Soundworks Collection

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: Annivers

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

American automotive designer Carroll Shelby and fearless British race car driver Ken Miles battle corporate interference, the laws of physics and their own personal demons to build a revolutionary vehicle for the Ford Motor Co. Together, they plan to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966. Paul Massey - Re-recording Mixer Don Sylvester - Supervising Sound Editor David Giammarco - Re-recording Mixer & Sound Designer Moderated by Glenn Kiser, Dolby Institute Recorded at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.

We chat with the Obsidian Entertainment sound team to discuss their recent video game release, The Outer Worlds! Justin E. Bell, Studio Audio Director – Audio Director, Composer Scott Gilmore, Senior Audio Designer – Creatures and Gameplay Zachary Simon, Senior Audio Designer – Weapons and Foley Dylan Hairston, Audio Designer – Ambiences and Emitters Jerrick Flores, Technical Designer – Chatter, Spatialization, and Optimization Lost in transit while on a colonist ship bound for the furthest edge of the galaxy, you awake decades later than you expected only to find yourself in the midst of a deep conspiracy threatening to destroy the Halcyon colony. As you explore the furthest reaches of space and encounter a host of factions all vying for power, who you decide to become will determine the fate of everyone in Halcyon. In the corporate equation for the colony, you are the unplanned variable. www.obsidian.net

Carnival Row is an expansive, visually and aurally opulent murder mystery series from Amazon. Join 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.