Mixer
Immersive Audio Workflow: Concept, Editorial, Design and Mix panel
Recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.
Our panel of experts will discuss a how-to plan for creating and delivering audio through the post-production process for the best use of immersive sound technology.
Moderated by: Carolyn Giardina - The Hollywood Reporter
Panelists: Steve Ticknor - Supervising and Sound Design Editor Sony Pictures Studios Tony Lamberti - Supervising Sound Editor, Re-Recording Mixer Sony Pictures Studios Caleb Hollenback - Formosa Group Cheryl Ottenritter - Sound Designer and Re-Recording Mixer Ott House Audio Scott Kramer - Netflix Paula Fairfield - Sound Designer
"The Networked Studio: Building a Near-Field Immersive Room With Audio-Over-IP" panel recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019
Chief engineers, designers and integrators discuss the ins and outs of building a near-field immersive audio studio using advanced Audio-Over-IP networking technologies and tools.
Panelists: Brian Armstrong, Streamline System Design Lane Burch - Sony Pictures Studio Ron Romano - Belmont University Phil Wagner - Wagner Consulting Brian Armstrong - Streamline System Design David Henszey - Managing Member Henszey Sound LLC.
Moderated by: Phil Wagner
Wylie Stateman, a legendary sound designer and post-production media entrepreneur, delivered the Keynote Address at the sixth annual Mix Presents Sound for Film & Television, held Saturday, September 28, at Sony Pictures Studios in Culver City, Calif.
Wylie has supervised more than 150 sound projects, and his work has been recognized in the industry with over 40 nominations spanning every decade of his 40-year career. His industry recognitions include 8 Oscar nominations, 6 BAFTA nominations, 2 Emmy nominations, and 30-plus MPSE Golden Reel nominations. In 1994 he received, with Lon Bender and Kim Waugh, an Academy Scientific and Technical Award for an innovation that contributed to the advancement of digital audio post-production workflows.
Wylie has worked extensively with every major studio in Hollywood, along with some of the most prolific writer/directors in the motion picture and television industries. His creative sound work has included multiple collaborations with Oliver Stone, John Hughes, Quentin Tarantino, Wolfgang Petersen, Cameron Crowe, Scott Frank and Rob Marshall, among others.
Just a few of the many films Wylie has worked on include: Tron, Footloose, Ferris Bueller’s Day Off, Stand By Me, Born on the Fourth of July, The Doors, Jerry Maguire, JFK, Natural Born Killers, Kill Bill Vols. 1 and 2, Shrek, Inglourious Basterds, Snowden, Deepwater Horizon and this year’s Once Upon a Time in Hollywood.
Wylie was a co-founder of the post production sound services company Soundelux, where he served in a senior executive management capacity involved in overall operations. He also served as Chairman for the Soundelux Entertainment Group, a holding company that oversaw 11 entities, including The Hollywood Edge (sound effects libraries), Modern Music (music editorial for feature films and television), DMG (computer game design), and Mind’s Eye/Jabberwocky (books on tape), as well as Soundelux Systems and Showorks (both focused on location-based entertainment and show control). A few years ago, Wylie established 247SND, centered around a Dolby Atmos design studio, in Topanga.
His most recent work, Once Upon a Time In Hollywood, is Wylie’s seventh collaboration with Quentin Tarantino. During this project, he and his team applied a rapid prototyping process, an approach that they have been refining over the past five years. By continually incorporating new and refined sound design, dialog and music elements directly into the Avid track, Wylie and his crew enable the editor and director to take sound contributions into consideration throughout the editorial assembly process. Always in service to the director’s needs and vision, the process makes it easier to approve sonic elements in progressive stages, rather than forcing all of the decisions into the final weeks of post.
Wylie sees the rapid prototyping of sound as part of a bigger transition in sound editorial, where there are no longer predefined boundaries between the crafts. New technologies are turning upside-down the traditional sound editing and final mixing processes in content creation. In addition, artists working with the latest audio technologies around the world are publishing an enormous quantity of high-quality, multichannel recordings, which is changing how designers source materials to create new works.
Post-production sound now offers global collaborative possibilities, greater mobility, and many opportunities to improve efficiency. Recently, Wylie has been pursuing new entrepreneurial endeavors toward these ends. It is an exciting time to work in the sound space.
We chat with the sound team of The Dark Crystal: Age of Resistance which was recently released as a 10-episode series on Netflix. In this conversation we chat with Re-Recording Mixer / sound designer / supervising sound editor Tim Nielsen, foley artist Shelley Roden and supervising adr editor Tim Hands.
As power-hungry overlords drain life from the planet Thra, a group of brave Gelfling unite on a quest to save their world and fight off the darkness.
Re-recording mixer Pete Horner discusses the incredible process of restoring and remixing the 40th anniversary edition of Apocalypse Now: Final Cut that was recently released in Dolby Atmos and 4K Ultra HD. Pete shares how he created a new master track, enhanced the LFE with the help of a new Meyer Sound speaker and collaborated with Director Francis Ford Coppola and Walter Murch.
In this exclusive SoundWorks Collection conversation, we chat with the sound team behind Director Quentin Tarantino's film, Once Upon a Time in Hollywood.
Featuring Production Sound Mixer Mark Ulano, Supervising Sound Editor Wylie Stateman and Re-Recording Mixer Michael Minkler!
As president and CEO of Bleeding Fingers Music and Extreme Music, Russell Emanuel is a trailblazing leader, innovator, and producer in the music industry. Bleeding Fingers is one of the leading producers of quality-crafted film and television scores in the world, bolstered by a unique creative association and business partnership with industry legend, Hans Zimmer, and his long-term business partner, Steve Kofsky.
Russell’s vision for Bleeding Fingers led to a thriving collaboration with David Attenborough and BBC on the music for Planet Earth II – a score that contributed to the series’ record-breaking viewership, international acclaim, and BAFTA and Emmy nominations for Bleeding Fingers’ work. This paved the way to his most recent project - producing the score for the highly-anticipated BBC One natural history landmark, Blue Planet II, which premieres later this year. Alongside his work producing the series’ orchestral score, Russell creatively produced a track for the prequel, titled “(ocean) bloom,” featuring a collaboration with Radiohead, one of the world’s most acclaimed rock bands, and Hans Zimmer.
Under Russell’s leadership, Bleeding Fingers has amassed an expert crew of over a dozen in-house composers leading to an unmatched balance of musical creativity, collaboration and efficiency. Bleeding Fingers’ music has strengthened countless projects, with their prolific and diverse output including scores featuring sweeping orchestral pieces, industrial rock and electronic sounds, Americana, and everything in between. Operating out of their twenty-studio Santa Monica facility on the same campus as Remote Control Productions, the company is producing carefully-tailored scores for some of the most acclaimed series on television. In addition to Planet Earth II and Blue Planet II, Bleeding Fingers’ musical efforts include Netflix’s Roman Empire, Amazon’s American Playboy, and Crackle’s Snatch.
Before creating Bleeding Fingers, Russell had already made a name for himself as a titan within the composing industry, thanks to the tremendous success of Extreme Music, which he co-founded in 1997. Extreme Music was conceived as a business that would provide production music for projects that did not have access their own composers, while retaining incredibly high standards of passion and quality. The company soon became famous, not only for the music it offered, but also for the notorious punk energy and marketing that Russell channeled through the company (most famously, he sent condoms to numerous industry professionals, printed with the massage “the only safe thing you will ever get from us”). Russell grew the company to such a large success that it was purchased by SonyATV in 2008 for $110 million with Emanuel still remaining as the active CEO.
Russell is not only an entrepreneur, but an experienced musician within his own right. For many years, he was a session musician, producer and manager, most notably managing The Jam and Stiff Little Fingers. He’s also collaborated with musical heavy-hitters such as George Martin, Snoop Dogg, Rodney Jerkins, and Quincy Jones, and spent an early stint of his career engineering at Abbey Road Studios.
Russell currently lives in Los Angeles. When not working, he likes to perform with his twisted pop-hit cover band "Courtesy Flush,” ride his Harley Davidson and serve as a chauffeur and entertainment officer to his wife and five children.
We chat with re-recording mixer Mike Prestwood Smith about his recent work on Rocketman and explore his creative process recreating the iconic songs that defined Elton John’s career and personal journey.
Rocketman is a 2019 biographical musical film based on the life of musician Elton John. Directed by Dexter Fletcher and written by Lee Hall, it stars Taron Egerton as John, with Jamie Bell, Richard Madden, and Bryce Dallas Howard. The film follows John's early days as a prodigy at the Royal Academy of Music to his musical partnership with Bernie Taupin. The film is titled after John's 1972 song "Rocket Man".
An Elton John biopic had been in development for almost two decades, with the project going through studios including Walt Disney Studios and Focus Features, directors including Michael Gracey, and actors including Tom Hardy and Justin Timberlake. After creative differences with Focus halted an initial production start in 2014, John took the project to Paramount Pictures, with Egerton and Fletcher signing on in April 2018. Principal photography began in August 2018 and was completed later that year.
The eighth and final season of Game of Thrones has concluded and in this conversation we chat with Supervising Sound Editor Tim Kimmel and Sound Designer Paula Fairfield about the Great War against the Army of the Dead, dragon battles and the war for the throne at King's landing.
We chat with Composer Nathan Whitehead (The Purge, Keanu) about his recent work on the PS4 exclusive video game, DAYS GONE from Sony Bend Studio.
We discuss his move from East Tennessee to Los Angeles, early mentors including Supervising Sound Editor Dane Davis and Composer Steve Jablonsky and creating the sound of a post-apocalyptic wilderness setting.
Summit Post is for the crazy ones – for the directors and producers who see things differently and want to challenge the status quo of the post production experience. We are for clients seeking collaboration, passion, and flexibility to explore the boundaries of sound with the industry’s top sound designers, editors and mixers. We are committed to speed and high quality without compromising creativity or fun. From independent films to major features, episodic television and emerging media we bring together the best team to meet the unique needs of each project.
Summit Post is a state-of-the-art 7.1 and ATMOS mix stage with SourceConnet capacity. From major and independent feature films, to episodic television and emerging media, we bring together the best team to meet the unique needs of each project.
Summit Post was founded in 2004 by Motion Picture Academy member and industry veteran Derek Vanderhorst. With over two decades of experience, Derek has worked on over 130 feature films and episodic television, games and new media including in-house roles at Fox, Paramount, Universal, and Warner Brothers. In his various roles, Derek saw the need to evolve the sound engineering industry to better support the emerging trends and technology in filmmaking. He founded Summit Post to offer more flexible and customized options for directors and producers seeking deeper collaboration and more freedom in the post sound process.
Derek’s passion around the complexity of sound began in 1975 when he learned to handmake make a Rabab (a Persian lute-like musical instrument) with his grandfather in Aurora Colorado. The exotic sound of the Rabab grew into a fascination with the unusual noises made by old broken cars, which propelled him on a quest to explore sound design as a profession, landing him in Hollywood in 1991
www.summitpostsound.com
Production sound mixer Steve Morrow, Grammy-winning music mixer Nick Baxter, and re-recording mixer Dean Zupancic talk about grabbing crowd scenes between sets at the Stagecoach and Glastonbury music festivals, how doing impulse responses in each of the venues allowed them to recreate the sound of the arenas in post-production, and how Bradley Cooper was not your typical first-time director.
Steve Morrow, Production sound mixer Nick Baxter, Music mixer Dean Zupancic, Re-recording mixer
In this two-part episode, First Man’s sound editing nominees Ai-Ling Lee and Mildred Iatrou Morgan and sound mixing nominees Frank Montaño and Jon Taylor join composer Justin Hurwitz and picture editor Tom Cross to discuss how the film’s documentary look (it was filmed in Super-16mm) affected the approach to sound and music, and how the sound elements contributed to the understanding of how dangerous the early space flights were.
In part two, we join Production sound mixer Mary Ellis as she talks about the challenges of recording the production tracks for the film, including the complex system they devised to record dialog inside the astronauts’ helmets in the cramped space capsule.
Ai-Ling Lee, Supervising sound editor & re-recording mixer Mildred Iatrou Morgan, Supervising sound editor Justin Hurwitz, Composer Frank Montaño, Re-recording mixer Jon Taylor, Re-recording mixer Tom Cross, Film editor Mary Ellis, Production sound mixer
In this two-part episode, Writer/Director Alfonso Cuarónjoins his sound, picture, and music editorial artists to discuss the extraordinarily detailed work that went into re-creating the Mexico City of his 1970s childhood, including how not having a musical score keeps the audience guessing what will happen next, why it was important to have the dialog emanate not just from the screen channels but all around the audience, and how shooting the movie in sequence allowed for more spontaneous performances.
In part two, Supervising sound editor & re-recording mixer Skip Lievsay takes us on a deep dive discussion of how the film’s complex tracks were constructed, including a discussion of the 70-day final mix of the film.
Alfonso Cuarón, Writer/director Skip Lievsay, Supervising sound editor & Re-recording mixer Craig Henighan, Sound designer and Re-recording mixer Jose Garcia, Production sound mixer Adam Gough, Picture editor Lynn Fainchtein, Music supervisor Carlos Morales, Post-production supervisor
Sound Editing nominees John Warhurst and Nina Hartstone join Sound Mixing nominees Paul Massey, Tim Cavagin, and John Casali to discuss the intricate work of building the sounds of the rock band Queen for Bohemian Rhapsody. In this episode the team discusses the process of recreating the band’s famous 1985 Live-Aid concert performance, how sound design helped to get inside the head of an agitated Freddie Mercury during an infamous London press conference, and how having access to the band’s original session tapes let this Oscar-nominated team build the amazing scene where the band records the iconic “Bohemian Rhapsody” single.
John Warhurst, Supervising sound editorNina Hartstone, Supervising dialog/ADR editorPaul Massey, Re-recording mixerTim Cavagin, Re-recording mixerJohn Casali,Production sound mixer
Supervising sound editor and re-recording mixer Steve Boeddeker and re-recording mixer Brandon Proctor talk about how the sound design of futuristic Wakanda technology and weaponry is influenced by West African sounds, how they used signature sounds to differentiate the action in Wakanda, Oakland, and Korea, and the intricacies of constructing the ritual fight scenes in a waterfall.
Writer/Director Brad Bird and Producer Nicole Paradis Grindle join us from the studios at Pixar to discuss returning fourteen years later for the sequel to a beloved film as they describe the technical challenges of the new movie, how their approach to visual design, color, and sound have evolved, and the inspiration behind the notorious fight scene between baby Jack-Jack and the raccoon.
Co-supervising sound editors Erik Aadahl and Ethan Van der Ryn talk about the challenges of building the sound scape for what many people think is a “silent” movie, how sound design was used to give the audience the experience of the hearing impairment of one of the main characters, and the fun of creating an alien monster who hunts and navigates using only its hearing.
Songwriter Diane Warren has written hundreds of hit songs including “Because You Loved Me”, “If I Could Turn Back Time”, “Rhythm Of The Night”, “I Don’t Want To Miss A Thing” and many more. Diane has won a Grammy Award, an Emmy Award, a Golden Globe Award, three consecutive Billboard Music Awards for Songwriter of the Year, and has been nominated for nine Academy Awards.
Many of her songs were written for films, and have then gone on to be launched into the stratosphere of pop culture. In recent years her music has tackled incredibly important subjects. She has written “Til It Happens To U” with Lady Gaga, “Stand Up For Something” with contributions from Common, and of course now “I’ll Fight” which was performed by Jennifer Hudson for the documentary RBG, about Supreme Court Justice Ruth Bader Ginsburg.
Supervising Sound Editors Curt Schulkey and Geoffrey Rubay join us to chat about their work on Spider-Man: Into the Spider-Verse and discuss the incredible task of introducing a new unlikely hero, Miles Morales and his five counterparts from another dimensions to stop a threat for all realities.
The Sound of First Man motion picture soundshow featuring Director Damien Chazelle, Re-recording Mixer/Sound Designer/Supervising Sound Editor Ai-Ling Lee, Supervising Dialogue Editor Susan Dawes and Re-recording mixers Jon Taylor and Frank A. Montaño.
Featuring special sound breakdown sequences including the X15 flight, Gemini Rocket walk-up and launch and Neil Armstrong moon walk dialogue.
Recorded on December 18, 2018 on the Hitchcock Mixing Stage at Universal Studios and moderated by Michael Coleman from SoundWorks Collection
In this exclusive conversation we talk with Supervising sound editors and sound designers Renee Tondelli and Eugene Gerty about their recent work on Mary Poppins Returns directed by Rob Marshall.
Now an adult with three children, bank teller Michael Banks learns that his house will be repossessed in five days unless he can pay back a loan. His only hope is to find a missing certificate that shows proof of valuable shares that his father left him years earlier. Just as all seems lost, Michael and his sister receive the surprise of a lifetime when Mary Poppins -- the beloved nanny from their childhood -- arrives to save the day and take the Banks family on a magical, fun-filled adventure.
Director Josie Rourke talks about why telling “better versions of our history” gave herpurpose intelling this particular story atthis particular time, how she approachessound differently for cinema and live stage productions, the importance of silence to her story, and how Dolby Atmos allowed her to subtly introduce the sound of whistling wind in the overhead speakers to remind the audience of how drafty and cold 16thcentury stone castles could be.
Academy Award-winning sound supervisor and re-recording mixer Skip Lievsay talks about the extraordinary sound work behind director Alfonso Cuarón’s epic black-and-white film about his own childhood in 1970s Mexico City. Skip talks about how not having a musical score keeps the audience guessing what will happen next, why it was important to Cuarón to have the dialog emanate not just from the screen channels but from all around the audience, the stunning five-day loop group recording session with 350 actors, and the 70-day final mix of the film.
Academy Award- and Grammy-winning composer Justin Hurwitz, sound supervisor and re-recording mixer Ai-Ling Lee, sound supervisor Mildred Iatrou, re-recording mixer Frank Montaño, re-recording mixer Jon Taylor, and Academy Award-winning picture editor Tom Cross discuss how the film’s documentary look (it was filmed in Super-16mm) affected the approach to sound and music, how the sound elements contributed to the understanding of how dangerous the early space flights were, and why it was important to focus on the sound of an errant fly in the space capsule.
Production sound mixer Steve Morrow, Grammy-winning music mixer Nick Baxter, and re-recording mixer Dean Zupancic talk about grabbing crowd scenes between sets at the Stagecoach and Glastonbury music festivals, how doing impulse responses in each of the venues allowed them to recreate the sound of the arenas in postproduction, and how Bradley Cooper was not your typical first-time director.
Composer Ludwig Göransson and supervising sound editor Steve Boeddeker talk about the collaboration of sound design and score in BLACK PANTHER, the integration of African music into a traditional symphonic score, and how the sound design of futuristic Wakanda technology and weaponry is influenced by West African sounds (like a bird becoming the sound of a passing spaceship).
In the future, music composers are going need to be able to think and create in a non-linear way. This goes way beyond branching or crossfading stems of pre-mixed music: they will need to create adaptive music scores and orchestrations that respond in real time to user choices, game states, and arbitrary messages from the game engine. Armed with this knowledge, how can college educators compile the curriculum for a multi-year VR/Games music composition program in the face of technology and tools that are rapidly evolving? And, given the relatively unexplored nature of non-linear composition, who is truly qualified to teach it?
Prof. Thomas Dolby discusses the challenges in the creation of the Peabody Conservatory's innovative 'Music for New Media' program at the Johns Hopkins University.
This session will walk attendees through the foundations and various stages of scoring music for video games. Tom Salta will share his composing workflow from start to finish covering everything from working with the game designer, concept development, interactive composition considerations, testing and more. This talk will offer valuable insights for beginners as well as seasoned pros.
VR game development still has many questions left to be answered, and in the past three years of development, Highwire Games has attempted to answer some of them. In this talk, we discuss the techniques used to realize the soundscape of Golem, a fully-featured, high-fidelity game for PlayStation VR. From the first sounds that caught our ears through the challenges that arose and the solutions we found, we answered many questions, but many are still left. Developing in virtual reality requires new technologies and techniques, but also a steadfast commitment to the aesthetics of traditional media. We’ll discuss why, in the end, it's still all about what comes out of the speakers (or in this case, the headphones).
Spend an hour with Becky Dodd (Talent and Production Coordinator), Ryan James (Lead Editor), and Ammie Puckett (Localization Manager) of formidable development studio, Naughty Dog, as they walk through the studio’s overall approach to the Dialogue process in their games, with tips and tidbits that might help you navigate your path through projects of all shapes and sizes.
An award-winning executive, audio director and composer, Paul’s career has taken him all over the world and has helped him innovate and advocate as a leading figure in the interactive entertainment industry. As the creative leader of Formosa Interactive, he works as the Vice President of Creative Services - driving strategy, content development, and audio pipelines with the famed award winning team in Los Angeles, California.
Paul previously worked as Senior Audio Director at Microsoft Studios/343 Industries , and the Chief Operating Officer of Pyramind Studios before that. He has composed award-winning scores and managed extensive AAA audio pipelines for an array of leading clients like Microsoft Game Studios, SEGA, 343 Industries, Ubisoft, LucasArts, 2K Games, Sony Computer Entertainment, EA, Hewlitt-Packard, Harmonix, etc.. Recent AAA game credits include Halo: The Master Chief Collection, Halo: Online, Halo: Spartan Strike, Halo: Nightfall, Halo Channel, Sunset Overdrive, Forza Motorsport 5, Halo:Spartan Assault, Crimson Dragon, Project Spark, Halo Combat Evolved Anniversary, Kinect Disneyland Adventures, Galactic Reign, Crimson Dragon, Microsoft Flight, Infamous 2, Halo:Waypoint, 5th Cell’s Hybrid, Rocksmith, Bioshock 2, Iron Man 2, Lego Indiana Jones:The Adventure Continues, and many more. Paul and his team have been nominated for numerous awards, and recently won Best Original Instrumental at the 2015 GANG Awards, Best Original Soundtrack Album at the 2014 GANG Awards, the Best Interactive Score and Best Use of Licensed Music awards at the 2012 GANG Awards, and the Best Audio – Other Award at the 2011 GANG awards/GDC for work on the Halo Universe. Paul was also awarded the GANG Distinguished Service Award at the 2006 GANG Awards/GDC for his wide-ranging work in interactive audio.
This session provides an introduction to the terms and concepts that form the basis for immersive audio as found in 360 degree environments. While many topics are extensions or subsets of typical game audio concepts, working in this up and coming media format brings with it some additional considerations. This session provides an overview of the first things you need to understand and consider as you step into this growing field.
Takeaway : This session will set the baseline for definitions and concepts within immersive, 360 audio. Audience members who have never worked in the field will be able to more fully understand and decode subsequent sessions within the VR track.
Join composing team Brian Trifon and Brian Lee White (aka Finishing Move) as they discuss and share their approach to musical sound design. Learn how they craft bespoke soundscapes that cut through the crowd of generic presets and commercial sample libraries to create a unique sonic identity for every project. In this 25 minute presentation, the team will discuss their general process/approach to musical sound design for games, share some specific examples of how they create entirely new sounds and instruments for iconic franchises, as well as provide some tips for those looking to create or expand on their own pallet of sounds.
Takeaway: Create custom sound and sample libraries that bring unique textures to your projects and further your personal brand as a composer or sound designer.
Intended Audience: Composers, Sound Designers, Audio Directors
Two-time Emmy-nominated composer Nathan Barr has received critical acclaim for his unmatched versatility, incorporating eclectic instruments from musical cultures across the world. Nathan recently completed construction on his new 8,000 square foot personal studio in Tarzana, California. The studio, named Bandrika, houses the original Wurlitzer pipe organ that was installed at Fox studios in 1928. With 1,500 pipes, its music can be heard in iconic films including "Journey to the Center of the Earth," "The Sound of Music," and "Patton." Nathan recently used the Wurlitzer to score Eli Roth’s upcoming adventure film "The House with a Clock in Its Walls" starring Jack Black and Cate Blanchett. The film's release on September 21 marked the Wurlitzer's 21st-century debut for movie audiences.
Additionally, Nathan recently completed the score for the gritty dystopian action thriller, “The Domestics,” starring Kate Bosworth and Tyler Hoechlin, coming to theaters June 28. He is currently scoring season two of AMC’s multi-generational western epic, “The Son,” starring Pierce Brosnan and later in 2018, Nathan will score Amazon’s upcoming fantasy, period drama, “Carnival Row,” starring Orlando Bloom and produced by Guillermo del Toro. He also scored Columbia Pictures’ sci-fi drama, “Flatliners,” starring Keifer Sutherland, Ellen Page and Nina Dobrev, and both seasons of Amazon’s acclaimed con man drama “Sneaky Pete,” starring Giovanni Ribisi.
Nathan’s hallmark adaptability has led him to scoring an eclectic roster of some of television’s biggest shows. He scored all six seasons of FX’s “The Americans,” starring Keri Russell and Matthew Rhys, which earned him an Emmy nomination for Outstanding Original Main Title Theme Music in 2013. Nathan’s music can also be heard on all seven seasons of HBO’s Emmy-winning and fan-favorite series, “True Blood” and Netflix’s “Hemlock Grove,” for which Nathan earned his second 2013 Emmy nomination for the main title theme.
With two Emmy nominations for both “The Americans” and “Hemlock Grove,” Nathan has the distinction of being the first composer to have two nominations in the Main Title category in the same year.
Alongside his extensive career in television, Nathan has a long record of scoring successful films, as he approaches his fortieth feature. A frequent collaborator with gore-horror master Eli Roth, Nathan scored Roth’s early cult-classics “Cabin Fever” and “Hostel.” Some of Nathan’s other feature scores include Jason Blum’s box office hit thriller “The Boy Next Door,” starring Jennifer Lopez, Warner Bros.’ “The Dukes of Hazard,” Lionsgate’s “The Last Exorcism,” and Stephen Moyer’s “The Parting Glass,” starring Anna Paquin.
Nathan began studying music in Tokyo, Japan at four years old. He grew up surrounded by music ranging from Kabuki Theater to the sounds of his mother performing on the koto and piano, and his father playing the banjo, guitar and shakuhachi.
In addition to writing scores, he performs many of the instruments heard in his compositions, and is skilled in many styles and genres ranging from orchestral to rock. Nathan is also known for his collection and inclusion of rare and unusual instruments from around the world such as: a human bone trumpet from Tibet, dismantled pianos, a rare Glass Armonica, gourd cellos and many others.
Composer Jesper Kyd Hitman Series, Assassins Creed Series, Borderlands Series
Composer Jack Wall Call of Duty: Black Ops II & III, Mass Effect Series
Composer Inon Zur Fallout Series, Dragon Age Series, and Prince of Persia Series
An award-winning executive, audio director and composer, Paul Lipson’s career has taken him all over the world and has helped him innovate and advocate as a leading figure in the interactive entertainment industry. As the creative leader of Formosa Interactive, he works as Senior Vice President, driving strategy, content development, and audio pipelines with the famed team in Los Angeles.
Lipson previously worked as Senior Audio Director at Microsoft Studios/343 Industries, and the Chief Operating Officer of Pyramind Studios He has created award-winning content and managed extensive AAA teams and audio pipelines for leading clients like Microsoft Studios, SEGA, 343 Industries, Ubisoft, LucasArts, 2K Games, Sony Interactive Entertainment, EA, Hewlitt-Packard, Harmonix, etc. Recent AAA game credits include God of War, Halo Wars 2, Call of Duty franchise, Halo: The Master Chief Collection, Halo: Online, Halo: Spartan Strike, Halo: Nightfall, Halo Channel, Sunset Overdrive, Forza Motorsport 5, Halo:Spartan Assault, Crimson Dragon, Project Spark, Halo Combat Evolved Anniversary, Disneyland Adventures, Galactic Reign, Crimson Dragon, Microsoft Flight, Infamous 2, 5th Cell’s Hybrid, Rocksmith, Bioshock 2, Iron Man 2, Lego Indiana Jones: The Adventure Continues, and many more.
Lipson and his team have been nominated for numerous awards, and recently won an 2018 MPSE Golden Reel Award for Halo Wars 2, Best Original Instrumental at the 2015 GANG Awards, Best Original Soundtrack Album at the 2014 GANG Awards, the Best Interactive Score and Best Use of Licensed Music awards at the 2012 GANG Awards, and the Best Audio – Other Award at the 2011 GANG awards/GDC for work on the Halo Universe. Paul was also awarded the GANG Distinguished Service Award at the 2006 GANG Awards/GDC for his wide-ranging work in interactive audio.
Lipson holds a BM and MM with summa/highest distinction from the world-renowned New England Conservatory of Music in Boston. He is a member of the International Game Developers Association, The Academy of Interactive Arts and Sciences, BMI, The Recording Academy Producers and Engineers Wing Advisory Council, and the Game Audio Network Guild.
Featuring: Karol Urban, CAS Gary Bourgeois, Rerecording Mixer, CAS Mathew Waters, Rerecording Mixer, CAS Phil Palmer, Production Mixer, CAS Andrew DeCristofaro, Sound Supervisor, CAS
Mix Magazine presented the fifth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback.
The boom in television and streaming services, along with the emergence of Virtual Reality, has led to a technology/workflow change in how content is produced. The techniques and tools are merging, and studios and producers have adapted their methods. We bring film, television and virtual reality all together on the legendary Sony Pictures Studios lot in Culver City, California on October 13th, 2018.
Mix Magazine presented the fifth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback.
The boom in television and streaming services, along with the emergence of Virtual Reality, has led to a technology/workflow change in how content is produced. The techniques and tools are merging, and studios and producers have adapted their methods. We bring film, television and virtual reality all together on the legendary Sony Pictures Studios lot in Culver City, California on October 13th, 2018.
A panel of experts discuss the return of the 3D ambisonic recording method and it’s implications for cinema.
Mix Magazine presented the fifth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback.
The boom in television and streaming services, along with the emergence of Virtual Reality, has led to a technology/workflow change in how content is produced. The techniques and tools are merging, and studios and producers have adapted their methods. We bring film, television and virtual reality all together on the legendary Sony Pictures Studios lot in Culver City, California on October 13th, 2018.
Featuring: Paul Ottoson, Sound Designer Geoffrey Rubay, Sound Engineer Erik Aadahl, Sound Editor Eileen Horta, Sound Supervisor Dave Fluhr, Sound Designer
Moderated by Carolyn Giardina, Hollywood Reporter
Mix Magazine presented the fifth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback.
The boom in television and streaming services, along with the emergence of Virtual Reality, has led to a technology/workflow change in how content is produced. The techniques and tools are merging, and studios and producers have adapted their methods. We bring film, television and virtual reality all together on the legendary Sony Pictures Studios lot in Culver City, California on October 13th, 2018.
The new streaming networks are demanding immersive audio as a deliverable, and it’s now expected that Hollywood releases will include a Dolby Atmos, DTS or Auro 3D version. To be a part of the present and future of sound for picture an audio post facility will need to convert to an immersive workflow. It’s not as expensive as one might think, and the return on investment can be significant. Our expert panel discusses the cost/benefits of outfitting a facility, the new distribution paradigms and the return on an investment in future-proofing a facility.
Mix Magazine presented the fifth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback.
The boom in television and streaming services, along with the emergence of Virtual Reality, has led to a technology/workflow change in how content is produced. The techniques and tools are merging, and studios and producers have adapted their methods. We bring film, television and virtual reality all together on the legendary Sony Pictures Studios lot in Culver City, California on October 13th, 2018.
In this exclusive SoundWorks Collection podcast episode we chat with the sound team of the box office hit comic-book villain tale of Venom. Featuring Kami Asgar - Supervising Sound Editor, Will Files - Re-recording Mixer and Supervising Sound Editor and Robby Stambler - Sound Design.
In this special podcast episode we feature a chat between Eidos-Montreal Audio Director Rob Bridgett and Pinewood Shepperton Re-recording Mixer Adam Scrivener who discuss their work on the recently released video game Shadow of the Tomb Raider.
Experience Lara Croft’s defining moment as she becomes the Tomb Raider. In Shadow of the Tomb Raider, Lara must master a deadly jungle, overcome terrifying tombs, and persevere through her darkest hour. As she races to save the world from a Maya apocalypse, Lara will ultimately be forged into the Tomb Raider she is destined to be.
In this exclusive SoundWorks Collection podcast we talk with the sound and music team of Director Spike Lee's new film BlacKkKlansman including Composer Terence Blanchard, Re-recording Mixer Tom Fleischman and Sound Mixer Drew Kunin.
It’s the early 1970s, a time of great social upheaval as the struggle for civil rights rages on. Ron Stallworth (John David Washington) becomes the first African-American detective on the Colorado Springs Police Department, but his arrival is greeted with skepticism and open hostility by the department’s rank and file. Undaunted, Stallworth resolves to make a name for himself and a difference in his community. He bravely sets out on a dangerous mission: infiltrate and expose the Ku Klux Klan.
Posing as a racist extremist, Stallworth contacts the group and soon finds himself invited into its inner circle. He even cultivates a relationship with the Klan’s Grand Wizard, David Duke (Topher Grace), who praises Ron’s commitment to the advancement of White America. With the undercover investigation growing ever more complex, Stallworth’s colleague, Flip Zimmerman (Adam Driver), poses as Ron in face-to-face meetings with members of hate group, gaining insider’s knowledge of a deadly plot. Together, Stallworth and Zimmerman team up to take down the organization whose real aim is to sanitize its violent rhetoric to appeal to the mainstream.
In this exclusive SoundWorks Collection podcast we talk with the sound and music team of The Handmaid's Tale. We chat with Supervising Sound Editor Jane Tattersall, Dialogue Supervisor David McCallum, Re-recording Mixer's Lou Solakofski and Joe Morrow and Composer Adam Taylor.
Now playing on Hulu, based on the best-selling novel by Margaret Atwood, this series is set in Gilead, a totalitarian society in what used to be part of the United States. Gilead is ruled by a fundamentalist regime that treats women as property of the state, and is faced with environmental disasters and a plummeting birth rate. In a desperate attempt to repopulate a devastated world, the few remaining fertile women are forced into sexual servitude. One of these women, Offred, is determined to survive the terrifying world she lives in, and find the daughter that was taken from her.
Peter Albrechtsen is a Danish sound designer and music supervisor based in Copenhagen and working on both feature films and documentaries.
Peter is well-known for his extensive work in film and television including such projects as the Oscar-winning film Dunkirk (sound effects re-recording mixer), Netflix’s Godless (re-recording mixer, sound designer, supervising sound editor), Thelma, When She Runs, The Distant Barking of Dogs, and the documentary The Last Race (re-recording mixer, sound designer, supervising sound editor), which premiered at the 2018 Sundance Film Festival.
Among Peter Albrechtsen’s recent fiction credits are the Danish thriller smash hit "Darkland", Finnish Cannes winner "The Happiest Day in the Life of Olli Mäki", and sound effects recording for Christopher Nolan's "Dunkirk". His recent documentary credits include the festival favorites "Bill Nye: Science Guy", "Land of the Free" and "True Conviction". This year, Peter was invited to become a member of Academy of Motion Picture Arts and Sciences.
Along with his sound work, Peter Albrechtsen has worked as a music supervisor and has collaborated closely with globally acclaimed musicians such as Antony and the Johnsons, Jóhann Jóhannsson and Efterklang.
Peter has also written about music and movies for different Danish and international magazines and has been lecturing about sound design around the world.
Philip Sheppard is a composer, producer, virtuoso cellist, inventor, public speaker, philanthropist, professor at the Royal Academy of Music and a creative innovator who has worked with some of the biggest names in music, tech, sport and film.
Philip has composed more than 60 film, gaming, television and theatrical scores including Sony PS4’s highly acclaimed video game, DETROIT: Become Human, and the Star Wars Force Awakens behind the scenes Comic Con trailer which has over 11 million YouTube plays. Philip’s first film of 2018 is Mercury 13, a Netflix original which premiered at the SFFilm Festival. His other major film works include The Final Year, which premiered at the Toronto Film Festival, In the Shadow of the Moon (which received an International Film Critics Award nomination for Best Original Score for a Documentary and won numerous awards including the Audience Award for World Cinema Documentary at Sundance), Meru (which won numerous awards including the Audience Award for Documentary at Sundance), Sergio (which was nominated for a Prime Time Emmy), Legion of Brothers, which premiered at Sundance, and Chosen, starring Harvey Keitel, Bobby Fischer Against the World, The Tillman Story and Love, Marilyn. Philip was inducted into the Academy of Motion Picture Arts and Sciences as a member of the Music Class of 2017.
www.philipsheppard.com
Listen on itunes: itunes.apple.com/us/podcast/sound…2&ign-mpt=uo%3D4
We wrap up our Oscar nominees series with the team from Dunkirk. In this two part episode, the artists show how the carefully engineered track builds and maintains tension for the entire running time of the movie, with music playing almost continuously from the opening shot of soldiers walking down the street to the moment Finn falls asleep on the train. They talk about how the mixing time works: they make a complete pass through the film and screen it every week during the final mix; and finally, why director Christopher Nolan feels you don’t necessarily need to understand every word of dialog in his films.
“Everything is evaluated for its emotional content as it goes into the mix. Even the dialog has a pace, and a pulse, and a purpose in our mix, and it sits exactly where [Christopher Nolan] orchestrates it to be.” Gary Rizzo
“[Composer] Hans [Zimmer] is making the sounds that the audience hears, and I’m making the sounds that the characters hear.” Richard King
Oscar nominees: Alex Gibson, Gregg Landaker, Richard King, Gary Rizzo, Mark Weingarten
Ren Klyce, primarily known for his sound design of David Fincher’s films, talks about the challenges and opportunities of joining an already-established sound universe while adding his own spin. Ren Klyce, Matthew Wood, and Michael Semanick discuss the security of reading the script before the shoot, and the feeling of walking onto the set of the Millennium Falcon. The team also discuss some of your favorite sequences from the film: the Fathiers chase, the mirror cave, the Force connection between Rey and Kylo Ren, and of course, the famous “silent” jump to hyperspace through the First Order star destroyer.
Oscar nominees: Ren Klyce, Matthew Wood, Michael Semanick
The artists behind The Shape of Water discuss the creation of the sounds of the creature (nicknamed “Fishman” by the team), revealing that director Guillermo del Toro’s vocalizations became a key part of the sound of the creature’s breathing. They describe how the creature’s sound design evolves over the course of the film as he goes from being a potential threat to the romantic lead, and how the movie theater downstairs helps score the film.
Oscar nominees: Christian Cooke, Nelson Ferreira, Glen Gauthier, Nathan Robitaille, Brad Zoern
“[The creature] had to be the romantic lead. You’re asking a lot of the audience, to get them to be on board with this beautiful relationship that develops. I knew the best place to start is with human sounds [for him]. And so I started with my own voice, and then added animal sweeteners and then for a final pass, Guillermo gave us a breathing layer.” Nathan Robitaille
“It’s so much harder to mix something quiet, than to throw everything at it. It takes a lot of bravery to turn it down.” Brad Zoern
The team behind Blade Runner 2049 talks about how they paid homage to the iconic original film while breaking new sonic ground. They explore the film’s distinctive blend of sound design and musical score, and discuss the producers’ wise decision to start the sound design while the shoot was still going on. They then examine key scenes, including the fight among malfunctioning holograms, and how K’s walk in the desert evolved from full score to playing in almost silence.
Oscar nominees: Ron Bartlett, Theo Green, Doug Hemphill, Mark Mangini, Mac Ruth
“My first conversation with Joe Walker [the film editor] was all about silence, and how we would handle silence. If that’s the first conversation you’re having with your filmmakers it’s exciting because we’ll get to the big moments, and in some ways those are the easiest to do.” Mark Mangini
“What I love about Dolby Atmos is that scenes that are more sparse are what really show it off. It’s scenes like the baseline test—the interviewer is primarily in the overheads; the whole idea is that he’s on top of you, oppressive and claustrophobic. You can’t do that with other formats.” Ron Bartlett
“If you close your eyes, you can hear the story.” Film editor Joe Walker
We talk with the sound team behind History Channel's new show Knightfall featuring supervising sound editor and sound designer Edmond Coblentz, re-recording mixer Adam Sawelson and Kurt Kassulke, Dialogue Editor Steve Stuhr and Stage Tech Mat Duncan.
In 1306, the Knights Templar are winding down their run as one of the most powerful organizations in the Christian world. Acre, the Templars' last stronghold, has fallen and years later a rumor is heard that the lost Grail is still in that area. The Templars, led by the courageous, headstrong, but noble Templar Knight Landry have shifted their attention to regaining a foothold in the Holy Land. They take their battle back to the Holy Land and their battles become the Crusades. The Templars are now losing allies and gaining new and powerful enemies, including the King of France. The legendary, wealthy and secretive military order of warrior monks are entrusted with protecting the Holy Grail and any secrets that are capable of destroying the Church.
In this episode, production sound mixer Mary Ellis talks about her very first day of the shoot—recording the sound on set during the continuous 5-minute shot set to “Harlem Shuffle,” and the challenges of mic’ing all those fast-moving cars. Sound supervisor/mixer Julian Slater talks about using tinitis to take the audience into the head of main character Baby. He and dialog mixer Tim Cavagin also discuss the unique challenges of mixing all the crafted sound design and dialog to blend with a driving music track.
Oscar nominees: Tim Cavagin, Mary H. Ellis, Julian Slater
“We want the audience to understand within the first 60 seconds that sound is important to this film; it’s something to register.” Julian Slater
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In this exclusive SoundWorks Collection podcast conversation we chat with Composer Wilbert Roget II about his work on Call of Duty WWII and discuss the unique creative challenges of writing music for video games, his extensive career working as a video game composer and how he landed the project from a conversation at GDC.
In this exclusive SoundWorks Collection podcast, we talk with the sound team behind Director Guillermo del Toro's latest film, The Shape of Water. Featuring re-recording mixers Christian Cooke and Brad Zoern, supervising sound editors Nelson Ferreira and Nathan Robitaille.
Elisa is a mute, isolated woman who works as a cleaning lady in a hidden, high-security government laboratory in 1962 Baltimore. Her life changes forever when she discovers the lab's classified secret -- a mysterious, scaled creature from South America that lives in a water tank. As Elisa develops a unique bond with her new friend, she soon learns that its fate and very survival lies in the hands of a hostile government agent and a marine biologist.
In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music. Conversations include Edgar Wright & Julian Slater; Darren Aronofsky & Craig Henighan; Matt Reeves with Michael Giacchino, Will Files, & Douglas Murray; Joe Wright & Craig Berkey; and others...
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Three-time Academy Award winning sound supervisor Richard King discusses his remarkable collaboration with the director Christopher Nolan, which began with The Prestige and has continued through this summer’s Dunkirk. Richard talks about creating the sirens of the German dive-bomber planes, and addresses some of the controversies of Nolan’s mixes. He also touches on working with other directors including Paul Thomas Anderson, Sam Shepard, and Nicolas Roeg. Richard also answers questions from other sound designers.
In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music. Conversations include Edgar Wright & Julian Slater; Darren Aronofsky & Craig Henighan; Matt Reeves with Michael Giacchino, Will Files, & Douglas Murray; Joe Wright & Craig Berkey; and others...
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Composer Carter Burwell and sound designer/mixer Skip Lievsay talk about their remarkable 30-year collaboration with the Coen Brothers and share stories starting with Blood Simple in 1985 and continuing through all 17 of the Coen’s films. Scenes are discussed from Raising Arizona, Miller’s Crossing, The Man Who Wasn’t There, Burn After Reading, and you’ll learn how it turns out there is actually musical score in No Country for Old Men.
In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music. Conversations include Edgar Wright & Julian Slater; Darren Aronofsky & Craig Henighan; Matt Reeves with Michael Giacchino, Will Files, & Douglas Murray; Joe Wright & Craig Berkey; and others...
SUBSCRIBE ON APPLE PODCASTS: http://bit.ly/1zhgJy3
Director Matt Reeves joins sound supervisors Will Files & Douglas Murray, and composer Michael Giacchino in conversation about their four-film collaboration, starting with Cloverfield and culminating with this summer’s War for the Planet of the Apes. The artists discuss the unique challenges of utilizing the vocalizations of the human actors for the apes, how the trailer for Cloverfield drove the movie and the challenge of making a scary monster movie with no musical score, and why Michael Giacchino originally did not want to write the score for Let Me In.
In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.
SUBSCRIBE ON APPLE PODCASTS: http://bit.ly/1zhgJy3
Director Joe Wright and his sound supervisor Craig Berkey talk about using sound design to build worlds as diverse as Churchill’s World War II London in Darkest Hour, the synesthezia of a homeless schizophrenic in The Soloist, or a fantastic Neverland in Pan. Wright and Berkey explore why recording Foley in the real Churchill war rooms was important, how working in the London rave scene after college influenced Wright’s use of sound, and why having the score to play for the actors on set is important.
In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music. Conversations include Edgar Wright & Julian Slater; Darren Aronofsky & Craig Henighan; Matt Reeves with Michael Giacchino, Will Files, & Douglas Murray; Joe Wright & Craig Berkey; and others...
SUBSCRIBE ON APPLE PODCASTS: http://bit.ly/1zhgJy3
Writer/director Edgar Wright joins sound designer Julian Slater in conversation about their remarkable five film collaboration, starting with Shawn of the Dead and continuing through their most recent film, Baby Driver. In this episode you’ll learn why Wright records sound on location scouts, dissect the sonic components of the infamous “Tequila” shoot-out scene from Baby Driver, and hear why Julian Slater feels Dolby Atmos was designed for the film.
In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music. Conversations include Edgar Wright & Julian Slater; Darren Aronofsky & Craig Henighan; Matt Reeves with Michael Giacchino, Will Files, & Douglas Murray; Joe Wright & Craig Berkey; and others...
LISTEN NOW: http://bit.ly/2iiJPNP SUBSCRIBE ON APPLE PODCASTS: http://bit.ly/1zhgJy3
A discussion about the integration of sound within the storytelling process for the film "War for the Planet of the Apes" with Director Matt Reeves, Composer Michael Giacchino, and Sound Designers Will Files and Douglas Murray.
In this exclusive podcast we talk with Sound Supervisors Ai-Ling Lee and Mildred Iatrou Morgan who worked on the Fox Searchlight film, Battle of the Sexes. This conversation took place on Friday, November 10th at Fox Studios and was moderated by Michael Coleman of SoundWorks Collection.
In this exclusive conversation, sound designers Craig Henighan and Will Files share their experiences creating sound for such films as "Mother!," "Stranger Things," "Deadpool," and "War for the Planet of the Apes" among others.
Moderated by Michael Coleman of SoundWorks Collection a the 2017 Savannah Film Festival.
Academy Award-winning sound supervisor Mark Mangini visited Dolby world headquarters in San Francisco for a special screening of Blade Runner 2049. This podcast is a recording of his pre-show conversation with Glenn Kiser, Director of the Dolby Institute about the film.
In Pursuit of Silence (www.pursuitofsilence.com) is a fascinating and meditative film and exploration of silence and the impact of noise on our lives. Filmed in eight countries, it immerses us in a cinematic journey around the globe—from a traditional tea ceremony in Kyoto, to the streets of Mumbai, the loudest city on the planet—and inspires us to both experience silence and celebrate the wonders of our world. Other highlights include filming in the anechoic chamber at Orfield Labs in Minneapolis (the “Quietest Place on Earth”), Alaska’s Denali Memorial Park and Trappist and Zen monasteries, as the filmmakers distill our experience of the world and challenge us to see it anew.
Moderator: Michael Coleman of Soundworks Collection
Films sound team from Skywalker Ranch: Steve Bissinger, sound designer & supervising sound editor Zach Martin, re-recording mixer & additional effects editor Shaun Farley, dialogue editor
Director: Patrick Shen Camera: Patrick Shen, Brandon Vedder Producers: Patrick Shen, Andrew Brumme, Brandon Vedder
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios. From Mic to Mix
MIX Panel Series - Mixing
Hear from production and post production experts in Feature Films and TV as they discuss their specific crafts in production, editing, and re-recording. Learn what each wants from the other, and why.
Moderator: Karol Urban, Re-recording Mixer CAS Panelists: Steve Tibbo, CAS; Ed Moskowitz, CAS; Scott Millan, CAS; Jesse Ehredt, Sound Editorial Assistant and Recordist; Steve Rivkin, ACE; Teri E. Dorman
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
Tom Holkenborg, aka Junkie XL, is a Grammy-nominated and multi-platinum producer, musician, and composer whose versatility puts him on the cutting edge of contemporary music, as well at the vanguard of exciting new film composers. His film scoring credits include Mad Max Fury Road, Deadpool, Black Mass, Divergent, Brimstone, and the forthcoming Justice League and Dark Tower.
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
Immersive sound experiences are breaking traditional barriers and reaching consumers in more ways than ever before, and with platforms such as Dolby Atmos, DTS:X and Auro3D, content creators are engaging their audiences with the help of superior audio. But how does it all come together, on time and under budget? Learn how content creators are expanding and streamlining their workflows to meet the demands of multiple content delivery formats.
Moderated by Westlake Pro CTO Jonathan Deans, panelists will discuss everything from how to set up workflows for switching between multiple immersive formats to how they meet the demands of new consumer technologies.
Moderator: Jonathan Deans, CTO, Westlake Pro.
Panelists: Bill Johnston, VP of Engineering, Formosa Group Brian Riordan, Re-recording Mixer and President, Levels Audio Kurt Howell, National Manager for Focusrite Marti Humphrey, Re-recording Mixer and President of The Dub Stage Jeremy Davis, Re-recording mix Technician, Sony Dan Sperry, Senior Manager, Content Services Group at Dolby Laboratories
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
William Files, Re–recording Mixer, Supervising Sound Editor, Sound Designer PK Hooker, Ape Effects Editor Dave Grimaldi, Additional Sound Designer, Sound Effects Editor Doug Murray, Supervising Sound Editor, Sound Designer, Ape Voice Premixer
Moderator: Ozzie Sutherland AVID Pro Audio Solutions Specialist
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
Tim Kimmel, Supervising Sound Editor Brett Voss, Foley Editor/Foley Mixer Dylan Tuomy-Wilhoit, Foley Artist Paula Fairfield, Sound Designer
Moderator: Ozzie Sutherland AVID Pro Audio Solutions Specialist
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
Music and sound design play a central role in the marketing of movies and TV shows: they set the tone, drive the story, and engage the audience in ways that are unique to the advertising genre. The audio we hear in advertising is often specifically made for it, and is not typically sourced from the corresponding production or soundtrack. Our panel, comprised of professionals at the top of their fields, will discuss the unique creative and logistical demands encountered in this important industry niche.
Panelists: Jez Colin, President, Hi-Finesse Music & Sound Josh Feelstra, Composer, music producer, sound designer Joseph Bauer, Composer, music producer, sound designer Sohrab Nafici, Executive Director, Music/Legal. Warner Bros. Pictures Heather Kreamer, Director of Music for Create Advertising
Ozzie Sutherland, AVID Pro Audio Solutions Specialist
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
Moderator: Steven Saltzman Composer Mark Isham and Music Engineer Jason LaRocca
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
After a composer writes a score, the process of getting music to the screen requires a team of professionals working collaboratively and creatively. Who does what? And how do you build a music team?
Moderator: Steven Saltzman Panelists: Bobby Fernandez, Tommy Vicari
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
The frontiers of Immersive Sound for the consumer, whether played back in headphones or a physical space, will be driven by videogames and the impending tsunami of content for Virtual and Augmented Reality. Note: It’s all-new, and it all has music.
Moderator: Steven Saltzman Panelists: Garry Schyman, Joel Douek
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
The music editor provides the link to all music in a project—from source, to stems to final print master. Here we find out how it works day to day, from both the composer’s and music editor’s point of view.
Moderator: Steven Saltzman Panelists: Peter “Oso” Snell, Joseph DeBeasi, Bobby Fernandez, Tommy Vicari
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
The music editor represents the music team on the re-recording stage, working with the supervising sound editor and re-recording mixer to find the right balance scene by scene with dialog and effects.
Moderator: Steven Saltzman Panelists: Kelly Oxford, Mark Paterson
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
Television and streaming have opened up all kinds of opportunities for documentary filmmakers, including larger budgets for the creation of original music and feature-style scores.
Moderator: Steven Saltzman Panelists: Pinar Toprak, Joel Goodman
Mix Magazine presents the fourth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. This event took place on September 16th, 2017 at Sony Pictures Studios.
MIX Panel Series - Editing One Soundtrack, Multiple Formats: Preparing Immersive Audio for Any-Sized Screen
There are big budgets and small budgets, big productions and small productions—but no matter the size or scale of the project, the audio team has to create high-quality sound for multiple delivery formats, immersive and stereo. As the demands increase, so do the challenges facing post-production sound artists. This panel will outline how sound supervisors approach different type budgets and different type formats, from 5.1 stems to immersive tracks for Theatrical, Television, and home theater and streaming delivery. The key is that workflows and decision-making need to be flexible and innovative.
Moderator: Mark Mangini Panelists: Andrew De Cristofaro, Tony Lamberti, Jay Jennings, David Rowe, Juliann Slater
This week we chat with Supervising Sound Editor and Sound Designer Eric Norris about the sound work crafted by the sound team on Spider-Man: Homecoming Directed by Jon Watts.
Thrilled by his experience with the Avengers, young Peter Parker returns home to live with his Aunt May. Under the watchful eye of mentor Tony Stark, Parker starts to embrace his newfound identity as Spider-Man. He also tries to return to his normal daily routine -- distracted by thoughts of proving himself to be more than just a friendly neighborhood superhero. Peter must soon put his powers to the test when the evil Vulture emerges to threaten everything that he holds dear.
They had their first date in a Berkeley, Calif., hi-fi store in 1967, the Summer of Love, to listen to the newly released Sgt. Pepper’s Lonely Hearts Club Band. Speakers for Steve Miller at Monterey Pop followed. Then the Dead, Metallica, Celine, Ed Sheeran and so many others. Now 50 years later, John and Helen Meyer, co-founders of Meyer Sound, are embarking on a yearlong, worldwide tribute to music, love and sound, visiting customers and celebrating a history of quality audio. Mix editor Tom Kenny interviews the Meyers from the Don Pearson Theater in the company’s Berkeley headquarters.
Composers Kyle Dixon and Michael Stein of S U R V I V E are returning to pen the new score for Stranger Things Season 2. We chatted about how they got the gig, what gear they utilized to create their synth driven score and what changes they are making for the new season.
This thrilling Netflix-original drama stars award-winning actress Winona Ryder as Joyce Byers, who lives in a small Indiana town in 1983 -- inspired by a time when tales of science fiction captivated audiences. When Joyce's 12-year-old son, Will, goes missing, she launches a terrifying investigation into his disappearance with local authorities. As they search for answers, they unravel a series of extraordinary mysteries involving secret government experiments, unnerving supernatural forces, and a very unusual little girl.
This podcast is brought to you in part by RØDE Microphones presenting My RØDE Reel, the world’s largest short film competition. Now with over $500,000 in prizes to be won. Visit www.myrodereel.com now to get your free starter pack!
We recently chatted with re-recording mixer, supervising sound editor and sound designer Christopher Boyes about his work on Pirates of the Caribbean: Dead Men Tell No Tales.
Johnny Depp returns to the big screen as the iconic, swashbuckling anti-hero Jack Sparrow in the all-new Pirates of the Caribbean: Dead Men Tell No Tales, a rip-roaring adventure that finds down-on-his-luck Captain Jack feeling the winds of ill-fortune blowing strongly his way when deadly ghost sailors, led by the terrifying Captain Salazar, escape from the Devil's Triangle bent on killing every pirate at sea notably Jack.
This podcast is brought to you in part by RØDE Microphones presenting My RØDE Reel, the world’s largest short film competition. Now with over $500,000 in prizes to be won. Visit www.myrodereel.com now to get your free starter pack!
We recently chatted with re-recording mixer Jon Taylor and Frank A. Montaño about their work on The Fate of the Fast and the Furious directed by Gary Gray.
With Dom and Letty married, Brian and Mia retired and the rest of the crew exonerated, the globe-trotting team has found some semblance of a normal life. They soon face an unexpected challenge when a mysterious woman named Cipher forces Dom to betray them all. Now, they must unite to bring home the man who made them a family and stop Cipher from unleashing chaos.
This podcast is brought to you in part by RØDE Microphones presenting My RØDE Reel, the world’s largest short film competition. Now with over $500,000 in prizes to be won. Visit www.myrodereel.com now to get your free starter pack!
This week we talk with Paul Isaacs, Director, Product Management & Design at Sound Devices about their new MixPre Series.
Sound Devices, LLC, the audio manufacturer whose products are trusted for award-winning productions including La La Land, Mad Max: Fury Road and Game of Thrones, announces the launch of its new groundbreaking product line, the MixPre Series of audio recorders with integrated USB audio interface. The lightweight, robust, ultra-portable MixPre-3 and MixPre-6 are the perfect audio companions for musicians, sound designers, podcasters and videographers. Available now for $649 and $899 respectively, Sound Devices’ MixPre Series marks the first time the industry pioneer is bringing its high-end, professional audio innovations to the wider consumer market.
The 3-input/5-track MixPre-3 and the 6-input/8-track MixPre-6 feature Sound Devices’ groundbreaking new Kashmir™ microphone preamps. Handcrafted by Sound Devices, this new high-performance, ultra-low-noise, discrete, Class-A microphone preamp and analog limiter circuit ensures high quality, stress-free, professional-grade audio recordings.
This podcast is brought to you in part by RØDE Microphones presenting My RØDE Reel, the world’s largest short film competition. Now with over $500,000 in prizes to be won. Visit myrodereel.com now to get your free starter pack!
In this episode we spoke with co-supervising sound editors Per Hallberg and Karen Baker Landers about their recent work on The Ghost in the Shell directed by Rupert Sanders.
In the near future, Major is the first of her kind: a human who is cyber-enhanced to be a perfect soldier devoted to stopping the world's most dangerous criminals. When terrorism reaches a new level that includes the ability to hack into people's minds and control them, Major is uniquely qualified to stop it. As she prepares to face a new enemy, Major discovers that her life was stolen instead of saved. Now, she will stop at nothing to recover her past while punishing those who did this to her.
This episode is sponsored by RØDE Microphones, presenting My RØDE Reel, the world’s largest short film competition. Now with over $500,000 in prizes to be won. Visit www.myrodereel.com now to get your free starter pack!
We recently chatted with Supervising Sound Editor Joe Dzuban about his work on the Power Rangers movie reboot directed by Dean Israelite.
Five ordinary teens must become something extraordinary when they learn that their small town of Angel Grove - and the world - is on the verge of being obliterated by an alien threat. Chosen by destiny, our heroes quickly discover they are the only ones who can save the planet. But to do so, they will have to overcome their real-life issues and before it's too late, band together as the Power Rangers.
We chatted with sound recordist Ann Kroeber about her latest sound effects library release, Cinematic Winds, recently released by Pro Sound Effects. This sound library features 98 wind recordings with diverse, compelling moods: from eerie, lonely winds; to whirling, buffeting storm winds; to resonant interior winds in stairwells, tents, and pipes; to winds of nature over sand, snow, and water, through trees, mountains, and canyons. These artful sound effects will instantly bring powerful presence or subconscious emotional depth to your productions.
Well known for their collaboration with David Lynch, Ann Kroeber and Alan Splet’s unique sound effects and design work can be heard in dozens of films spanning multiple decades from countless renowned directors including Peter Weir, Philip Kaufman, and Carroll Ballard. Kroeber and Splet are truly sonic pioneers.
Throughout their careers, Kroeber and her late partner Splet created an extensive (and still growing) private archive of recordings known as Sound Mountain – a sound effects service providing custom selections from the archive for many award-winning films and video games.
Learn more at http://prosoundeffects.com/winds
Receive 10% off by using coupon code: SOUNDWORKS
We chat with the sound team of Kong: Skull Island and discuss their collaboration with Director Jordan Vogt-Roberts featuring re-recording mixer and sound designer Pete Horner, co-supervising sound editor Al Nelson and co-supervising sound editor Steve Slanec.
A secret government organization mounts an expedition to Skull Island, an uncharted territory in the Pacific. Led by an explorer (John Goodman) and a lieutenant colonel (Samuel L. Jackson), the group recruit a disillusioned soldier (Tom Hiddleston) and a photojournalist (Brie Larson) to investigate the island's peculiar seismic activity. But once there, they discover that Skull Island is home to a gigantic ape called King Kong, and find themselves caught up in an ongoing war between the beast and the area's indigenous predators. Jordan Vogt-Roberts directed this reboot of the classic monster franchise.
We recently chatted with Composer Jon Ekstrand who is a long time collaborator with Director Daniel Espinosa about his work on the sci-fi thriller film LIFE.
This marks his sixth project with Espinosa, having previously composed music for his films Babylonsjukan, Outside Love, Snabba Cash, and Child 44, and the Danish short film The Boxer, which was his first work as a composer.
Life stars Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds, Ariyon Bakare, Olga Dihovichnaya, and Hiroyuki Sanada and it revolves around the six-member crew of the International Space Station as they come into contact with the very first evidence of biological life on Mars: a small, single-celled organism. As they begin to research the specimen, however, this “life” proves far more dangerous than they could have ever imagined. Life was written by Deadpool’s Paul Wernick and Rhett Reese and produced by Skydance’s David Ellison and Dana Goldberg along with Bonnie Curtis and Julie Lynn.
This week we talk with Scoring Mixer Frank Wolf who worked on Disney’s Beauty and the Beast directed by Bill Condon. Frank has a long working history collaborating with Composer Alan Menken and we discuss what it was like to record and mix many of the beloved songs from this 1991 Disney Classic. We also discuss the process of recording several of the new songs featured an all star cast including Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Ewan Mcgregor, Ian McKelland and Emma Thomson.