Soundworks Collection

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 variet

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. 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 t

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. 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 Moderated by: Carolyn Giardina - The Hollywood Reporter

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, Que

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,” featu

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 signi

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 televis

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

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.