Soundworks Collection

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

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.