SoundWorks Collection: Recent Episodes
Colemanfilm Media Group
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. We take 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.
In this exclusive SoundWorks Collection podcast episode, we feature an in-depth conversation with the sound crew behind the critically acclaimed TV series "The Bear". Featuring Re-recording mixer and Supervising Sound Editor Steve Giammaria, Dialogue Editor Evan Benjamin, and Production Sound Mixer Scott Smith discuss the creative and technical challenges of bringing the show's dynamic kitchen and restaurant environments to life.
The crew reflects on the show's early success and surprising cultural impact, as well as the challenges of capturing the authentic sounds of the chaotic kitchen scenes using multiple cameras, booms, and lavalier mics. They share insights into their innovative audio editing and mixing techniques, such as using auto-align, managing dynamics, and preserving production tracks to maintain the emotional impact of the dialogue. We also discusses the importance of balancing noise reduction with preserving the life and energy in the audio, as well as overcoming challenges like background noise and improvisation.
This episode provides a fascinating behind-the-scenes look at the exceptional sound work that has contributed to the success of "The Bear" and the creative process behind it, offering valuable insights for anyone interested in the art of sound design and post-production for television.
Today is a hard day, I think for, many of you who know my story, a big reason why I started the SoundWorks Collection was because of the many people throughout my life, early on in my career that had an incredible impact, influencing me and inspiring me to pursue sound and filmmaking.
Ann was one of the first sound artists I met and worked with while I started my sound engineering degree around 2001. We spoke often on the phone and I would visit Ann over the years at her studio and home to catch up and chat. She is a pioneer in the audio world and her art and contributions will be remembered for a long time.
We remember Ann Kroeber by revisiting our 2017 conversation about her Cinematic Winds library released on Pro Sound Effects.
In this episode of the Soundworks Collection podcast, we discuss Director Alex Gibney's new film, In Restless Dreams: The Music of Paul Simon.
This wonderful documentary takes the viewer inside the studio while legendary songwriter, Paul Simon is making his new album Seven Psalms while looking back on his six-decade career with countless musical peaks from Sounds of Silence to Graceland.
We are joined today by Director Alex Gibney, Supervising Sound Editor & Re-recording Mixer Tony Volante, Supervising Sound Editor & Music Editor Dan Timmons and Sound Designer Bill Chesley.
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Join us as we dive into the captivating sci-fi soundtrack of 'ATLAS,' featuring Composer Andrew Lockington and Director Brad Peyton.
We discuss their long term collaboration, their trip to Japan to record sounds of bullet trains and monk vocalizations and we break down several cues that defined the musical tone of the film.
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In this exclusive video, we take you behind the scenes of the Netflix sensation 'RIPLEY' to explore the haunting sound and music that define the series. Featuring in-depth discussions with Composer Jeff Russo and Re-recording mixer, Supervising Sound Editor, and Sound Designer Larry Zipf, we reveal the intricate artistry that brings the world of 'RIPLEY' to life.
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Join us as we embark on a journey through the sonic landscape of the hit FX series show 'Shogun', as we delve deeper into the soul-stirring melodies and atmospheric sounds that define this captivating series.
Set in Japan in the year 1600, Lord Yoshii Toranaga is fighting for his life as his enemies on the Council of Regents unite against him, when a mysterious European ship is found marooned in a nearby fishing village.
For this conversation, we feature the sound and music teams of 'Shogun' which take center stage, transporting viewers to a realm where every whisper holds weight and every clash reverberates with history.
We are joined today by composer Leopold Ross, Supervising Sound Editor Brian Armstrong, re-recording mixer Greg Russell and re-recording mixer Steve Pederson.
Follow the epic journey of composer Andrew Lockington as he creates the extraordinary score for Netflix’s latest action/sci-fi film, ATLAS. Dive into exclusive behind-the-scenes footage of Lockington traveling the globe in search of sound, from exploring corners of Japan to recording in an abandoned underground station in London. Watch the score unfold at the legendary Abbey Road Studios, delivering a larger-than-life musical feat for Brad Peyton’s latest blockbuster.
We chat with Academy award winning director/producer Ron Howard and composer David Fleming, to discuss their latest film, "Jim Henson: Idea Man." This fantastic documentary delves deep into the life and legacy of the singular, creative visionary Jim Henson.From his early days puppeteering on local television to his worldwide success with Sesame Street and The Muppet Show. This inspiring film offers unprecedented access to Jim's personal archives, taking us on a captivating journey into the mind of this complex and inspiring artist."Jim Henson Idea Man" takes us into the mind of this singular creative visionary, from his early years puppeteering on local television to the worldwide success of "Sesame Street," "The Muppet Show," and beyond. Academy Award®-winning filmmaker Ron Howard captures Henson's restless creativity, ambition, and artistic evolution in the style and spirit of his complex subject, an artist who revolutionized television, inspired generations, and created some of the world’s most beloved characters. Featuring new interviews with Henson's closest collaborators and children, as well as never-before-seen materials from his personal archives—including home movies, photographs, sketches, and diaries— Howard brings us an entertaining and insightful look at a man whose boundless imagination changed the world.
In this exclusive SoundWorks Collection video, we explore the sound effects tracks of "Can You Hear The Music" scene and how this Oscar nominated sound team collaborated with Director Christopher Nolan.Featuring Sound Designer / Supervising Sound Editor Richard King, Re-Recording Mixer Gary A. Rizzo, Re-Recording Mixer Kevin O'Connell and Production Sound Mixer Willie Burton.
The dynamic sound team behind the film Maestro discuss the live recording of Mahler’s Second at Ely Cathedral in London. Production Sound Mixer Steve Morrow discusses capturing the London Symphony Orchestra, Supervising Sound Editor Richard King, Re-Recording Mixers Tom Ozanich & Dean Zupancic and Music Supervisor Jason Ruder highlight the in depth sound mixing process to bring the scene to life.
Posted with Permission from Netflix: Behind the Streams
Delve into the epic tale of Napoleon Bonaparte in Ridley Scott's cinematic masterpiece. Join us as we explore the mesmerizing world of "Napoleon," where the revolutionary backdrop of 18th-century France is painted with the strokes of impeccable storytelling and a captivating musical score and sound design.
In this video, we dissect the pivotal moments of Napoleon's life, from the guillotine's chilling descent on Marie Antoinette to the triumphant Battle of Austerlitz. From the audacious coronation scene in 1804 to the haunting echoes of the Battle of Austerlitz in 1805. Witness the symphony of emotions as Napoleon faces love, betrayal, and the inexorable march of time.
Featuring Paul Massey, Re-recording mixer, James Harrison, Sound Designer & Supervising Sound Editor, Stéphane Bucher Production Sound Mixer and William Miller Re-recording Mixer.
Embark on a cinematic journey into the soul-stirring world of "Maestro," directed by the multitalented Bradley Cooper. This exclusive SoundWorks Collection video delves into the profound sound and music that weave the tapestry of Leonard Bernstein's life.
We explore various sonic scenes, the complexities of Bernstein's relationships, from his early romantic entanglements to the transformative encounter with Felicia Montealegre. We journey through decades of Bernstein's life, from the lavish parties of the 1950s to the emotional crescendo of Mahler's Resurrection Symphony in 1973, witness the intricate interplay of music and narrative. The film's exploration of Bernstein's personal battles and his enduring love for Felicia adds layers to the symphony of emotions.
Featuring Director and Co-writer Bradley Cooper, Tom Ozanich, Re-recording Mixer, Dean Zupancic, Re-recording Mixer, Richard King, Sound Designer, Jason Ruder, Supervising Music Editor and Executive Music Producer and Steven Morrow, Production Sound Mixer.
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In this exclusive SoundWorks Collection video we explore the seamless integration of the blues, gospel, and spirituals of Director Blitz Bazawule's THE COLOR PURPLE.We delve into how the music becomes a character in itself, amplifying the triumphs and tribulations of Celie and the ensemble cast. From the hauntingly beautiful to the joyously uplifting, THE COLOR PURPLE weaves a sonic tapestry that mirrors the emotional richness of Alice Walker's Pulitzer Prize-winning novel.ABOUT THE COLOR PURPLETorn apart from her sister Nettie (Halle Bailey) and her children, Celie (Fantasia Barrino in her major motion picture debut, reprising her 2005 role from Broadway) faces many hardships in her life, including an abusive husband simply called Mister (Colman Domingo). With the support of sultry singer Shug Avery (Taraji P. Henson) and stand-her-ground stepdaughter Sofia (Danielle Brooks, Tony-nominated for the role on Broadway), Celie ultimately finds extraordinary strength in the unbreakable bonds of a new kind of sisterhood.“The Color Purple” is directed by Blitz Bazawule from a screenplay by acclaimed playwright and WGA Award winner Marcus Gardley (“The Maid”). Bazawule is a Ghanaian multimedia artist who was a co-director on Beyonce’s Black is King and made his feature debut with the critically acclaimed Afrofuturistic “The Burial of Kojo.”SUBSCRIBE ON YOUTUBE:http://bit.ly/SubscribeSoundWorksCollectionAUDIO PODCAST SUBSCRIBE:https://linktr.ee/soundworkscollectionMORE VIDEOS AND NEWS:https://www.SoundWorksCollection.com
Dive into Pixar's latest creation, "Elemental," where the relationship between Ward and Ember, embodying fire and water, take center stage. We explore the creative process that transforms abstract elements into relatable characters and the delicate art of sound design and music which infuse our characters with personality and emotion.
Featuring Director Peter Sohn, Composer Thomas Newman and Supervising Sound Editor, Re-recording Mixer and Sound Designer Ren Klyce and Supervising Sound Editor Coya Elliott.
ABOUT ELEMENTAL:In a city where fire, water, land, and air residents live together, a fiery young woman and a go-with-the-flow guy discover something elemental: how much they actually have in common.
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Rev your engines for an exhilarating ride into the sonic universe of Director Michael Mann's latest film, "Ferrari." Join us as we jump into the drivers seat in this high-octane conversation with Mann's masterful sound team including Production Sound Mixer Lee Orloff, Re-recording mixer and Supervising Sound Editor Tony Lamberti, Re-recording Mixer Andy Nelson and Supervising Sound Editor Bernard Weiser.
Together, we'll navigate the twists and turns of key scenes, dissecting the auditory horsepower behind every cinematic moment. Buckle up for a riveting exploration of the sound behind "Ferrari," where sound and cinema seamlessly race to the finish line.
In this exclusive SoundWorks Collection video, we chat with Director Greta Gerwig's sound team including Ai-Ling Lee - re-recording mixer / sound designer / supervising sound editor, Dan Kenyon - sound designer / supervising sound editor and Nina Rice - production sound mixer.Join us on a sonic adventure as we explore the intriguing contrasts between the whimsical, plastic realm of Barbieland and the everyday sounds of the Real World.
In this video, we'll explore the specific sounds of Barbie's universe, from the click-clack of high heels on her Dream house floor to the glittery shimmer of her convertible cruising through the Barbie World streets. Get ready for a wild ride as we unravel the auditory secrets hidden in Barbie's world!ABOUT BARBIE:Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbie Land. However, when they get a chance to go to the real world, they soon discover the joys and perils of living among humans.SUBSCRIBE ON YOUTUBE:http://bit.ly/SubscribeSoundWorksColl...AUDIO PODCAST SUBSCRIBE:https://linktr.ee/soundworkscollectionMORE VIDEOS AND NEWS:https://www.SoundWorksCollection.com
Amazon MGM Studios presents a conversation with the sound team behind “AIR”, moderated by Michael Coleman from SoundWorks Collection
Featuring:
Ai-Ling Lee CAS - Sound Design, Supervising Sound Editor, Re-recording Mixer
Susan Dawes - Supervising Sound Editor
Andy Nelson CAS - Re-Recording Mixer
Willie D. Burton CAS - Production Sound Mixer.
We chat with Director Sam Green and Sound Designer & Re-recording Mixer Mark Mangini about the immersive sound opportunities they created for the film and how audiences are reacting to the various ways they can experience the film.An immersive documentary and profound sensory experience from filmmaker Sam Green that explores the elemental phenomenon of sound. The film is a meditation on the power of sound to bend time, cross borders, and profoundly shape our perception of the world around us.32 Sounds exists in three unique and equally exciting forms: one for a live audience, complete with individual headphones for each audience member and featuring live narration by Sam Green and live original music by JD Samson; another specifically designed for a completely immersive at-home experience; and a theatrical version of the film coming to a theater near you.MORE ABOUT THE FILM:http://www.32sounds.comSUBSCRIBE ON YOUTUBE:http://bit.ly/SubscribeSoundWorksColl...AUDIO PODCAST SUBSCRIBE:https://linktr.ee/soundworkscollectionMORE VIDEOS AND NEWS:https://www.SoundWorksCollection.com
During the past 30-plus years, Gary Rydstrom, Mark Mangini and Wylie Stateman—as much as any three people in audio—have helped to create, shape and define the sense of what a modern film sounds like. Each entered the industry from a different background, each came of age working for independents, and each achieved remarkable success, both personally and professionally. In this special Keynote Conversation, Rydstrom, Mangini and Stateman sit down with Mix Editor Tom Kenny to discuss everything from the nature of sound and sound perception, to sound technology and the sound business. They’ll talk about the intermingling, and many times interchangeable, roles of sound editor, sound designer and re-recording mixer. They’ll talk about sound and music, sound moments and when it’s best to be silent. But most importantly, they’ll talk about the timeless role of “sound as storyteller.”
Recorded at the 2023 Mix Magazine Sound for Film & TV on September 30, 2023 at Sony Studios
In this exclusive video feature, the SoundWorks Collection chats with the Emmy nominated sound team behind The Mandalorian (Season 3) and Obi-Wan Kenobi at Skywalker Sound to explore the sonic world of these exciting shows, now streaming on Disney+.
Featuring: Matthew Wood, Co-Supervising Sound Editor David W. Collins, Sound Designer Danielle Dupre, Re-Recording Mixer Bonnie Wild, Re-Recording Mixer Scott R. Lewis, Re-Recording Mixer Tony Villaflor, Re-Recording Mixer Julian Howarth, Production Mixer
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In this exclusive conversation we chat with the sound team behind God of War Ragnarök to discuss the creative development of creatures, weapons, environments and cinematic scenes from this award-winning game.
Featuring:
Michael Kent - Sound Design Supervisor
Beau Jimenez - Sound Design Lead - (Creatures, Bosses, Enemies)
Bryan Higa - Sound Design Lead - Player (Atreus & Cratos)
Alex Previty - Sound Design Lead - (Ambiences) & Technical Mixer (Interactive Gameplay)
From Santa Monica Studio comes the sequel to the critically acclaimed God of War (2018). Fimbulwinter is well underway. Kratos and Atreus must journey to each of the Nine Realms in search of answers as Asgardian forces prepare for a prophesied battle that will end the world. Along the way they will explore stunning, mythical landscapes, and face fearsome enemies in the form of Norse gods and monsters. The threat of Ragnarök grows ever closer. Kratos and Atreus must choose between their own safety and the safety of the realms.
In this exclusive behind-the-scenes documentary, we explore the sound and music behind the harrowing new adaptation of "All Quiet on the Western Front." Featuring Director Edward Berger, Composer Volker Bertelmann, Supervising Sound Editor and Sound Designer Frank Kruse, Sound Designer Markus Stemler and Re-recording Mixer Lars Ginzel.
War breaks out in Germany in 1914. Paul Bäumer and his classmates quickly enlist in the army to serve their fatherland. No sooner are they drafted than the first images from the battlefield show them the reality of war.
Additional interview footage provided by Dolby Podcast: https://www.youtube.com/watch?v=GzhWo...
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BONUS EPISODE: Conversation with Director and Executive Producer DEBORAH CHOW and Executive Producer MICHELLE REJWAN on OBI-WAN KENOBI moderated by Michael Coleman of Soundworks Collection.
“Obi-Wan Kenobi” begins 10 years after the dramatic events of “Star Wars: Revenge of the Sith” where Obi-Wan Kenobi faced his greatest defeat—the downfall and corruption of his best friend and Jedi apprentice, Anakin Skywalker, who turned to the dark side as evil Sith Lord Darth Vader.
The Andor series will explore a new perspective from the Star Wars galaxy, focusing on Cassian Andor’s journey to discover the difference he can make. The series brings forward the tale of the burgeoning rebellion against the Empire and how people and planets became involved. It’s an era filled with danger, deception, and intrigue where Cassian will embark on the path that is destined to turn him into a rebel hero.
Featuring Re-recording mixer / Sound Designer / Supervising Sound Editor David Acord, Supervising Sound Editor Margit Pfeiffer, and co-producer and editor John Gilroy.
More information:
https://disneystudiosawards.com/andor/video/sound/
Watch on Disney+
https://disneyplusoriginals.disney.com/show/andor
The unexaggerated true story about the greatest musician of our time, "Weird Al" Yankovic. We discuss Director Eric Appel's story pitch, recording audience chants at a Weird Al concert, recording a flexitone and hand farts with legend "Musical" Mike Kieffer, sound design for LSD trips and crafting the musical performances for fan favorites, "My Bologna" and "I Love Rocky Road".
Featuring Director Eric Appel, Supervising Sound Editor Anthony Vanchure, Sound Designer Mike James Gallagher and Re-recording Mixer Tony Solis.
From a conventional upbringing where playing the accordion was a sin, "Weird Al" Yankovic rebels and makes his dream of changing the words to world-renowned songs come true. An instant success and sex symbol, Al lives an excessivelifestyle and pursues an infamous romance that nearly destroys him.
Weird: The Al Yankovic Story is now streaming on The Roku Channel
Empire of Light is about the power of human connection during turbulent times. The romantic drama from director Sam Mendes, is an ode to this art form, drawing parallels between the magic of cinema and human connections. Hilary (Olivia Colman) is a cinema manager struggling with her mental health, and Stephen (Micheal Ward) is a new employee longing to escape the provincial town where he faces daily adversity. Together they find a sense of belonging and experience the healing power of music, cinema, and community.
Featuring Re-recording Mixer Chris Burdon, Re-recording Mixer William Miller and Production Sound Mixer Stuart Wilson.
In this exclusive SoundWorks Collection video, Director Jordan Peele and Supervising Sound Editor, Sound Designer and Re-recording Mixer Johnnie Burn discuss the creative process for crafting the sonic world of NOPE. They explore the use of silence, haunting winds, slowed down peacock vocals and startling chimpanzee foley.
A man and his sister discover something sinister in the skies above their California horse ranch, while the owner of a nearby theme park tries to profit from the mysterious, otherworldly phenomenon.
"What they've orchestrated as the soundscape of this film is otherworldly in a way so haunting that I literally had nightmares just about these sounds. Some of them come from terrestrial terrors, allowing Peele to suggest scenes of grisly violence without making a gruesome visual spectacle. Instead, off-camera attacks are seen in shrewd glimpses, but the violence hits hard because of the wet, pulpy thuds of the blows coming down. You don't need to see the blood when you can hear it." MASHABLE.COM
"NOPE has been hand-tooled for the kind of presentation you can only get in a real theater — preferably Imax, to take full advantage of the film’s striking production design and eerie sound mix, which ranges from a thunderous, cinderblock-shaking roar to the kind of hush that isn’t so much a stillness as a sonic vacuum: the kind of silence in which you hear nothing but your own heartbeat. Kudos to sound designer Johnnie Burn" THE WASHINGTON POST
JOHNNIE BURN:Johnnie Burn is a British Film Sound Designer, Supervisor and Re-Recording Mixer working on films that use sound well, in London, New York & LA. Recent work is the immersive soundscape and sound design of Jordan Peele’s NOPE.
His first film outing was Jonathan Glazers' extraordinary UNDER THE SKIN, which led him to meet director Yorgos Lanthimos in 2015 to work on THE LOBSTER, THE KILLING OF A SACRED DEER in 2017 and The Academy Award winning THE FAVOURITE in 2019. Johnnie had great success with Trey Edward Shults’ WAVES (2019), and more recently the incredible Francis Lee's AMMONITE.
Before movies, Johnnie honed his skills on many of the best sounding ads and music videos of the last few decades, and has been lucky to have worked for icons including Travis Scott, Madonna, Prince, George Michael, David Bowie, Richard Ashcroft, UNKLE and even The Spice Girls, designed the sounds you heard on SKYPE, and continues to grow the HUGELEY talented team @Wavestudios London, New York and Amsterdam.
WATCH NOPE:
www.nope.movie
JOHNNIE BURN:www.johnnieburn.com
In this episode we talk with audio engineer, songwriter, musician and record producer Alan Parsons about his new release, The Complete Albums Collection and his engineering experiences with quadraphonic, immersive audio and various mastering and playback gear.
This beautiful box set was made with the full co-operation of Eric Woolfson's family and Alan Parsons. It includes the 11 original studio albums including The Sicilian Defence album that they originally recorded in 1979 and was previously unreleased until 2014 when it was included within The Complete Album Collection 11CD box set.
All albums half speed remastered at Abbey Road and cut from hi-res files transferred from the best available master tapes where analogue was originally used and from the original digital master tapes for all albums from 1983 onwards with everything approved by Alan Parsons. Includes 60 page 12” x 12” hardback book containing full lyrics, brand new sleeve notes and essay from Miles Showell, Abbey Road Studios on the half speed remastering process.
MORE INFORMATION:
www.the-alan-parsons-project.com
ABOUT THE ALAN PARSONS PROJECT:
The Alan Parsons Project was a progressive rock music entity comprised of engineer/ producer Alan Parsons and songwriter, musician and manager Eric Woolfson. They released 10 concept albums between 1976 – 1987 and have sold over 55 million albums world-wide. Their focus was on very high quality studio sound production and they recorded most of their work at Abbey Road Studios in London. They used a variety of different lead vocalists and musicians on every album – choosing who they felt was the best for each song rather than being constrained to moulding the material for one specific artist. They have been name-checked in The Simpsons and Austin Powers film and their music is used regularly in adverts, films, sporting events and is often sampled by US rap artists.
The SoundWorks Collection chats with The Flight (Joe Henson & Alexis Smith) about their recent project, Gotham Knights. We explore the creative process crafting the musical backdrop of Gotham City and the Batman Family - Batgirl, Nightwing, Red Hood, and Robin who vow to protect Gotham, bring hope to its citizens, discipline to its cops, and fear to its criminals.
Batman is dead. A new expansive, criminal underworld has swept the streets of Gotham City. It is now up to the Batman Family; Batgirl, Nightwing, Red Hood, and Robin; to protect Gotham, bring hope to its citizens, discipline to its cops, and fear to its criminals. From solving mysteries that connect the darkest chapters in the city’s history to defeating notorious villains in epic confrontations, you must evolve into the new Dark Knight and save the streets from descent into chaos.
Gotham Knights is an open-world, action RPG set in the most dynamic and interactive Gotham City yet. In either solo-play or with one other hero, patrol Gotham’s five distinct boroughs and drop in on criminal activity wherever you find it.
www.gothamknightsgame.com
THE FLIGHT:
Ivor Novello award winning duo Joe Henson and Alexis Smith began collaborating in 2005 when they co-produced an album for Joe’s band Seventhsun. After realising they had a similar approach to life and wildly divergent musical tastes, they formed a creative partnership that quickly encompassed songwriting, production, and composition.
The duo have worked with some of the biggest names in the music industry as well as being A-list composers for video games. 2014 saw the release of hit survival horror title Alien: Isolation, and they followed this up with Horizon: Zero Dawn, Assassin's Creed Odyssey, Horizon Forbidden West, and WB Games Montréal’s Gotham Knights.
The Flight's television projects include the BAFTA nominated BBC documentary series Drugsland, and Kids on the Edge, produced for Channel 4 by Century Films.
www.theflightmusicofficial.com
Join us for a conversation with musician-turned-engineer Jason LaRocca, who got his start with composer Mark Isham and has gone on to work with some of the top composers in film and videogames, including this year with Bear McCreary (The Lord of the Rings: The Rings of Power, video game God of War: Ragnarok) and Lorne Balfe (Dungeons & Dragons: Honor Among Thieves).
Nothing beats hearing playback of an immersive mix in a theatrical-sized re-recording stage, like those here at Sony. But with the accelerated demand from streaming services and the early realization that immersive audio translates well both up (into larger environments) and down (into the home environment), fewer and fewer will be built. It’s the mid-sized, versatile immersive studio—one that is able to handle sound design, editorial, premixing, TV mixing, documentaries, and even big feature films—that is taking over the audio post-production community. Here, studio designers, chief engineers and facility owners discuss the acoustic challenges and the built-in sonic versatility of recent projects, with an emphasis on controlling the low end.
Bruce Black - MediaRooms Technology
Lane Burch - Sony Pictures Entertainment
Tom Davis - SeisMic Sound, Inc.
Peter Grueneisen - nonzero\architecture
It’s hard to believe that it’s been 10 years since Disney, Pixar and Dolby launched the Atmos format at the El Capitan Theater with the release of Brave (amid competition from Auro 3D and DTS:X). It was the Wild West, with re-recording mixers exploring the creative possibilities of the new formats while at the same time figuring out the strengths and weaknesses of objects and beds. Does dialog travel, or does it stay in the center? How far up and back can you go with an orchestral score? Can you go too far with bullet-bys? Here, some of Hollywood’s top mixers talk about what they’ve learned these past ten years, including thoughts on the sometimes competing realities of the cinema and home environments.
Tony Cariddi - Appward
Tim Hoogenakker - Signature Post
Gregory King - King Soundworks
Tony Lamberti - Sony Pictures Studios
Mathew Waters - Independent
While the initial decisions regarding a soundtrack typically take place in the script reading and the picture edit, the combination of the music and effects edits will always reveal a much fuller, richer and more integrated sound experience, especially in an immersive audio environment, where space is no longer at a premium. Here, top supervising sound editors, sound designers and music editors discuss the creative inspiration—and sometimes the happy accidents—that emerge when sound design and music feed off of each other, citing real examples from recent films.
Robert Stambler - Independent
Mark Stoeckinger - Formosa Group
Becky Sullivan - Sony
Danika Wikke - Formosa Group
Join us for a conversation with Composer Rob Simonsen, composer for The Adam Project, Ghostbusters: Afterlife and director Darren Aronofsky's The Whale.
Join Tom Kenny as he talks with the sound team behind the Apple Original Films and Skydance Animation’s new feature film “Luck”. The story of Sam Greenfield, the unluckiest person in the world! Suddenly finding herself in the never-before-seen Land of Luck, she must unite with the magical creatures there to turn her luck around.
Gary A. Rizzo - Re-recording Mixer
Devon Kelley - Foley Supervisor
Mix Magazine editor Tom Kenny will moderate the discussion, titled “Sound Changes,” where topics will include everything from the nature of today’s re-recording stage, the rise of streaming services, new technologies and formats, and the emergence of the sound designer/mixer, with a few fun stories tossed in.
Will Files - Pacific Standard Sound
Craig Henighan - Pacific Standard Sound
Julian Slater - Warner Bros.
In this episode we chat with Composer Natalie Holt who recently was nominated with two Emmy nominations for Outstanding Music Composition For A Series and Outstanding Original Main Title Theme Music for the Disney+ series Loki.
We discuss her process working on the highly acclaimed Star War series Obi-Wan Kenobi, balancing work and family, collaborating with her creative team and planning for the future!
ABOUT NATALIE HOLT: Natalie Holt is a multi-award winning British composer who trained at the Royal Academy of Music in London and the National Film & Television School. She is the first woman to score a live action Star Wars project.
Her numerous film and television credits include the Obi-Wan Kenobi (Disney+) with John Williams, the Marvel television series Loki (starring Tom Hiddleston and Owen Wilson), the Netflix film Fever Dream (Dir: Claudia Llosa) the BBC’s Wallander (starring Kenneth Branagh), Knightfall (starring Mark Hamill), Paddington (starring Hugh Bonneville), Deadwater Fell (starring David Tennant) and the award-winning BBC drama Three Girls.
She co-scored the WW1 film Journey’s End with Oscar winner Hildur Guðnadóttir (Joker), The Honourable Woman and Victoria with Martin Phipps (The Crown) and composed additional music for Hans Zimmer and Martin Phipps on the film Woman in Gold.
An accomplished violinist and violist, she has performed at the Royal Albert Hall and the closing ceremony of the Olympic Games. She is known for her experimental string-based scores, on which she plays violin, piano and vintage synthesizer, as well as for her large orchestral music which she records at London’s Abbey Road Studios.
She won the prestigious Ivor Novello award in 2015, was made an Associate of the Royal Academy of Music in 2017, was nominated for an Emmy award and won the Best International Score at the Beijing International Film Festival in 2018 for her score on Journey’s End with Hildur Guðnadóttir. Natalie is also a member of The Academy of Motion Picture Arts and Science.
NATALIE HOLT:
www.natalieholt.com
MORE VIDEOS AND NEWS:
www.SoundWorksCollection.com
In this exclusive conversation we chat with the sound & music team from Riot Games behind Arcane: League of Legends. Featuring Co-supervising Sound Editor & Sound Designer Brad Beaumont, Co-supervising Sound Editor & Sound Designer Eliot Connors and Composer Alexander Temple.
Based on the world behind League of Legends, Arcane dives into the delicate balance between the rich, utopian city of Piltover Crest icon.png Piltover and the seedy, oppressed underground of Zaun. Known across Runeterra as the "city of progress," many of the most brilliant minds call these cities home. But the creation of hextech, a way for any person to control magical energy, threatens that balance. The story follows the origins of two iconic League champions-and the power that will tear them apart.
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.
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 and Production Sound recordist Mark Crawford.
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.
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 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.
Subtle choices in timing, backgrounds, EQ, reverb or overall balance in the dialog, music and effects can make the difference between a good mix and an award-winning mix. From production sound, to editing, to the re-recording stage, these expert sound editors and mixers discuss the sonic choices and overall tone that make their shows unique.
Moderator - Tom Kenny, Editor of Mix Magazine Odin Benitez - Formosa Group. Joe Schultz - Waterman Sound. Danika Wikke - Formosa Group.
Mix Sessions: Emmy® Awards Season is a virtual event honoring the year’s best creative talent in television sound—Editing, Mixing and Music. While the global pandemic has affected media distribution, schedules and attendance, it has not affected the quality of the sound work, and that work deserves to be recognized.
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.
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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.”
In this episode we chat with Composer James Newton Howard about his recent collaboration with Director Paul Greengrass on his new film, News of the World.
ABOUT THE FILM: Five years after the end of the Civil War, Capt. Jefferson Kyle Kidd crosses paths with a 10-year-old girl taken by the Kiowa people. Forced to return to her aunt and uncle, Kidd agrees to escort the child across the harsh and unforgiving plains of Texas. However, the long journey soon turns into a fight for survival as the traveling companions encounter danger at every turn -- both human and natural.
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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.
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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.
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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A message from our friends at the Dolby Institute who have partnered with Soundworks Collection for the past 5+ years. The Dolby Institute Podcast has moved and they have a brand new show title (Soundworks Collection podcast continues!):
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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.
Black Ops Cold War is 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.
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.
Sound Of Metal with Supervising Sound Editor Nicolas Becker, moderated by Michael Coleman of SoundWorks Collection.
Sound of Metal is a 2019 American drama film directed and co-written by Darius Marder and starring Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff and Mathieu Amalric. It tells the story of Ruben, a drummer and one half of the duo Blackgammon along with his singer girlfriend Lou. A former drug addict, he is sober for four years. Suddenly, he begins to lose his hearing. His sponsor makes him go meet Joe, who leads a deaf community. With the help from them, Ruben struggles to accept his situation.
The film had its world premiere in the Platform Prize program at the 2019 Toronto International Film Festival on September 6, 2019. It will be released theatrically on November 20, 2020, and streaming on Prime Video on December 4, 2020, by Amazon Studios.
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!
www.bleeding-audio.com www.chelsmark.com
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
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.
ABOUT MAC QUAYLE: Audiences worldwide have been captivated by the unique musical stylings of emmy-winning and grammy-nominated composer, Mac Quayle. Quayle won an emmy for his score on usa network’s golden globe winning suspense-thriller Mr. Robot, starring christian slater and rami malek, now in its final season. Quayle also scores fx and ryan murphy’s peabody award-winning, golden globe and emmy-nominated 80’s nyc ball scene drama pose, starring billy porter; Fox’s procedural drama 9-1-1, starring angela bassett, which he co-composes with todd haberman; netflix’s the politician, starring gwyneth paltrow and ben platt; and fx’s golden globe winning and emmy-nominated horror anthology american horror story. He received his first emmy nomination for his score on american horror story: freak show. Quayle’s upcoming projects include Fox's 9-1-1 spinoff series 9-1-1: lone star, starring rob lowe and liv tyler, which he co-composes with Todd Haberman and which premieres January 19; and netflix’s ratched, which is based on ken kesey’s “one flew over the cuckoo's nest,” starring sarah paulson and scheduled to premiere in the Fall of 2020.
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.
Full video discussions will be on Dolby Youtube page and audio podcasts will be featured on our website or the SoundWorks Collection channels on Apple Podcasts, Soundcloud, Stitcher and Spotify!
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.
It is the first live action series in the Star Wars franchise. Set five years after the events of Return of the Jedi and 25 years prior to the events of The Force Awakens, it follows the title character, a Mandalorian bounty hunter named Din Djarin, and his exploits beyond the reaches of the New Republic.
June 18: THE MANDALORIAN June 25: WESTWORLD July 2: MINDHUNTER July 9: OZARK July 16: LOCKE & KEY July 23: UNORTHODOX July 30: DEVS August 6: Dolby Vision Roundtable
Full video discussions will be on Dolby Youtube page and audio podcasts will be featured on our website or the SoundWorks Collection channels on Apple Podcasts, Soundcloud, Stitcher and Spotify!
This week we chat with Composer Kris Bowers about his recent work on the 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.
https://www.krisbowers.com
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 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
Watch the film: https://youtu.be/jjwilAja7Lc
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.
Find out more information:
Amie - http://www.meyersound.com/product/amie/ Amie Sub - http://www.meyersound.com/product/amie-sub/ VLFC - http://www.meyersound.com/product/vlfc/ Bluehorn System - http://www.meyersound.com/product/bluehorn-system
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 the sound team talks about the carving out moments for internal character sounds to come through, the process of tracking down the original cars to keep the film sounding real, and the challenges of building a 45-minute racing sequence and keeping it acoustically interesting.
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.
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.
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.
Three time Academy Award-winning re-recording mixer Mike 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.
In this episode, seven-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.
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 the challenges of recording a variety of race cars on set.
Academy Award winning production sound mixer Mark Ulano talks double nominations for Ad Astra and Once Upon a Time... in Hollywood, Quentin Tarantino's nicknames for his crew, and about how his passion for sound takes him from McDonald's meetings to FaceTime space interviews to his thoughts on the next generation of filmmakers.
Academy Award winning supervising sound editor Alan Murray, re-recording mixer and sound designer Tom Ozanich and re-recording mixer Dean Zupancic discuss their continued debates over Joker theories, the layered artistic approach of sound, and how sound is used to explore a character's headspace.
In the second part of this conversation, we chat with production sound mixer Tod Maitland.
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.
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.
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.
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 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
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 re-recording 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 Recorded at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019
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.
"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
"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
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
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.
The Dark Crystal: Age of Resistance returns to the world of Thra, with an all new adventure. When three young Gelfling discover the horrifying secret behind the Skeksis’ power, they set out on an epic journey to ignite the fires of rebellion and save their world.
Rediscover the age of wonder inspired by Jim Henson’s groundbreaking vision. The Dark Crystal: Age of Resistance.
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.
The final season depicts the culmination of the series' two primary conflicts: the Great War against the Army of the Dead, and the Last War for control of the Iron Throne. The first half of the season involves many of the main characters converging at Winterfell with their armies in an effort to repel the approaching White Walkers and their army of wights. The second half of the season resumes the war for the throne as Daenerys Targaryen assaults King's Landing in an attempt to unseat Cersei Lannister as the ruler of the Seven Kingdoms.
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, 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
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 exclusive video Veteran music writer Jon Burlingame chats with Oscar nominated Composer Nicholas Britell about his recent work on, “If Beale Street Could Talk” and the organic process of collaborating with the director Barry Jenkins on the film’s lush and evocative score.
In early 1970s Harlem, daughter and wife-to-be Tish vividly recalls the passion, respect and trust that have connected her and her artist fiancé Alonzo Hunt, who goes by the nickname Fonny. Friends since childhood, the devoted couple dream of a future together, but their plans are derailed when Fonny is arrested for a crime he did not commit.
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.
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.
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.
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.
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.
Bitten by a radioactive spider in the subway, Brooklyn teenager Miles Morales suddenly develops mysterious powers that transform him into the one and only Spider-Man. When he meets Peter Parker, he soon realizes that there are many others who share his special, high-flying talents. Miles must now use his newfound skills to battle the evil Kingpin, a hulking madman who can open portals to other universes and pull different versions of Spider-Man into our world.
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.
Sponsored by The Dolby Institute
The Dolby Institute develops educational programming to help you advance the art of storytelling, whether you're making a film, mixing the sound for a sporting event, or designing the next-generation virtual reality experience.
www.dolby.com/us/en/dolby-institute.html
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.
Sponsored by The Dolby Institute: The Dolby Institute develops educational programming to help you advance the art of storytelling, whether you're making a film, mixing the sound for a sporting event, or designing the next-generation virtual reality experience.
www.dolby.com/us/en/dolby-institute.html
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).
Sponsored by The Dolby Institute: The Dolby Institute develops educational programming to help you advance the art of storytelling, whether you're making a film, mixing the sound for a sporting event, or designing the next-generation virtual reality experience.
www.dolby.com/us/en/dolby-institute.html
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.
Sponsored by The Dolby Institute: The Dolby Institute develops educational programming to help you advance the art of storytelling, whether you're making a film, mixing the sound for a sporting event, or designing the next-generation virtual reality experience.
www.dolby.com/us/en/dolby-institute.html
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.
GameSoundCon is two days of intensive sessions, panels and masterclasses on the business, creative and technical challenges of game music and sound, designed for those coming from Film, TV, music and other more traditional media.
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).
GameSoundCon is two days of intensive sessions, panels and masterclasses on the business, creative and technical challenges of game music and sound, designed for those coming from Film, TV, music and other more traditional media.
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.
GameSoundCon is two days of intensive sessions, panels and masterclasses on the business, creative and technical challenges of game music and sound, designed for those coming from Film, TV, music and other more traditional media.
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.
GameSoundCon is two days of intensive sessions, panels and masterclasses on the business, creative and technical challenges of game music and sound, designed for those coming from Film, TV, music and other more traditional media.
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.
GameSoundCon is two days of intensive sessions, panels and masterclasses on the business, creative and technical challenges of game music and sound, designed for those coming from Film, TV, music and other more traditional media.
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.
GameSoundCon is two days of intensive sessions, panels and masterclasses on the business, creative and technical challenges of game music and sound, designed for those coming from Film, TV, music and other more traditional media.
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.
GameSoundCon is two days of intensive sessions, panels and masterclasses on the business, creative and technical challenges of game music and sound, designed for those coming from Film, TV, music and other more traditional media.
Sound Editing For Animation Panel 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.
Mixing Dialog: The Audio Pipeline Panel 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.
Moderated by Michael Coleman, SoundWorks Collection
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.
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.
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.
Composing for Video Games Masterclass Featuring:
Moderated by Michael Coleman, SoundWorks Collection
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
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
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
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
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.
ABOUT WILBERT ROGET II: Wilbert Roget, II is a veteran composer in the video game industry. He joined LucasArts as a staff composer in 2008, where he scored several games in the Star Wars universe, including Star Wars: The Old Republic and Star Wars: First Assault. He later became a freelance writer, scoring Call of Duty: WWII, Guild Wars 2: Path of Fire, Lara Croft and the Temple of Osiris, Dead Island 2, Anew: The Distant Light and other indie and AAA titles. His scores have earned him several awards and nominations from the Game Audio Network Guild, the Academy of Interactive Arts and Sciences (D.I.C.E. Awards), and others.
Roget also co-founded Impact Soundworks, a successful music software company, and is an accomplished lecturer on game music, giving talks at the Game Developers Conference, SF Conservatory of Music, Yale University and other institutions. He frequently gives online masterclasses and tutorials on music composition and production, and has a passion for teaching the craft.
Inspired at an early age by classic Japanese game soundtracks, Roget specializes in writing music that employs memorable themes, developed throughout the score in a traditional fashion. He balances modern production with classic construction, creating fresh and contemporary soundscapes as well as nuanced orchestrations. Wilbert studied music at Yale University, is originally from Philadelphia, PA and currently resides in Seattle, WA. He is an avid multi-instrumentalist, performing solo flute, keyboards, accordion and guitar on many of his scores.
Roget is an ASCAP-affiliated composer and a member of the Game Audio Network Guild, and is represented by Cheryl Tiano of The Gorfaine-Schwartz Agency.
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.
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.
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.
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.
Darren Aronofsky is one of the most innovative and boundary-pushing directors working in cinema. Join him in conversation with his longtime sound supervisor Craig Henighan as they discuss their work on Requiem for a Dream, The Fountain, Black Swan, Noah, and mother! In this episode Aronofsky talks about how Mother! ended up without a musical score, creating the character of the house, and how each element of the track is deliberately crafted.
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.
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.
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.
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 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 at 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.
The Skywalker Sound sound team behind the documentary In Pursuit of Silence - A Documentary Film recently discussed their approach for creating a dynamic mix and creative sound design to a film about silence.
Featuring sound designer & supervising sound editor Steve Bissinger, re-recording mixer & additional effects editor Zach Martin and dialogue editor Shaun Farley.
Moderator: Michael Coleman of Soundworks Collection
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.
In this exclusive audio profile we feature the sound team behind Director Denis Villeneuve's, Blade Runner 2049 featuring supervising sound editor Mark Mangini, sound designer Theo Green, re-recording mixer Doug Hemphill and Ron Bartlett, picture editor Joe Walker and Composer Hans Zimmer and Benjamin Wallfisch.
Officer K (Ryan Gosling), a new blade runner for the Los Angeles Police Department, unearths a long-buried secret that has the potential to plunge what's left of society into chaos. His discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former blade runner who's been missing for 30 years.
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.
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.
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.
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.
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.
Moderator: Jonathan Deans, CTO, Westlake Pro
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. 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.
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 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 introduces its new line of high-performance, ultra-compact audio recorders with USB audio streaming – MixPre-3 & MixPre-6.
Sound Devices is thrilled to announce the launch of its groundbreaking new product line, the MixPre Series of audio recorders with integrated USB audio interface. The lightweight, high-resolution MixPre-3 & MixPre-6 audio recorders with USB audio streaming offer world-class sound quality combined with extreme durability – perfect for musicians, sound designers, podcasters, videographers, YouTubers and field recordists.
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.
This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com
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.
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.
Composer Takeshi Furukawa had the incredible task of creating the musical score for The Last Guardian, which is best described as a traditional orchestral fantasy score.
The Last Guardian, from Shadow of the Colossus designer Fumito Ueda, centers on a boy and his friendship with Trico, a giant creature who looks like a hybrid of a bird and a cat.
Furukawa was first approached for the project five years ago — but the game was delayed to be reengineered for PlayStation 4. Two years later, he resumed his efforts and went on to compose and conduct a score that was performed by the London Symphony Orchestra, Trinity Boys Choir, and London Voices at Air Studios.
It should come as no surprise that a movie that explores the loneliness that Batman must feel in the bat-cave after leaving his adoring public behind — even one involving LEGOs — has a fairly dark orchestral score thanks to composer Lorne Balfe, who argues that The LEGO Batman Movie has just as much emotional depth as any live-action Dark Knight tale. Balfe, who was part of the musical department for The Dark Knight series of films, shared some of his thoughts on writing for this animated incarnation of the hero’s story.
Composer Lorne Balfe [TERMINATOR GENISYS, CHURCHILL, THE STORY OF GOD WITH MORGAN FREEMAN] is a Grammy Award-winning, EMMY and BAFTA nominated film composer from Inverness, Scotland. His filmography boasts an incredible breadth and depth of titles, ranging from major studio to independent films, tentpole video game franchises, beloved animated feature films, critically acclaimed television series, and documentary features.
In Part 1 of this episode, Steve Morrow (Best Sound Mixing) describes his work as the production sound mixer on this contemporary movie musical filmed largely on location in Los Angeles, and the challenges of capturing the live on-set signing of stars Ryan Gossling and Emma Stone. In Part 2, Ai-Ling Lee (nominated for Best Sound Editing and Best Sound Mixing) and Mildred Iatrou (Best Sound Editing) discuss weaving the sung performances into a magical musical design soundscape.
Sylvain Bellemare (Best Sound Editing) and Barnard Gariépy Strobl (Best Sound Mixing) discuss the unique challenges of building the soundscapes of the alien heptapods and managing their multi-national crew working in Paris, Montréal, Los Angeles, and New Zealand. Adhering to director Denis Villeneueve’s mandate to keep everything real and organic, the sound artists describe using no electronics in generating the film’s sounds, and how the sound design interweaves seamlessly with the haunting score by Jóhan Jóhannsson.
Renée Tondelli (Best Sound Editing) joins us for an in-depth exploration of the sound design of Peter Berg’s film, for which she is nominated with Wylie Stateman. From the challenges of learning to speak “oilese,” the specialized language of the oil exploration world, to the problems of capturing usable production audio at the film’s noisy locations, Renée discusses how the sound for this action-packed film, mixed by Ron Bartlett and Doug Hemphill, came together.
Kevin O’Connell (Best Sound Mixing), celebrating his 21st Academy Award nomination, joins first-time nominees Robert Mackenzie and Andy Wright (double nominees for Best Sound Editing and Best Sound Mixing) in conversation about their work on Mel Gibson’s film. The artists talk about using sound design and music to sculpt the three different battle sequences which comprise the film’s second half, the challenges of using period accurate weaponry, and how the sound of breathing can take you inside the main character’s experience.
Two-time Academy Award winner Alan Murray (Best Sound Editing) joins us to discuss his 37th film in collaboration with director Clint Eastwood, for which he has received his ninth Oscar nomination. From his first conversation with Captain Chesley Sullenberger to an eventful sound recording trip on an empty A320 in flight, Alan recounts the lengths to which his team went to make sure they kept realism in the sound track of the famous “Miracle on the Hudson.”
Greg Russell (17 Oscar nominations), Gary Summers (11 Oscar nominations and 4 wins), and Jeffrey Haboush (4 Oscar nominations) talk about their work, nominated for Best Sound Mixing, on Michael Bay’s film. The artists describe their long collaboration with Bay, and their work on this film to keep the tension high through the film’s chaotic scenes of battle.
This week we talk with Production Sound Mixer Steve Morrow about his work on Director Damien Chazelle's new film, La La Land.
From an early age, production sound mixer Steven A. Morrow, CAS knew that his passion for movies would lead to a career in the entertainment industry. What began as a teenage hobby making films has since turned into a full-time career recording sound for a wide range of prominent films and television series, including the critically acclaimed musical comedy La La Land, starring Ryan Gosling and Emma Stone.
This podcast episode is sponsored by Sound Devices. For nearly two decades, the Sound Devices team has remained true to the spirit of creative innovations and its original goal of providing top-notch, superb quality products that help sound professionals capture the clearest, most enjoyable media in the world. To find out more visit www.sounddevices.com
This week we spoke with music producer Greg Fidelman who recently finished Metallics’s new album Hardwired...To Self-Destruct.
This is Metallica's first studio album since 2008 and is not the first time Fidelman has worked with the band. Greg also worked as an engineer and mixer on Death Magnetic and was the co-producer, engineer and mixer on Lulu, the band’s collaboration with the late Lou Reed. He also oversaw the band’s live soundtrack to their first-ever feature film Through The Never.
Greg has also worked with other bands such as Slayer, Black Sabbath, Red Hot Chili Peppers, Bush, Audioslave, Marilyn Manson, Slipknot, and System of a Down.
Composers Dustin O'Halloran and Hauschka discuss the unique challenges of crafting the emotional score for LION in eight weeks and collaborating from their studios in Los Angeles and Germany. We also explore the approach and inspiration behind four of the tracks from this incredible film.
LION tells the story of Saroo Brierley who at the age of five got separated from his family in India, whilst he was waiting at a train station for his brother who never returned. After living on the streets of Calcutta for three weeks he was picked up by an orphanage and later adopted by an Australian couple. Based on the non-fiction book A Long Way Home by Saroo Brierley the film explores the dynamics of our hyper-connected world and how Saroo managed to track down his family using Google Earth. The film stars Dev Patel, Rooney Mara, David Wenham and Nicole Kidman.
In this special podcast presentation of our recent Dolby Institute master class at the Los Angeles Film Festival, writer/director Ryan Coogler is joined by his composer Ludwig Göransson and sound designer Steve Boeddeker to present clips and discuss their use of sound and music in Creed and Fruitvale Station.
This podcast is sponsored by The Dolby Institute: www.dolby.com/us/en/dolby-institute.html
Radiolab is one of the most distinctive sounding shows in the radio and podcast world. In this episode, creator and co-host of the show Jad Abumrad talks about how he uses music as a metaphor to explore abstract topics like what a manta shrimp sees when it looks at a rainbow, why it’s important to drop into the story mid-stream, why he deliberately disrespects the boundary between sound effects and music, and how he aspires to tell complex stories without words.
This podcast is sponsored by The Dolby Institute: www.dolby.com/us/en/dolby-institute.html
This week we are celebrating the 1-year anniversary of Star Wars Battlefront by talking with the sound team including Audio Director Ben Minto, Sound Designer David Jegutidse and Sound Designer Martin Wohrer.
Check out the fourth and final digital expansion pack which gives you access to new content inspired by the upcoming film Rogue One™: A Star Wars™ Story.
Also arriving on December 6 is the Star Wars™ Battlefront™ Rogue One: X-Wing VR Mission for PlayStation VR. This free DLC gives you control of your very own X-wing in fully immersive virtual reality – brush up on your piloting skills, stay on target, and prepare to jump through hyperspace as you carry out an important mission for the Rebellion.
This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. Find out more at www.thx.com
From Academy Award® winning director Roger Ross Williams, LIFE, ANIMATED is the inspirational story of Owen Suskind, a young man who was unable to speak as a child until he and his family discovered a unique way to communicate by immersing themselves in the world of classic Disney animated films. This emotional coming-of-age story follows Owen as he graduates to adulthood and takes his first steps toward independence. The subject of his father Ron Suskind’s New York Times bestseller, Owen was a thriving three year old who suddenly and inexplicably went silent – and for years after remained unable to connect with other people or to convey his thoughts, feelings or desires.
Over time, through repeated viewings of Disney classics like THE LITTLE MERMAID and THE LION KING, Owen found useful tools to help him to understand complex social cues and to re-connect with the world around him.
LIFE, ANIMATED evocatively interweaves classic Disney sequences with verite scenes from Owen’s life in order to explore how his identification and empathy for characters like Simba, Jafar, and Ariel gave him a means to understand his feelings and allowed him to interpret reality. Beautiful, original animations offer rich insights into Owen’s fruitful dialogue with the Disney oeuvre as he imagines himself heroically facing adversity as a member in a tribe of sidekicks.
Owen’s story is a moving testament to the many ways in which stories can serve as a means of persevering through the dark times, leading us all toward the light.
This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. Find out more at www.thx.com
This week we chat with Composer Jóhann Jóhannsson about his third film collaboration with Director Denis Villeneuve on the film Arrival.
Linguistics professor Louise Banks (Amy Adams) leads an elite team of investigators when gigantic spaceships touch down in 12 locations around the world. As nations teeter on the verge of global war, Banks and her crew must race against time to find a way to communicate with the extraterrestrial visitors. Hoping to unravel the mystery, she takes a chance that could threaten her life and quite possibly all of mankind.
This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. THX certifies the world’s best consumer electronics to provide users with the assurance of superior quality. Find out more at www.thx.com
We recently chatted with Composer Sascha Dikiciyan also known as Sonic Mayhem about his incredible career in video game music composition for such titles as Quake II, God of War II, Borderlands, Mass Effect 3 and Deus Ex: Mankind Divided.
Sacha also recently released an original album titled, Doomsday featuring songs such as “Genesis”, “Futureland” (which features Power Glove), “Bleed Forever” (featuring Malukah), and more. There’s also an appearance by electronic rock artist Blue Stahli on the album.
Sascha's work came to prominence when he sent a copy of his first CD "Methods of Destruction", an alternate Quake soundtrack, to id Software in 1996. As a result, they asked him personally to score the soundtrack for Quake II.
This week we return to the Marvel Universe to talk about the sound of Doctor Strange with Supervising Sound Editor Shannon Mills, Sound Designer Nia Hansen and Re-recording Mixer Juan Peralta from Skywalker Sound.
Dr. Stephen Strange's (Benedict Cumberbatch) life changes after a car accident robs him of the use of his hands. When traditional medicine fails him, he looks for healing, and hope, in a mysterious enclave. He quickly learns that the enclave is at the front line of a battle against unseen dark forces bent on destroying reality. Before long, Strange is forced to choose between his life of fortune and status or leave it all behind to defend the world as the most powerful sorcerer in existence.
Sound Designer and Supervising Sound Editor Erik Aadahl recently joined Michael Coleman of SoundWorks Collection on Friday, October 29, at the Savannah Film Festival, where sound-savvy SCAD students and intrigued festivalgoers packed the SCAD Museum of Art theater as Aadahl discussed his work on such films as Transformers, Godzilla, Kung Fu Panda, Argo, and Tree of Life.
This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. Find out more at www.thx.com
This week we talk with Composer Lesley Barber who recently worked on Director Kenneth Lonergan's new film, Manchester by the Sea starring Casey Affleck and Michelle Williams.
Barber previously worked with Lonergan on his acclaimed debut feature, “You Can Count On Me,” and she has provided music for films such as “Mansfield Park,” “Hysterical Blindness,” “A Price Above Rubies,” and “When Night Is Falling.” For ‘Manchester,’ Barber utilized harmonized vocal performances and atmospheric orchestral work to create a memorable score that makes an excellent companion to the classical pieces curated by the award-winning music supervisor Linda Cohen.
After the death of his older brother Joe, Lee Chandler (Casey Affleck) is shocked that Joe has made him sole guardian of his teenage nephew Patrick. Taking leave of his job as a janitor in Boston, Lee reluctantly returns to Manchester-by-the-Sea, the fishing village where his working-class family has lived for generations. There, he is forced to deal with a past that separated him from his wife, Randi (Michelle Williams), and the community where he was born and raised.
Attention soldier! In this episode we talked with Lead Sound Designer Andres Almstrom and Audio Director Bence Pajor from EA Dice studios located in Stockholm, Sweden who recently finished work on Battlefield 1.
In Battlefield 1 the player will experience the origins of modern warfare where the old world was destroyed, giving way to the new one. The player will experience innovative, modern weaponry and vehicles of World War I as you battle across the land, air and sea.
This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. THX certifies the world’s best consumer electronics to provide users with the assurance of superior quality. Find out more at thx.com
This week we are featuring a special event hosted by Pyramind studios based in San Francisco who hosted a panel on VR Sound Design.
This panel was moderated by Greg Gordon, CEO and Creative Director of Pyramind and included Sharosh Khuwaja from Subpac, Kevin Bolen from Skywalker Sound, David Grunzweig from Dysonics and Brennan Anderson from Pyramind.
You can find out more about Pyramind's music production school and creative studio services at www.pyramind.com
This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com
How do sound designers find inspiration? What paths do they take to tap into their creative minds to create unique sound tracks? Leading sound designers in film and television will discuss those moments where sound becomes the driving factor of the story, and then detail how those sounds are achieved.
Moderator: Carolyn Giardina, Hollywood Reporter
Panelists: Will Files, MPSE Mark P. Stoeckinger, MPSE Paula Fairfield, MPSE Ben L. Cook, MPSE Harry Cohen Paul Menichini, MPSE
This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com
Historically, musical sequences in film and television have been done with pre-records, playback and lip-synching. There has been a move in recent years toward a more organic approach to recording live performances for these types of scenes.
Moderator: Glen Trew, CAS
Panelists: Gary Bourgeois, CAS Phil Palmer, CAS David Klotz Gary Raymond Joseph Magee
This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com
You don’t need a Hollywood-sized re-recording stage to create a compelling immersive soundtrack. But you do need to know the basic requirements of system design and setup—from console/DAW integration to monitor placement—to ensure that the tracks translate to the outside world. In this discussion, chief engineers, studio designers, system integrators and leading immersive manufacturers detail how to build small, medium and large immersive post-production spaces to fit any need.
Moderator: Jonathan Deans, CTO, Westlake Pro
Panelists: Bill Johnston, VP of Engineering, Formosa Group Nathan Oishi, Director of Engineering, Sony Pictures Studios Jerry Steckling, CTO, JSX Mark Binder, re-recording mixer Tom Brewer, re-recording mixer Brett Crockett, Vice President, Sound Technology Research and Development, Dolby Peter Chaikin, JBL
This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com
Leading Broadway sound designer Nevin Steinberg discusses his work on hit shows including Hamilton, Bright Star, The Full Monty, and Spamalot; why he doesn’t listen to the cast albums of his shows, the trials of redesigning theater sound for touring companies, coming trends in Broadway sound design, and his experiences working with such legendary artists as Lin-Manuel Miranda, Mike Nichols, Steve Martin, and Edie Brickell.
This podcast is sponsored by The Dolby Institute: www.dolby.com/us/en/dolby-institute.html
Tim Gedemer, one of the most experienced artists working in sound for Virtual Reality with collaborations with studios including Jaunt, Specular Theory, and others, joins us to discuss the current state of sound for VR. In this episode we discuss the crazy first days of full spatial audio for the initial wave of VR projects, and why traditional filmmakers tend to stumble in their first VR experiences. Tim also provides a step-by-step discussion of how sound for VR works, from production capture through to the frustration of having to take off the headset so you can see the mixing console. He also discusses some of his most successful collaborations, and the differences between audio for cinematic, game-based, and live VR experiences.
This podcast is sponsored by The Dolby Institute: www.dolby.com/us/en/dolby-institute.html
Visual artist Sophie Clements joins her longtime sound design/music collaborator Jo Wills to discuss their site-specific piece “Attempting to Delay the Inevitable,” an installation at the Dolby Gallery; the role of sound in her visual art pieces; why CG images would never work in her art; and how sound and image collaborate to strike wonder, awe, and seduction for the audience. We’re joined for this conversation by Kevin Byrd, Dolby’s Head of Visual Experiences.
This podcast is sponsored by The Dolby Institute: www.dolby.com/us/en/dolby-institute.html
Legendary Foley artist John Roesch discusses his 30+ year career performing sounds for films including E.T., Back to the Future, The Dark Knight, The Girl with the Dragon Tattoo, and Inception; the challenge of performing Foley for rainy scenes, why Foley can’t come from an effects library, and how you walk steps for a Transformer.
This week we are featuring the 2016 Mix Magazine Presents Sound for Film event hosted at Sony Pictures Studios in Culver City. This event focused on a theme of “The Merging of Art, Technique and Tools”.
In this weeks episode we are featuring re-recording mixer Gary Bourgeois, who delivered the keynote speech to open the special film sound event.
Gary's list of credits ranges from the music documentaries early in his career, to Pretty in Pink, Back to School, Ghostbusters II, Benny and Joon, Dolores Claiborne and a host of major film credits through the 1980s, 1990s, 200s and on to the present day. He has mixed a variety of television productions, from series to made-for TV movies.
Stay tuned for additional exclusive panel discussions that we will be featuring on the podcast from this years Mix Magazine Presents Sound for Film event.
You can hear more conversations with sound designers, composers and directors on the SoundWorks Collection podcast on iTunes and streaming online at www.SoundWorkscollection.com
This week we are featuring the 2015 Mix Magazine Presents Sound for Film event hosted at Sony Pictures Studios in Culver City. This event focused on a theme of “The Art of Sound Design: Music, Dialog and Effects in an Immersive World.”
The topic of this third roundtable discussion is on dialog recording which included tips and techniques from production through the edit and on to the final mix, with an emphasis on how they all strive to keep the production track and work with post to form the basis of any sound design. This panel was moderated by Jeff Wexler and featured Lee Orloff, Teri Dorman, Gary Bourgeois, Marla McGuire and Stephen Tibbo
This week we are featuring the 2015 Mix Magazine Presents Sound for Film event hosted at Sony Pictures Studios in Culver City. This event focused on a theme of “The Art of Sound Design: Music, Dialog and Effects in an Immersive World.”
The topic of this second roundtable discussion is on sound effects including workflow and innovative storytelling for working in Immersive Sound. This panel was moderator by David Bondelevitch and featured Mandell Winter, Scott M. Gershin,Gregory Hedgepath, Richard King and Will Files.
This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com
This week we are featuring the 2015 Mix Magazine Presents Sound for Film event hosted at Sony Pictures Studios in Culver City. This event focused on a theme of “The Art of Sound Design: Music, Dialog and Effects in an Immersive World.”
The topic of this first roundtable discussion is on Music: Composing, Editing and Mixing Beyond 5.1, where the panelist discussed the soundtrack’s integration into the sound design and the potential for music to extend beyond the screen. Panelist included Andy Koyama, Bill Abbott, Joseph Magee, Steven Saltzman, Will Kaplan and was moderated Dennis Sands.
This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com
This week we chat with the sound team behind Netflix’s hit show Stranger Things Directed by the Duffer Brothers. Joining us are re-recording mixer Adam Jenkins, re-recording mixer Joe Barnett, Sound Designer Craig Henighan and Supervising Sound Editor Brad North.
This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com
This week we join Supervising Sound Editor and Sound Designer Richard King to discuss his recent work on the DC comic movie Suicide Squad directed by David Ayers.
This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com
In this exclusive interview we talk with Meyer Sound Cinema Group Director Steve Shurtz and Application Director Miles Rogers to explore their new studio monitor Amie which is designed for postproduction professionals whose work needs to translate from smaller rooms to larger facilities, such as dialog editors, sound designers, effects editors, Foley mixers, and music editors.
Tasked by Skywalker Sound to create a new studio monitor with precision translation, exceptional power, and a great price point, Meyer Sound has created a product that brings tremendous accuracy for everything from the intricate details of dialogue to dynamic music tracks to explosive action sequences.
Amie traces its lineage to Meyer Sound's Acheron® screen channel loudspeakers, sharing core technology that makes it ideal for film, broadcast, and game postproduction.
In this exclusive interview we talk with Manchester Orchestra's Andy Hull and Robert McDowell who composed the music for Swiss Army Man directed by Daniel Kwan and Daniel Scheinert.
Being stranded on a deserted island leaves young Hank (Paul Dano) bored, lonely and without hope. As a rope hangs around his neck, Hank prepares to end it all, until he suddenly spots a man (Daniel Radcliffe) laying by the shore. Unfortunately, he is dead and quite flatulent. Using the gassy body to his advantage, Hank miraculously makes it back to the mainland. However, he now finds himself lost in the wilderness, and dragging the talking corpse named Manny along for the adventure.
In this exclusive interview we talk with Director Nicolas Winding Refn and Composer Cliff Martinez about their recent film, The Neon Demon.
When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will use any means necessary to get what she has in The Neon Demon, the new horror thriller from Nicolas Winding Refn. The Neon Demon stars Elle Fanning (Maleficent, Super 8), Jena Malone (Inherent Vice, The Hunger Games series), Bella Heathcote (Pride and Prejudice and Zombies, Dark Shadows), Abbey Lee (Gods of Egypt, Max Max: Fury Road), Karl Glusman (Love, Stonewall), Keanu Reeves (John Wick, The Matrix series), Christina Hendricks (“Mad Men,” Drive), Desmond Harrington (“Dexter,” The Dark Knight Rises), Alessandro Nivola (A Most Violent Year, American Hustle), and Charles Baker (“Breaking Bad,” Wild).
In this exclusive interview we talk with Pixar Animation Studios Director Andrew Stanton about his new film Finding Dory. We explore his collaboration with Composer Thomas Newman and his approach to using sound as a storytelling tool.
In this exclusive interview we talk with Composer Alex Heffes about his recent work on the History Channel mini-series Roots which chronicles the history of an African slave sold to America and his descendants.
In this exclusive interview we talk with Composer Duncan Thum about his role providing a sonic landscape for the second season of Netflix's Chef's Table. Chef's Table goes inside the lives and kitchens of six of the world's most renowned international chefs. Each episode focuses on a single chef and their unique look at their lives, talents and passion from their piece of culinary heaven.
In this exclusive interview we talk with Composer Brian Tyler about his dynamic score for Now You See Me 2.
After fleeing from a stage show, the illusionists (Jesse Eisenberg, Woody Harrelson) known as the Four Horsemen find themselves in more trouble in Macau, China. Devious tech wizard Walter Mabry (Daniel Radcliffe) forces the infamous magicians to steal a powerful chip that can control all of the world's computers. Meanwhile, vengeful FBI agent Dylan Rhodes (Mark Ruffalo) hatches his own plot against Thaddeus Bradley (Morgan Freeman), the man he blames for the death of his father.
Turner Classic Movies recently honored acclaimed filmmaker Francis Ford Coppola at a hand print footprint ceremony at the world-famous TCL Chinese Theatre on Friday, April 29, 2016 and as part of the festivities of the TCM Classic Film Festival 2016, the legendary Director sat down with Ben Mankiewicz to discuss The Conversation and a few of his most famous films.
In this exclusive interview we talk with Composer Mac Quayle about his electronic score for the hit show, Mr. Robot which starts its second season on July 13, 2016.
Elliot Alderson is a young cyber-security engineer living in New York, who assumes the role of a vigilante hacker by night. Elliot meets a mysterious anarchist known as "Mr. Robot" who recruits Elliot to join his team of hackers, "fsociety". Elliot, who has a social anxiety disorder and connects to people by hacking them, is intrigued but uncertain if he wants to be part of the group. The show follows Mr. Robot's attempts to engage Elliot in his mission to destroy the corporation Elliot is paid to protect. Compelled by his personal beliefs, Elliot struggles to resist the chance to take down the multinational CEOs that are running (and ruining) the world.
In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer John Ottman about his recent work on the Marvel film, X-Men Apocalypse.
Since the dawn of civilization, he was worshiped as a god. Apocalypse, the first and most powerful mutant from Marvel’s X-Men universe, amassed the powers of many other mutants, becoming immortal and invincible. Upon awakening after thousands of years, he is disillusioned with the world as he finds it and recruits a team of powerful mutants, including a disheartened Magneto (Michael Fassbender), to cleanse mankind and create a new world order, over which he will reign. As the fate of the Earth hangs in the balance, Raven (Jennifer Lawrence) with the help of Professor X (James McAvoy) must lead a team of young X-Men to stop their greatest nemesis and save mankind from complete destruction.
In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer henry Jackman about his recent work on the Marvel film, Captain America: Civil War.
Political pressure mounts to install a system of accountability when the actions of the Avengers lead to collateral damage. The new status quo deeply divides members of the team. Captain America (Chris Evans) believes superheroes should remain free to defend humanity without government interference. Iron Man (Robert Downey Jr.) sharply disagrees and supports oversight. As the debate escalates into an all-out feud, Black Widow (Scarlett Johansson) and Hawkeye (Jeremy Renner) must pick a side.
In this exclusive interview we talk with Composer Clint Mansell about his collaboration with Director Ben Wheatley on his new film High Rise.
Based on J.G. Ballard's book, the starry movie featuring Tom Hiddleston, Jeremy Irons, Sienna Miller, Luke Evans, Elisabeth Moss, James Purefoy, Peter Ferdinando and Keeley Hawes tells a wildly surreal tale of a luxury apartment complex that is soon overcome by disorder and madness.
"High-Rise" opens in the U.S. via On Demand, Amazon Video and iTunes on April 28th and in theaters on May 13th. The soundtrack is now on CD, with vinyl to come soon.
Moderated by Bryan Bishop, Senior Reporter of The Verge and featuring Matt Wood, Supervising Sound Editor, Skywalker SoundJames Clyne, Visual Effects Art Director, Industrial Light & Magic and Pat Tubach, Visual Effects Supervisor, Industrial Light & Magic.
Produced in partnership with the Motion Picture Sound Editors (MPSE)
With a procession of new and classic sounds and more than 2100 visual effects shots, "Star Wars: The Force Awakens" is an epic accomplishment. The film contains a plethora of digitally generated characters and environments that seamlessly blend with the practical effects. It features new signature sounds for first time characters, alien creatures and lightsabers. See some great behind the scenes footage and glimpse how sound and VFX worked together to produce highest grossing US motion picture…ever.
Moderated by Jacqueline Bosnjak, CEO & Partner, Q Department | Mach1 and featuring Martin Walsh, Vice President, R&D, DTS, Inc., Nicolas Tsingos, Director of E-media Technology, Dolby Laboratories, Jean-Pascal Beaudoin, President and Lead Creative Sound Director, Headspace Studio, Jyri Huopaniemi, Head of Formats and Platforms, Digital Media Business Unit, Nokia Technology and Tim Gedemer, President, CEO of Source Sound, Inc.
We can only see what is in front of us, but we hear and can identify sounds from every direction. Audio is a key component of the emerging language of VR, with unique challenges impacting capture, production, and end-user experience. This panel will focus on this extremely important yet rarely covered topic.
In this exclusive interview we talk with Brian Glasscock and Simon Beasley from Sennheiser to discuss the AMBEO microphone and Sennheiser’s focus on 3D immersive audio.
The VR microphone will be a staple tool in any live action VR production and will launch in the third quarter of 2016, followed in 2017 by a bundle with the same mic and a software plug-in for post-production of VR content.
Moderated by Vashi Nedomansky, Post-Production Workflow and Editorial Consultant, “Deadpool” and featuring Joan Bierman, Post Supervisor, “Deadpool”, Jonathan Rothbart, VFX Supervisor, “Deadpool” and Matt Carson, First Assistant Editor, “Deadpool”.
The recently released 20th Century Fox blockbuster film "Deadpool" crushed numerous opening box office records, with its staggering $132.7 million Friday-to-Sunday debut. Based on the Marvel comic character by the same name and starring Ryan Reynolds, "Deadpool" is described as a game changer for this genre and pushes all kinds of technology boundaries. In this session, hear a fascinating case study about the approaches 20th Century Fox and "Deadpool" director, Tim Miller, took to create this edgy film about an unconventional, anti-hero with a dark, twisted sense of humor. Find out how the film's editorial and VFX post production teams were set up and trained at Tim Miller's Blur Studio in Culver City while the film was shot on location in Vancouver. Remote cutting rooms created efficiencies for the editors and saved significant overhead for the production. Learn how Tim Miller's design experience in the gaming industry, including the cinematic work on epic video games, such as "Call of Duty", set him up to create a stunning, action-packed film.
In this exclusive SoundWorks Collection interview we talk with the sound team at PullString, an entertainment and technology company that combines art and science to enable computer conversation with characters.
We discuss their conversational entertainment products including Humani: Jessie’s Story, available on Facebook Messenger, Talking Barbie, and ToyTalk family entertainment apps The Winston Show, SpeakaZoo, SpeakaLegend, and SpeakOrTreat.
In this exclusive SoundWorks Collection interview we talk with the sound team of Director Dan Trachtenberg's film, 10 Cloverfield Lane including Supervising Sound Editor Robert Stambler, effects sound re-recording mixer Will Files and dialogue and music sound re-recording mixer Lindsey Alvarez.
In our discussion we explore key sound scenes including the opening title sequence, alien creature vocals and ship by’s and how the sound and music team achieved a sense of confinement for the films characters.
In this exclusive SoundWorks Collection interview we talk with Supervising Sound Editor Scott Hecker about his work on Director Zack Snyder's Batman v Superman: Dawn of Justice.
Scott breaks down how the sound team created new sounds for the Batmobile, Batwing, Wonder Women, Aquaman, Flash, Doomsday, and Superman.
Martin Hernandez and Lon Bender. In this two-part podcast, we catch up with Academy Award nominees Lon Bender and Martin Hernandez to discuss their BAFTA-winning work on The Revenant. Lon talks about recording Foley in Colorado on real snow (with horses!) and gives advice to young sound artists. Martin talks about managing directors’ anxiety, and describes getting his start doing radio shows with director Alejandro Inarritu in Mexico when they were college classmates.
Alan Murray, two-time Academy Award-winner nominated this year for Sicario, discusses using sound to tell the audience that things may not be quite right, how low-end can heighten tension, and his remarkable 40 year collaboration with Clint Eastwood.
Mark Mangini and David White, nominated this year for Mad Max: Fury Road, talk about the challenges of managing such an epic production, how they used ADR to achieve emotional intimacy, the use of silence in chaos, and how director George Miller (who trained as a doctor) can cure common maladies.
In this exclusive SoundWorks Collection interview we talk with music and dialogue Sound Re-recording Mixer Paul Massey about his work on Director Ridley Scott's The Martian. The final mix was completed at Twickenham Studios in London and music was recorded and mixed by Peter Cobbin at Abbey Road Studios for Composer Harry Gregson-Williams.
Paul also discusses working with editor Pietro Scalia and sound designer/supervising sound editor Oliver Tarney to craft the multiple futz and radio instances throughout the film.
In this episode we talk with Emmy award-winning sound designer Daniel Colman about his work on BATTLESTAR GALACTICA, and MARVEL’S AGENTS OF SHIELD. Daniel shares his thoughts on why musicians make the best sound designers, the challenges of living within the rules of television’s dynamic range, and how the signature sound of the space battles in GALACTICA was developed.
Editing dialog and working with the original recordings from the set is one of the most under-appreciated arts in cinema sound. In this episode of “Conversations with Sound Artists,” two-time Academy Award nominee Gwen Yates Whittle talks with the Dolby Institute’s Glenn Kiser about why George Lucas thinks dialog editing is one of the most important parts of the process, why she loves working on low-budget independent films (“They talk more,”), and why David Fincher and Meryl Streep love doing ADR.
In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer Tom Holkenborg (Junkie XL) about his work on the film Black Mass.
Three-time Oscar nominee Johnny Depp (“Sweeney Todd: The Demon Barber of Fleet Street,” “Finding Neverland,” the “Pirates of the Caribbean” films) stars as notorious mobster James “Whitey” Bulger in the drama “Black Mass,” directed by Scott Cooper (“Crazy Heart”).
The film also stars Joel Edgerton (“The Great Gatsby,” “Zero Dark Thirty”) as FBI Agent John Connolly; Oscar nominee Benedict Cumberbatch (“The Imitation Game”) as Whitey’s brother, powerful State Senator Billy Bulger; Rory Cochrane (“Argo”) as Steve Flemmi, Whitey’s closest partner in crime; Jesse Plemons (TV’s “Fargo”) as Whitey’s main henchman, Kevin Weeks; and Kevin Bacon (“Crazy, Stupid, Love.” TV’s “The Following”) as FBI Special Agent in Charge Charles McGuire.
In 1970s South Boston, FBI Agent John Connolly (Edgerton) persuades Irish mobster Jimmy Bulger (Depp) to collaborate with the FBI in order to eliminate their common enemy: the Italian mob. The drama tells the story of this unholy alliance, which spiraled out of control, allowing Whitey to evade law enforcement while consolidating his power and becoming one of the most ruthless and dangerous gangsters in Boston history.
The final stage of any collaborative process requires a delicate balance between artistry and decisiveness. The sound mixer works closely with the director to make sure that every sound is in its right place and that the story is always front and center. In this episode, 10-time Academy Award nominee Anna Behlmer talks about being one of the first female mixers in the movie business, strategies for handling a nervous director, and why you will always find colored Sharpie pens on a mixing stage.
Game soundtracks have come a long way since their earliest 8-bit days. In this episode of “Conversations with Sound Artists,” Rob Krekel and Phillip Kovats of Naughty Dog Studios talk about the challenges of building player-controlled vehicles and physics-driven sounds for their upcoming game release UNCHARTED 4, how their award-winning game THE LAST OF US changed their approach to sound design, what it means to mix a game when each sound may have 50-60 points of metadata to describe how it can behave, and how the line between cinematics and game play has disappeared in modern games.
Skywalker Sound’s Director of Sound Design Randy Thom discusses with Dolby Institute’s Glenn Kiser how writers and directors can use sound as a tool to tell their stories, the importance of APOCALYPSE NOW to modern sound design, his work with Robert Zemeckis to maroon Tom Hanks on an island in CAST AWAY with no music or wildlife sounds, and what’s wrong with the current state of sound for animated films.
About "Conversations with Sound Artists" Podcast: Sound is an art and a craft that many people appreciate but that few know much about. The Dolby® Institute and the SoundWorks Collection collaborated on a limited series of 10 podcasts that take an in-depth look at different aspects of the sound process, including sound design for writers, dialogue editing, and sound design for games.
In each episode, the artist talks with the Dolby Institute's Glenn Kiser and SoundWorks Collection's Michael Coleman about the challenges and opportunities the artist faced while building the soundscapes you enjoy. We'll introduce you to one sound artist per week over the next few months.
In keeping with Dolby’s history of supporting artists, Dolby Institute engages and empowers artists by providing education, inspiration and support throughout the creative process. With this podcast series, Dolby Institute hopes to empower next generation content creators and help unlock the power of sound and image technologies to help tell their stories.
Learn more about the Dolby Institute: www.dolby.com/us/en/dolby-institute/podcasts.html
This week we talk with Composer Bear McCreary about his work on the first season of the Starz show Outlander, the epic new series from Ronald D. Moore based on Diana Gabaldon’s epic novels.
This week we talk with Matt Hines who is a Product Manager for Post Production at iZotope.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe.
In this exclusive SoundWorks Collection video we talk with Tabitha Jackson, Director of the Sundance Institute's Documentary Film Program, Randy Thom, Director of Sound Design at Skywalker Sound and Composer and Sundance Creative Advisors Todd Boekelheide and Miriam Cutler.
This will be the third year the Music and Sound Design Labs take place at the Skywalker Ranch in northern California. The Labs are part of 24 residential labs the Institute hosts annually to discover and foster the talent of emerging independent artists in film, theatre, new media and episodic content.
The Music and Sound Design Labs provide a space for composers, directors and sound designers to collaborate on the process of designing a soundtrack for film. Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.The Music and Sound Design Lab for narrative feature films is a joint initiative of the Institute’s Film Music Program and Feature Film Program, and the Music and Sound Design Lab for documentaries is a joint initiative of the Film Music Program and Documentary Film Program.
This week we spoke with New York based Music Supervisor Randall Poster. His career started working on the 1995 breakout film "Kids" soon followed by Director Wes Anderson indie film "Bottle Rocket". Randall has since collaborated with many talented Directors including Sam Mendes, Martin Scorsese, Richard Linklater, David Fincher and many more.
In this exclusive SoundWorks Collection sound profile we talk with Director Brett Morgen and his sound team including sound designer and re-recording mixer Cameron Frankly and sound and music editor Jon Michaels about their work on the documentary Kurt Cobain: Montage of Heck which is moderated by Michael Coleman from SoundWorks Collection.
Kurt Cobain, legendary lead singer, guitarist and songwriter of Nirvana, “the flagship band of Generation X,” remains an object of reverence and fascination for music fans around the world. His story is told for the first time in KURT COBAIN: MONTAGE OF HECK, a fully authorized feature documentary co-produced by HBO Documentary Films and Universal Pictures International Entertainment Content Group.
Brett Morgen, the Oscar®-nominated filmmaker behind such acclaimed documentaries as the HBO presentations “Crossfire Hurricane,” which celebrated the 50th anniversary of the Rolling Stones, and “The Kid Stays in the Picture,” is writer, director and producer of KURT COBAIN: MONTAGE OF HECK. Visual artist Frances Bean Cobain, Cobain’s daughter, is executive producer.
This week we met up with Re-recording Mixer Greg Russell who has mixed more than 195 feature films and has been nominated for 16 Academy Awards™, 11 Cinema Audio Society awards, two BAFTA and two Emmys, with one Emmy win.
Greg is a long time collaborator with Director Michael Bay and has worked on movies such as Skyfall, Spider-man, Spider-man 2, and The Usual Suspects. He's worked on the entire Transformers series.
This week with spoke with the Playstation Music Group including Senior Music Manager Jonathan Mayer, Music Producer Matt Levin, and Senior Music Editor Scott Hanau about their working supporting various video game titles including God of War, Uncharted, The Order, The Last of Us and InFAMOUS.
This week we spoke with composer Bryan Lee Brown about his recent collaboration on HBO’s show SONIC HIGHWAYS.
SONIC HIGHWAYS which is directed by Dave Grohl is a 8-episode, 8-city look at the recording of the Foo Fighter’s 8th album. The series taps into the music heritage and cultural fabric of eight cities: Chicago, Austin, Nashville, Los Angeles, Seattle, New Orleans, Washington D.C and New York. Writing music for this documentary was personal for Brown who is a long time friend of director Dave Grohl and included interviews and real life events from many of his close friends.
This week we spoke with our good friend Jay Messina who is a world-class engineer/producer based in New York city and has worked on such classic albums by Aerosmith, Kiss, Miles Davis, Supertramp, Patti Smith, Slash, Yoko Ono, and Cheap Trick, to name a few.
we met up with Jay in his upper west side home to talk about his early beginnings working at A&R Studios and the Record Plant where he served as chief engineer for 15 years. Jay was consistently busy recording albums and stayed with Record Plant until he left in 1987. He’s since embarked on a very successful freelance career and In 2005 Jay opened his own studio, West End Sound, where he mixes and masters national and international projects today.
This week we spoke with show-runner and writer Beau Willimon and Composer Jeff Beal about their collaboration on the hit Netflix show House of Cards.
Set in present-day Washington, D.C., House of Cards is the story of Frank Underwood (Kevin Spacey), a Democrat from South Carolina's 5th congressional district and House Majority Whip who, after being passed over for appointment as Secretary of State, initiates an elaborate plan to get himself into a position of greater power, aided by his wife, Claire Underwood (Robin Wright). The series deals primarily with themes of ruthless pragmatism, manipulation and power.
In our conversation we discuss how Jeff and Beau work together to help support the tone and emotion of the show and break down some of their favorite scenes where music played an important role.
Composer Peter McConnell has composed award-winning scores for a diverse range of video games including Broken Age, Hearthstone: Heroes of Warcraft, Plants vs. Zombies: Garden Warfare, the Sly Cooper series, Star Wars: The Old Republic, Psychonauts, Brutal Legend and Grim Fandango. Before working independently, Peter composed in-house at LucasArts contributing to beloved franchises such as Star Wars, Indiana Jones and Monkey Island.
We also discussed one of the most acclaimed adventure games of all time, Grim Fandango which was recently Remastered by Double Fine Studios. The 1998 LucasArts classic was remastered to look, sound, and control even better than the award-winning original release.
This week we spoke with Christopher Willitis, who is a bay are based electronic musician, teacher, composer, producer, photographer, filmmaker and guitar pioneer. His most recent album,Opening, was released on Ghostly International in September 2014.
Chris and a group of artists, coders, designers, musicians, thinkers, engineers, geeks, philanthropists, and entrepreneurs are opening a new intimate performance space housed within The Midway creative complex in San Francisco called Envelop., ENVELOP is a unique audio visual instrument for electronic artists, and a world-class venue for audiences to experience sound and light.
This week we spoke with sound recordist Michael Raphael from Rabbit Ears Audio and Rudy Trubbit who is the Director of Audio for Lionel Trains.
Rudy and Michael worked together on sourcing a new group of steam whistles for Lionel's new products. They traveled to North Carolina and recorded over 15 steam whistles which are incredibly challenging sounds to record because of the high amount of SPL, and lionel’s specific needs.
Although steam whistles emerged in the mid-19th century as a warning device, train whistles quickly became the rail industry’s iconic sound. Many railways even cast their own whistles, branding the sound of their particular train line.
This week we talk with Grammy Award® winning guitarist Andy Summers from The Police about his music documentary based on the memoir One Train Later, Can’t Stand Losing You: Surviving the Police tells of the rise of The Police.
During the band’s phenomenal rise and its dissolution at the height of their popularity in the mid-80s, Summers captured history with his candid photographs.
Utilizing rare archival footage and insights from the guitarist’s side of the stage, Can't Stand Losing You: Surviving the Police brings together past and present as the band members reunite, more than two decades later, for a global reunion tour in 2007.
This week we spoke with Composer Mac Quayle. Mac has written music for over 30 films and television shows and accumulated a long list of credits as a music producer, dance remixer and multi-instrumentalist.
As a composer his music was most recently heard in the hit FX series American Horror Story: Freak Show as well as in a diverse list of feature films and documentaries including Autism in Love which premieres at this years Tribeca Film Festival and is featured in this interview. Some of his collaborations as an additional composer with Composer Cliff Martinez appear in such movies as Drive, Contagion, Spring Breakers, The Normal Heart and in the television series Cold Case.
This week we spoke with production sound mixer and re-recording mixer Stephen Tibbo.
Stephen is a winner of two Emmy Awards and a CAS Award for “Best Production Sound” through his association with the hit ‘mockumentary’ TV series Modern Family. Stephen is also an accomplished sound re-recording mixer who has worked on dozens of webisodes, short and independent films such as Madison County, American Pie 2, Kiss Kiss Bang Bang, Contracted and many others.
We discussed what is has been like to work on more then 130 episodes of Modern Family and the creative and technical challenges to capturing clean tracks while keeping up with the large ensemble cast.
This week we spoke with Composer Penka Kouneva at this years Game Developers Conference in San Francisco.
Penka started her career working alongside Composer Steve Jablonsky, where she composed additional score for game titles such including Prince of Persia: Forgotten Sands and Transformers: Revenge of the Fallen. Penka's music, which has been called "haunting and passionate," is a blend of her Eastern European heritage, classical training and media scoring.
Penka has also worked as an orchestrator and composer on titles grossing $15 billion worldwide: films - Matrix, Transformers, Pirates, Elysium, Ender's Game; and video games such as World of Warcraft, StarCraft II, Gears of War 2 & 3, Sims 3, Diablo III, Need for Speed, and Dragon Age II.
This week we spoke with Finishing Move Inc. who is Brian Trifon and Brian Lee White, two friends and collaborators who recently worked on some incredible video game music projects including Halo: Master Chief Collection for Microsoft, Massive Chalice for Double Fine games, Borderlands 1 and 2, and the Assassin Creed series.
We talk about the incredible success they have had since forming their company just over two years ago and how they continue to navigate the task of managing large budget video game scores and forming their own opinions and choices about their musical compositions. I hope you enjoy!
This week we spoke with Composer and multi instrumentalist Will Bates, who also runs Fall On Your Sword (FOYS) Will's commercial music production company based in Williamsburg, Brooklyn.
Alongside the success of Will’s commercial work he has also collaborated with numerous film directors including Alex Gibney on such films as We Steal Secrets: The Story of WikiLeaks, Going Clear: Scientology and the Prison of Belief and Mike Cahill's Another Earth and I-orgins.
We had a fantastic talk about his creative and collaborative process and dive into the technical aspects of running a music production, scoring, and audio post company.
This week we spoke with Academy Award-winning (BAFTA) composer Jason Graves who has brought his passion for music to such game titles as THE ORDER: 1886 , EVOLVE, TOMB RAIDER and DEAD SPACE.
We discuss how his diverse musical background as a classically-trained composer, drummer, keyboardist, guitarist and world percussionist allow him to compose many different genres of music.
Jason recently finished work on THE ORDER: 1886 (SONY), EVOLVE (2k GAMES) and we talk about how he manages the long production timelines spanning several years and how both these games incorporate his music into the players experience.
This week we had the pleasure to speak with the executive and creative team behind the recently formed post-production sound company Formosa Group.
Joining me in this roundtable discussion include President and COO, Bob Rosenthal, SVP Business Development & Operations Matt Dubin and a fantastic mixture of re-recording mixers, sound designers, and editors including Mark Mangini, Julian Slater, Greg Hedgepath, and Todd Toon.
This week we spoke with re-recording mixer Tom Fleischman who worked on Director Alex Gibney's music bio doc Mr. Dynamite: The Rise of James Brown.
Pioneering the journey from rhythm and blues to funk, James Brown forever changed the face of American music. Mr. Dynamite follows the journey of Brown as he escaped his impoverished Southern roots to become the biggest name in soul music, and one of the most important music talents of the 20th Century.
This week we spoke with Post Production Supervisor Paul Cichocki at Pixar Animation Studio.
Paul joined Pixar in 1999 during the production of toy story 2 and has supervised the post production on all feature and short films since then. He is responsible for many of the efforts that take place outside of the studio including actor recording sessions, music composition and recording, international translations and theatrical quality control. Cichocki also works very closely with the Skywalker Sound team where all of the studios films have been edited and mixed.
This week we spoke with John Midgley who is the production sound mixer on the film The Imitation Game Directed by Morten Tyldum.
The Imitation Game stars Benedict Cumberbatch who portrays Alan Turing who is a British mathematician, cryptanalyst and pioneering computer scientist who was a key figure in cracking Nazi Germany's Enigma code, which helped the Allies win the Second World War.
The film was shot over 9 weeks in various locations around England and we discuss the wide range of gear John uses while working with this talented ensemble.
This week we spoke with the sound team behind Director Richard Linklater’s American coming-of-age drama BOYHOOD.
For this interview I spoke with sound re-recording mixer / supervising sound editor Tom Hammond, sound recordist Ethan Andrus, sound mixer Ben Lowry, and sound recordist Ben Lazard about the technical and creative challenges of following a production which was shot over 12-years.
This week we spoke with Composer Clint Bajakian who worked on Blizzard studios video game World of Warcraft: Warlords of Draenor which sold over 3.3 million copies within the first 24 hours of being released.
Clint took on the task of working alongside six other composers who were all responsible to breathe life and the danger of war into this epic soundtrack that fans have associated with this incredible gaming experience.
This week we spoke with re-recording Mixer Mike Prestwood smith and re-recording mixer Michael Keller who worked on the film Into the Woods. This film is a modern twist on the beloved Brothers Grimm fairy tale put to music and lyrics by Stephen Sondheim and Directed by Rob Marshall.
The music and sound team did a seamless job mixing and editing the actors musical performances and we explore the meticulous process required to bring this theatrical performance to the big screen.
This week we spoke with sound designer and supervising sound editor erik aadahl and supervising sound editor Eathan Van der Rhyn who worked on the recent reboot of GODZILLA, Directed by Gareth Edwards.
For anyone who is a fan of classic monster movies Godzilla is definitely on the top of everyones list. This incredible monster was brought to life by the photo realistic visual effects and dynamic sound work that these creative teams were able to produce.
We were really excited to reconnect with Eric and Ethan to talk about this film that came out earlier in the year and dive back in to the stories and experiences these two had to bring to life the monstrous sound of Godzilla.
This week we spoke with Composer Mark Henry Phillips, who is responsible for the music and audio mix for the extremely popular podcast series Serial.
Serial is produced by WBEZ Chicago and the shows Host and Executive Producer Sarah Koenig unfolds one nonfiction story, week by week, over the course of a season.
We discuss with Mark how he became involved in this project and the incredibly tight production window he has to score and mix each hour long episode the night before it’s posted each week. This is an incredible example of a creative team who know exactly how to pull in an audience and make them listen a little bit closer. So close in fact that you can almost see yourself at the scene of the crime.
This week we spoke with Robert Trujillo, who you might know as the bassist of Metallica and has been producing a music documentary called JACO about legendary bassist Jaco Pastorius.
We discuss how Robert first became interested in profiling such an iconic player and what it was like producing this film which includes interviews with Herbie Hancock, Flea, Wayne Shorter, Jerry Jemmott, Joni Mitchell, Bootsy Collins and Sting.
This week we talk with Director Mark Levinson about his documentary film Particle Fever.
Particle Fever follows six brilliant scientists during the launch of the Large Hadron Collider, marking the start-up of the biggest and most expensive experiment in the history of the planet, pushing the edge of human innovation.
Mark has an incredible background as a former theoretical physicist with a doctorate from UC-Berkeley and ADR supervisor. We also discussed his collaboration with film editor Walter Murch and how they tackled this incredible story which was shot over seven years.
In 1996, award-winning sound designer James LeBrecht launched Berkeley Sound Artists, a full-service post-production sound company. Since that time, BSA has established itself as the "go-to" audio house for documentary and independent filmmakers. Gaming companies and corporate video and event producers trust us to take care of their audio. Educators have hired us and our team of media and application producers to create leading edge digital materials for their ever-expanding content needs.
Berkeley Sound Artists is home to an experienced group of editors, mixers and sound designers. Whether it's the cleanup and polish that your documentary soundtrack needs or the perfect sound design for an independent film, BSA has the talented people and facilities that will give your project creative, pristine sound.
This week we talk with Supervising Sound Editor and Sound Designer Martin Hernandez about his recent collaboration with Director Alejandro González Iñárritu for his film, Birdman.
BIRDMAN or The Unexpected Virtue of Ignorance is a black comedy that tells the story of an actor (Michael Keaton) -- famous for portraying an iconic superhero -- as he struggles to mount a Broadway play. In the days leading up to opening night, he battles his ego and attempts to recover his family, his career, and himself.
Directed by Alejandro Iñárritu, and also starring Zach Galifianakis, Edward Norton, Andrea Riseborough, Amy Ryan, Emma Stone, and Naomi Watts.
This week we talk with Director James Keach abut his recent collaboration with Glenn Campbell and family for the music doc GLEN CAMPBELL: I’LL BE ME.
This portrait of the life and career of American music icon Glen Campbell opens to the viewer the world of the singular talent who created hits like Rhinestone Cowboy, Wichita Lineman and Gentle on My Mind. Winner of the Grammy for Lifetime Achievement award, Glen was the first country music star to cross over to the pop charts. In 2011, when Campbell was diagnosed with Alzheimer’s disease, he joined forces with his family to fight the biggest battle of his life. Featuring interviews with Bruce Springsteen, Bill Clinton, The Edge, Paul McCartney, Jay Leno, Vince Gill and Steve Martin, Glen Campbell...I'll Be Me is an epic human story of love, resilience and the power of song.
This week we talk with Studio Director Jeffrey Wood about his work at Fantasy Studios in Berkeley, CA.
Fantasy Studios is at the Zaentz Media Center, known for its recording of award-winning albums such as Journey's Escape and Green Day's Dookie. Built as a private recording studio for artists on the Fantasy Records label in 1971, it was opened to the public in 1980 for recording, mixing and mastering. Fantasy Studios continues to operate as a full-service recording studio for the music, television, film and gaming industries.
This week we talk with Audio Director/Sound Designer Ben Minto who leads the sound team at the Stockholm based EA DICE studio.
Ben has worked on such game titles as BLACK, Burnout, Battlefield (1943, Heroes, Bad Company), Mirror’s Edge, Medal of Honor, and the upcoming Star Wars Battlefront project.
This week we talk with rock guitarist Joe Perry of Aerosmith about his new autobiography "Rocks: My Life in and out of Aerosmith".
Rocks is an unusually searching memoir of a life that spans from the top of the world to the bottom of the barrel—several times. It is a study of endurance and brotherhood, with Perry providing remarkable candor about Tyler, as well as new insights into their powerful but troubled relationship. It is an insider’s portrait of the rock and roll family, featuring everyone from Jimmy Page to Alice Cooper, Bette Midler to Chuck Berry, John Belushi to Al Hirschfeld.
This week we sit down with veteran music producer Jack Douglas to talk about his beginnings in New York as a music engineer and producer and later working on mega rock albums with Aerosmith, Cheap Trick, New York Dolls, and John Lennon.
In this weeks episode we talk with the BOOM Library group which was founded in 2010 by award winning audio guys from Dynamedion, the biggest European game audio studio based in Mainz, Germany.
The BOOM Library prides itself on providing high end, ultimate sound effects for all media and audio professionals. Our products have this specific edge you will not find anywhere else: every collection comes with a 96 KHz high definition, huge source library of our original recordings + a great variety of designed SFX, ready to use.
This week we talk with the sound and music team behind the film GET ON UP starring Chadwick Boseman as James Brown in this biopic from Director Tate Taylor (The Help).
We talk with Re-recording Mixer Scott Millan and Music Production Supervisor Curt Sobel about the music that is featured in the film and the work that was required to prepare a wide range of archival recordings for the big screen.
Idaho based sound recordist Frank Bry has been featuring his sound effects libraries with the online community since 1998 when he launched therecordist.com.
We spoke with Frank to hear more about his early projects as a Audio Director working on the Emulator III digital sampler and how he transitioned into becoming a passionate and committed recordist and sound effects library company.
Bay Area based engineer and producer Chris Dugan talks with the SoundWorks Collection about his road to Jingle Town Studios. We talk about his journey as a small studio owner to recording the grammy winning Green Day album American Idiot.
Chris also talks about an unreleased Green Day holiday album and his perspective on recording albums with different size budgets.
This week we spoke with John Midgley who is the production sound mixer on the film The Imitation Game Directed by Morten Tyldum.
The Imitation Game stars Benedict Cumberbatch who portrays Alan Turing who is a British mathematician, cryptanalyst and pioneering computer scientist who was a key figure in cracking Nazi Germany's Enigma code, which helped the Allies win the Second World War.
The film was shot over 9 weeks in various locations around England and we discuss the wide range of gear John uses while working with this talented ensemble.