Soundworks Collection

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.

This week we talk with Composer Jack Wall about his work on the critically acclaimed Call of Duty: Black Ops III video game. Jack Wall’s distinguished musical career includes composing for film, television, video games and concerts as well as his early years producing and engineering albums for recording artists. Renowned for his rich, cinematic scores for popular franchises such as Call of Duty, Mass Effect, Myst, Splinter Cell and Jade Empire, Wall’s repertoire spans a diverse range of musical styles and influences, while working with the world’s top orchestras and musicians. Wall is celebrated among a Hollywood elite of composers invited to score one of the most successful entertainment properties, Call of Duty. His score for Black Ops II delivered in grand fashion an adrenaline-fueled, deeply emotional and adventurous musical palette that took the blockbuster series in new sonic directions. In 2013 Wall received Best Video Game Score at the ASCAP Film and TV Music Awards. Collaborating with the world’s

In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composers Mychael and Jeff Danna about their recent work on the Pixar film The Good Dinosaur. In this enchanting computer-animated fantasy set in a world where dinosaurs never became extinct, an amiable young Apatosaurus named Arlo (voiced by Raymond Ochoa) befriends a prehistoric human child (voiced by Jack Bright) while he attempts to reunite with his dinosaur family. Arlo lost his father in a storm and was swept away by a vicious river current, stranding him in a frightening new place, making him desperate to get back home. Peter Sohn directs this heartwarming Pixar adventure, with Jeffrey Wright, Frances McDormand, Anna Paquin and Sam Elliott also contributing voice work.

Composer David Lang discusses his collaboration with Director Paolo Sorrentino crafting the music for his recent film YOUTH. Fred and Mick, two old friends, are on vacation in an elegant hotel at the foot of the Alps. Fred, a composer and conductor, is now retired. Mick, a film director, is still working. They look with curiosity and tenderness on their children's confused lives, Mick's enthusiastic young writers, and the other hotel guests. While Mick scrambles to finish the screenplay for what he imagines will be his last important film, Fred has no intention of resuming his musical career. But someone wants at all costs to hear him conduct again.

In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer Carter Burwell about his work on the film: Carol, Mr. Holmes, Anomalisa, Legend and Hail, Caesar! Carter Burwell has composed the music for more than 80 feature films, including Blood Simple, Raising Arizona, Miller's Crossing, Barton Fink, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Velvet Goldmine, The General’s Daughter, Three Kings, Being John Malkovich, O Brother, Where Art Thou? (BAFTA Nominee for Film Music), Before Night Falls, A Knight’s Tale, The Rookie, Adaptation, Intolerable Cruelty, The Ladykillers, No Country for Old Men, In Bruges, Burn After Reading, Twilight, Where the Wild Things Are (Golden Globe Nominee for Best Original Score), A Serious Man, The Blind Side, The Kids Are All Right, True Grit, Twilight: Breaking Dawn – Part 1 & 2, and The Fifth Estate. Burwell most recently wrote the music for the mystery drama MR. HOLMES starring Ian McKellen directed by Bill C

This week we talk with sound mixer Geoffrey Patterson who worked with Director Cary Fukunaga on his most recent film "Beasts of No Nation" which is currently available on Netflix. Geoffrey's additional film and tv credits include True Detectives, House of Lies, Transformers: Revenge of the Fallen, Deadwood, The X Files movie, Twister, and The Usual Suspects.

Supervising Sound Editors, Re-recording Mixers, Sound Designers Craig Henighan and Will Files have recently joined forces to form Pacific Standard Sound to offer a wider range of audio services for their already impressive roster of film directors and clients including JJ Abrahams, Darren Aronofsky, Matt Reeves, Jeff Nichols, Ben Stiller and Shawn Levy.

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 FB

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 introd

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.