Soundworks Collection

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 br

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 Ju

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 Assau

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

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 an

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),

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

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

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 so

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.