Podcasts about sound supervisor

In this edition Julian and Ashea are joined by Korey Pereira, Mike Thorne and Reid Caulfield, where the guests unpack what they believe helped them develop such successful careers so far, along with sharing some no-nonsense advice about what they would do differently if they were to build an audio business from scratch in 2025. About Our Guests:Korey Pereira is a Dialogue Editor and Sound Supervisor for film and television< a member of the Motion Picture Sound Editors Board of Directors as well as a Professor at the University of Texas at Austin.Mike Thorne is a studio owner in Kent- Rimshot productions: https://www.rimshotstudio.co.uk/Reid Caulfield is an LA based re-recording mixer & sound editor.Finds Of The Week:Julian: The Synths Behind Don't You Want Me - Video by Alex BallMike: Meter Plugs Perception AB Chord Electronics AltoKorey: Tascam DR-07XP Adjustable mics between AB/XY, 32-bit floatSoundfield ST450mkii

Kathy does a fun mash-up interview with Paulette Lifton who also has a voice-over podcast called, "Tales From The Booth". Basically, they interview each other! Paulette is a very talented and versatile Producer, Emmy winning Sound Supervisor, Voice-Casting Director and more. Don't miss it!

In this episode, we go behind the scenes of a live broadcast of BBC Radio 3's Choral Evensong from the chapel of King's College, Cambridge. We hear from the programme's  Producer and Sound Supervisor, as well as from the Director of Music at King's - Daniel Hyde.The Choir of King's College, Cambridge BBC Sounds - Choral Evensong Gordon Stewart demonstrates the famous J J Binns (1855 - 1928) organ at Rochdale Town Hall. Showcasing the distinctive Binns sound and tonal design, Gordon explains the background to the great town hall organ tradition in the North of England.Gordon Stewart - Concert OrganistRochdale Town HallOrgan Specification - NPOREmail the Organ Podcast: theorganpodcast@rco.org.ukhttps://www.rco.org.uk/

When working on a project that features horses on screen, the sound design can be broken up into 3 main categories: Their hooves, Saddle/Bridle, and their Vocalizations and Breathing. None of these are easy to design the sound for. Luckily we have some of the most talented people working in audio post-production chiming in, to tell us how they approach horses in their work. Paula Fairfield, George Haddad, Wylie Statemen, Gary Hecker, Mandell Winter, Robert Stambler, Don Sylvester and Sandra Fox all pony up their hard earned knowledge. Sandra Fox Does a quick Horse Hoof Foley Demonstration (2:24) Wylie Stateman, Don Sylvester and Mandell Winter talk about doing sound for horses in westerns (4:20) Gary Hecker discusses his work for both horse foley and as a voice actor specializing in horse vocalizations (12:15) Robbie Stambler and Paula Fairfield breakdown a specific horse scene from The Rings Of Power (26:30) George Haddad explains his horse sound design workflow on the many western series he has been Sound Supervisor on (31:20) Show Notes: https://tonebenderspodcast.com/277-sound-design-for-horses/ Podcast Homepage: https://tonebenderspodcast.com Tonebenders Host This Episode: Timothy Muirhead

In the new film Música (on Prime) we go into the musical mind of Rudy Mancuso. We learn how everyday sounds are re-contextualized into rhythms and music in his brain while he goes about his day. Because the POV of the film changes from what is real to what Rudy is hearing internally, the sound design and mix are extremely important to sell what is happening to the viewer. Re-Recording Mixers Christopher Aud (also Sound Supervisor) and Aaron Glascock take us through how the action "was recorded on set as if it was an orchestra" using up to 100 microphones, placed perfectly to capture each sound clearly. Then Sound Editorial and Mix had to go through everything that makes up the complex rhythms being played on camera by doors, knives, basketballs, and whatever else is handy. Show Notes: https://tonebenderspodcast.com/259-musica/ Podcast Homepage: https://tonebenderspodcast.com Tonebenders Host This Episode: Timothy Muirhead

In April 2024, I embarked on an unforgettable journey to California, starting with a visit to Skywalker Ranch, Lucasfilm and Rancho Obi Wan. And unfogettable three days.While at Skywalker Ranch I met with Sound Supervisor, Mac Smith and legendary Model Maker, Lorne Peterson.This episode is a report from those three days.Full written report with photosDonate ButtonAll the linksSkywalker Ranch Archives Fly-through from the blu ray boxsetArchives Tour with Don Bies from the laserdisc boxset

On this weeks episode of Pushing Faders, Chris is joined by Lynn Munro.  After starting her career at Pebble Mill before joining O21, Lynn went on to work extensively on the ATP Tennis tour before more recently becoming the Sound Supervisor on Centre Court at Wimbledon.  

In this episode of Art Heals All Wounds, I interview longtime friend Gwen Whittle, a supervising sound editor and three-time Academy Award nominee for the films Avatar, Tron Legacy, and Avatar, The Way of Water. We discuss Gwen's journey from New York to San Francisco, her experiences in the sound editing industry, and the importance of sound in storytelling. We both share stories of belonging and the impact of travel on our perspectives and the importance of listening. Don't forget to go to my website and leave me YOUR story of belonging to feature on a future episode!Buy Me a Coffee!Follow Gwen!Gwen's Page on IMDbFollow Me!●      My Instagram ●      My LinkedIn●      Art Heals All Wounds Website●      Art Heals All Wounds Instagram●      Art Heals All Wounds Facebook

This week on the Unnamed Automotive Podcast, we've got a special guest! Introducing Peter Brown, a self-described "sound guy," who is the supervising sound editor of the blockbuster movie Fast X. Listen to the guys geek out about movie effects, and what makes this movie feel and sound so immersive. From his long history with the Fast franchise, to his experiences mixing sounds for the perfect effects, Peter talks about it all. We hope you enjoy this special guest, and can't wait to hear your thoughts. Don't forget to head on over to our website unnamedautomotivepodcast.com and support Benjamin's latest Kickstarter! Thanks for listening!

Oscar-winning re-recording mixer & supervising sound editor Skip Lievsay takes you behind the sound on the Cohen Brothers' beloved film Barton Fink. He talks about his 38-year collaboration with the Cohen Brothers, what it was like to work on a film pre-Pro Tools, the stories behind the Barton Fink mosquito, the signature door whoosh, that never-ending hotel desk bell, and so much more! Interview by Jennifer Walden, and hosted by Asbjoern Andersen from asoundeffect.com

Today, we have the pleasure of speaking with Sound Supervisor, David McCallum, whose incredible work you hear on every season of The Handmaid's Tale. His specialty is voice-overs which you know well and ADR (dialogue replacement) which you will not have noticed because it's absolutely seamless in this show. But he was kind enough to educate us on not only his integral part but much of the entire sound process on the show. We hope you enjoy learning how it all works as much as we did, as well as hearing David's personal journey to the top of such an interesting career! This episode will include spoilers for new viewers as we discuss the show to date, which is through Season 5, Episode 10. And since you enjoy David's work so much, be sure to check out his latest incredible project, Women Talking, Oscar nominated for Best Picture this week! Please come find us on Instagram at @tht_abovethegageage and Twitter at @AboveGaragePod

Over his career, Frank has worked in both production sound and post-production, more recently focusing on the latter as Sound Supervisor and Sound Designer. Frank's acclaimed film work includes: Perfume: The Story Of A Murderer, Cloud Atlas, Rush, Citizenfour, A Most Wanted Man, In The Heart Of The Sea, A Hologram For The King, Outlaw King, Suspiria, His House, and The Colony. Frank has won two German Academy Awards, for his work on Perfume: The Story Of A Murderer and A Hologram For The King. More recently, Frank was Sound Designer on the acclaimed All Quiet On The Western Front as well as the series Babylon Berlin.

Mandell Winter spent two years showing up for work everyday at a place where he had no job. Sound crazy? Crazy like a fox...After spending years filling in the missing sounds after they take the English words out of films for foreign language dubbing, he realized he wanted something more...and that's exactly what he got. Every team needs a leader and the sound team is no exception. Big features films and hit tv shows look to Mandell to do just that, lead. Join me as Mandell introduces us to the world crazy world of the one person responsible for it all, the sound supervisor.

Fire Walk With Me - David Lynch's haunting prequel to the legendary Twin Peaks series - turns 30 this year, and we're excited to be able to bring you the exclusive story behind the sound of the film in our in-depth talk with Emmy & MPSE award-winning supervising sound editor/sound designer Doug Murray. We also highlight some of the most interesting new independent sound releases. Interview by Jennifer Walden, hosted by Asbjoern Andersen, and with library highlights by Christian Hagelskjaer From

We zitten in de indrukwekkende mixing stage van de STMPD studio's en we praten met Herman over de Slag om de Schelde. Oa. Winnaar van een gouden kalf voor beste sound design. We hebben het vandaag over het geluidsontwerp van deze film en praten over workflows, de uitdagingen van zo'n mega project én Herman's filosofie over wat de taak van een sound designer volgens hem is: geluid ontwerpen als dienende tool om het verhaal beter te vertellen.

We reizen af naar Den Haag, waar we hartelijk worden ontvangen door Danny van Spreuwel. Danny is re-recording mixer en sound supervisor en heeft gewerkt aan de Disney + serie ‘Dat Ene Woord', de film the Lobster en zeer recent een 11 delige Netflix documentaire serie Voices of liberation. We praten over mixage, de natuurdocumentaire Silence of the Tides (nominatie Gouden Kalf sound design 2021), workflows, sound design en Dolby Atmos.

We know that there will be plenty of interviews with writers/directors Daniels, leading star Michelle Yeoh, and the rest of the cast for A24's latest release, "Everything Everywhere All At Once." However, for a film this packed with a deep love for the cinematic art form, we decided to chat with the artisans who worked behind the scenes to make the film the standout critical hit it has become. First up, we have my interview with film editor Paul Rogers who previously collaborated with Daniel Scheinert on "The Death Of Dick Long." Then we have Will Mavity's interview with the sound editor and re-recording mixer, Brent Kiser. Together, the two reveal the secrets, challenges, and rewards of making what is already being healed as one of the best films of 2022. Be sure to check out the film when it releases wide this weekend, and please take a listen to our interviews below. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

It was a such a fun conversation with Paulette Lifton. She is a voice casting, voice director, Feature Writer, Director, Editor, Animation Producer, and Sound Supervisor. She has won 2 Emmy's and 6 MPSE Awards. She has over two decades and owns Oracle Sound and Voice. Check out her links here: https://www.oraclesoundandvoice.com/ https://voice-masters.com/ Facebook Podcast group: https://www.facebook.com/groups/631972061329300  Instagram Podcast: @voiceactingwithvb  We now have a shop on Tee Public and we have shirts, sweatshirts, tote bags, notebooks, mugs, masks and so on. Check out the website and get some fun merch! Thanks so much for listening! http://tee.pub/lic/HzUIT6hAiRM 

This episode of MIAMI NICE hosts Katie Walsh and Blake Howard join one of three people, including Michael Mann, that contributed to both the Miami Vice T.V series and the 2006 film, Sound Designer and Sound Supervisor, Elliott Koretz. Elliott, Katie and Blake discuss working on the Miami Vice pilot, the work of a Sound Supervisor when you're working with Michael Mann, Mann's two-hour sleep cycle in the edit of his films and secret ingredients in the Collateral sound design.Elliott KoretzElliott Koretz is a Sound Editor and Designer known for his work on Collateral (2004), xXx (2002) Game Over, Man! (2018), MIami Vice (2006) and the Miami Vice T.V Series.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Encounter" premiered earlier this year at the Telluride Film Festival, where its leading star, Academy Award-nominee Riz Ahmed, received a special tribute. The film went on to play at the Toronto International Film Festival and is now streaming on Amazon Prime Video. Many have praised the work of Ahmed as a veteran looking to save his sons from an unknown threat, but another element that has been called out is the sound work. Ahmed and supervising Sound Editor Andrew Stirk were kind enough to speak with us about their work on the film, which you can listen to down below. Thank you and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

In this week's Behind the Scenes, audio wizard Rob Ashard chats about master mixing the sound desk on The Graham Norton Show, The Last Leg, Ant & Dec's Saturday Night Takeaway and the hundreds of other programmes with which he has been associated over the last 30 plus years. We reminisce about LWT's Blind Date, Gladiators, Live from Her Majesty's, The Brian Conley Show and ‘saving the day on Saturday Night Live'. Not his words, but director Ian Hamilton's. We also learn how Rob spends his spare time behind the mic at the Santa Pod Raceway and spinning the discs as a much-respected popular DJ on Radio Caroline. Steam, Smoke & Mirrors Theme music composed by John Orchard and arranged by Ian English Facebook: colin.edmonds.73 Instagram: colinedmondsssm Twitter:@ColinEdmondsSSM Website: https://www.steamsmokeandmirrors.com/ Buy Steam, Smoke and Mirrors Available at Caffeine Nights Available at Amazon Available on Audible Buy The Lazarus Curiosity: Steam, Smoke and Mirrors 2 Available at Caffeine Nights Available at Amazon Available on Audible Buy The Nostradamus Curiosity: Steam, Smoke and Mirrors 3 Available at Caffeine Nights Available at Amazon

Dr. Michelle Fournet and Dr. Ellen Garland, the scientists featured in the new Apple TV+ documentary "Fathom," believe the songs of the humpback whales to be perhaps the oldest form of verbal communication between intelligent life on planet Earth. A language and culture which may predate humans' by millions of years.  You may think scientific curiosity then set out to decipher this language so that we would be able to communicate with these fiercely intelligent mammals directly. But as it turns out, that is not exactly the point... "I have given a lot of thought to understand why the scientists are doing what they're doing. And the point is — to understand what the whales are saying to each other. And I think there's a number of reasons for that. One of them is ethical — [not] interfering too much with the natural goings on of another species. But two, I think it's, for them, more interesting. [The whales] have a lot more to say to each other than we have to say to them. I think [Dr.] Michelle [Fournet] would say, 'they're saying everything we need to understand. We just need to actually just listen to them. And maybe not talk for once.'" — Drew Xanthopoulos, Director, "Fathom" So just what are the whales saying to each other? And how did the filmmakers convey this foreign language so beautifully through sound and image? We sat down with Director and Cinematographer Drew Xanthopoulos, along with Sound Supervisor and Re-Recording Mixer Brad Engleking of TBD Post, to ask exactly that. Be sure to https://tv.apple.com/us/movie/fathom/umc.cmc.5dba56sgwst50iuh5h9uqpdsq (check out "Fathom" now on Apple TV+). Please subscribe to Sound + Vision Lab: The Dolby Institute Podcast https://linktr.ee/dolbyinstitute (wherever you get your podcasts). You can also check out the https://youtube.com/dolby (video) for this episode. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com/ (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). 

Have you ever wondered what a supervising sound editor is? What their job is and how they pull it off? Let one of the masters of the profession explain. Mark Mangini is the maestro behind films like Mad Max: Fury Road, Blade Runner 2049, Aladdin, Gremlins, several Star Trek films and many, many others. He's a veteran in the field, starting with cartoons and working his way to winning an Oscar, and beyond. Mangini goes in depth on his craft and his experience, with great insights to share, such George Miller's pyramid of importance for each given shot and moment. When discussing Blade Runner 2049, Mangini describes his and Denis Villeneuve's strategy of melding the sound design and the music until they are indistinguishable from one another. If you want to take your knowledge of filmmaking to the next level, you will want to be familiar with the concepts discussed here. Don't miss out. Learn more about your ad choices. Visit podcastchoices.com/adchoices

As one of the most revered series in television history, it should come as no surprise the the post team from Breaking Bad would know a thing or two about "breaking in" to the industry.  And not just breaking in, but staying in and staying at the top of your game.  Presented by Avid as a live Zoom webinar, editors Kelley Dixon ACE and Chris McCaleb ACE along with sound supervisor Kathryn Madsen entertained and informed a worldwide audience with their collective thoughts, experiences and insights. BIOS Kelley has spent the last thirteen years editing Breaking Bad, Better Call Saul, The Walking Dead, Preacher, HBO's Luck, and Shameless, among others.  She cut her first feature The Goldfinch in 2018.  She has won 1 Emmy for Breaking Bad and has received 9 Emmy nominations and 7 ACE nominations for her work. Chris McCaleb has been editing TV series like Better Call Saul, Halt and Catch Fire, Fear the Walking Dead, Patriot, Lodge 49 and Narcos since 2014.  He has received three Emmy and three ACE nominations for Better Call Saul and Breaking Bad. Kathryn began her career in sound as an assistant editor. She soon moved up to ADR Supervisor and then to Sound Supervisor. Her favorite gigs have been the TV series Breaking Bad and Better Call Saul, and the film Hell or High Water.  In 2013 she was dubbed the "Goddess of Sound" by Aaron Paul and Bryan Cranston Kathryn has been nominated for seven Golden Reel awards, winning in 2020, as well as eight Emmy nominations. During the presentation the team touched on a wide variety of topics including... How important is a demo reel and an agent The impact of being in a union The schedule of a 1hr series Cutting trailers to sharpen your skills The tools they use now vs what they used when they were starting out Avoiding the pigeon holes Visit ExtremeMusic for all your production audio needs Learn Avid editing for free with Media Composer | First Learn Pro Tools for free with Pro Tools | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

"Sound Of Metal" is one of the best films of 2020 and we have a treat for you all today. We conducted three separate interviews talking with key people involved in the making of the film. First up is supervising sound editor Nicolas Becker, who takes us into one of the year's best soundscapes. Then we have writer/director Darius Marder who tells us about the screenplay, working with the deaf community and the actors of the film. And then we have someone who is part of both groups, actor Paul Raci who plays Ruben's mentor Joe in the film. All of them have a unique perspective to lend in these fascinating conversations. We hope you enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

And now for something completely different! For the past fifty years Musical Director, Recording Engineer, Sound Supervisor & Designer Andre Jacquemin has worked with Monty Python on several iconic movies. Join Dan, Michael and Ashley discuss all things Monty Python on this week's episode of The Music History Project.

In this episode, we spoke with Berkeley, CA composer/sound supervisor Jacob Bloomfield-Misrach (IMRSV Sound) on Oxford, UK's Radiohead and their 1997 groundbreaking album OK Computer. We talked with Jacob about the songs from OK Computer that changed his life in music, both personally and professionally. Enjoy this thoughtful perspective on an important album which altered the course of pop music forever!

Audio is important to both Radio and TV, but there are key differences in audio production techniques. Rob Ashard is a Sound Supervisor (“A1” in the USA) for several top TV shows produced in England. Plus his weekly on-air shift at Radio Caroline keeps his heart in radio. This week, Rob shows us some of the large audio “desks” he uses for TV audio production, and describes a technique for low-latency “talkback” setup to remote talent. Show Notes:Television Centre’s TV StudiosGame Creek Video TrucksRadio CarolineGuest:Rob Ashard - Sound Supervisor at Ashard Audio Ltd.Hosts:Chris Tobin, IP-SolutionistKirk Harnack, The Telos Alliance, Delta Radio, & South Seas BroadcastingFollow TWiRT on Twitter and on FacebookTWiRT is brought to you by Broadcasters General Store, with outstanding service, saving, and support. Online at BGS.cc. By Angry Audio - your source for StudioHub cables and adapters, plus audio Gadgets and Gizmos. Audio problems disappear when you get Angry at AngryAudio.com. By Nautel - keeping you connected with your community, and offering informative webinars at Nautel.com/webinars. And by MaxxKonnectWireless - Prioritized High Speed Internet Service designed for Transmitter Sites and Remote Broadcasts. TWiRT location broadcast connections are made possible by MaxxKonnect Wireless.Subscribe to Audio:iTunesRSSStitcherTuneInSubscribe to Video:iTunesRSSYouTube

In the latest Geektown Behind The Scenes Podcast, I'm chatting with Jacob Bloomfield-Misrach, the Sound Supervisor for documentary ‘Crip Camp’, which can be found on Netflix worldwide.From the Obama's Higher Ground production company, ‘Crip Camp’ is directed by Nicole Newnham & Jim LeBrecht and follows a summer camp for disabled teenagers that becomes the landmark platform for the disability rights movement in America. The majority of the doc is archival footage recorded by the 15yr old Jim LeBrecht on a handheld recorder while he was at the camp in the early ‘70s.Jim is an accomplished sound designer himself, along with being a filmmaker and disability rights activist. However, for this project, he handed over the Sound Supervisor reins to Jacob.Jacob is a sound designer, editor and composer who has over 20 years experience working on tv shows such as 'Saturday Night Live', Amazon's 'Tales from the Loop', Marvel's 'Runaways', and 'The North Pole', along with films including 'Bathtubs Over Broadway', 'Decade of Fire', and the upcoming documentary 'You Cannot Kill David Arquette'. In the interview we discuss the painstaking work Jacob and his team went through to maintain the genuine and heartfelt archival footage, whilst also making it useable for the documentary. This resulted in recreating around 80% of the sound by editing and recreating the audio in foley, then distressing it to maintain the original feel.If you are interested in sound mixing and sound design, this is well worth a listen. See acast.com/privacy for privacy and opt-out information.

Jacob Bloomfield-Misrach is a composer, sound designer, and sound supervisor. After getting his start in a music conservatory at the age of 10 he continued a path of musical study, completing a dual degree in Classical Clarinet and Jazz Guitar Performance at NYU. Jacob then integrated himself into the New York music scene by performing in dozens of ensembles and touring the East Coast. Discovering a love of composition and sound design, Jacob formed the post production company IMRSV Sound. Expanding that company nationally and partnering with Berkeley Sound Artists, Jacob now oversees 100 projects per year for clients like Marvel, Google, Apple, and Facebook. He is also a busy composer and enjoys scoring films for ambitious filmmakers. He recently composed the score for the Slamdance Official Selection, "Majnuni," and handled sound for the 2020 Sundance Opening Night Film and Audience Choice Award Winner, "Crip Camp," which is on Netflix and was executive produced by the Obama's production company, Higher Ground. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/americanfilmmaker/support

Filmmaker Mike Nichols who died in 2014, first became famous performing as part of an improvisational comedy duo with writer-director Elaine May-- What began as an improvised skit with Chicago’s Compass Players, expanded to a radio show which then moved to television and ended as a Broadway hit and Grammy winning album.  Nichols the comedian, Nichols the director of movies and television, Nichols the director of plays, Nichols the producer, the writer, whose work earned him four Emmys, a Grammy, an Oscar, and nine Tonys was also an urbane man about town whose wit and humanity preceded him in reputation and attracted the admiration and loyalty of the best actors and artists in television film and theater.From his first film Who’s Afraid Of Virginia Woolf, nominated for 13 Oscars and winner of 5 to The Graduate, Catch 22 Carnal Knowledge Silkwood, Wit, Angels in America and Charlie Wilson’s War he established himself as an important cultural leader in multiple disciplines.In this episode of Frame By Frame, you’ll meet the collaborators who helped craft films such as Angels in America, Primary Colors and Charlie Wilsons War, including music editors Suzana Peric and Nancy Allen, ADR Supervisor Deborah Wallach, re-recording mixer, Lee Dichter, Sound Supervisor, Ron Bochar, Post Production Manager, Ann Gray and Producer and Post Production Supervisor, Paul Levin.You can share this conversation through our website bit.do /framebyframe—or via Twitter at @postny. You can write us at framebyframe@postnewyork.org

In this episode we talk with Andrew Stirk about the sound work he did as the Sound Supervisor and re-recording engineer,  on the recent film "A Private War".  We discuss the films gritty, almost documentary-like approach to sound and the times when they threw the realism out the window to create impactful moments in the story.

In this episode we talk with Andrew Stirk about the sound work he did as the Sound Supervisor and re-recording engineer,  on the recent film "A Private War".  We discuss the films gritty, almost documentary-like approach to sound and the times when they threw the realism out the window to create impactful moments in the story.

Pedro Seminario, the Sound Supervisor at Blizzard, mentioned the phrase "Willingness to Fail" at a sound design panel at BlizzCon 2018. This phrase has stuck with me, as it embodies so much about creativity. That ability to risk failing, to hopefully achieve something better. Have an AWESOME week! Check out our website at http://Be-Great.TODAY. Email me at podcast@be-great.today Be Great TODAY is part of Weekly Awesome (https://weeklyawesome.com/) and Dragon Powered Studios (https://dragonpoweredstudio.eu/).

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.

Invisible actors create worlds of sound in everything you watch - from Jaws to The Wire. With special guests, Carl Gottlieb, screenwriter and author of "The Jaws Log"; Dann Fink, loop group director and co-owner of Loopers Unlimited; Stuart Stanley, Sound Supervisor; loop group members Eboni Booth, Dennis Carnegie, Axel Avin, Jr., Shannon Burkett, Daphne Gaines, and Rashad Edwards; and Will Ralston, supervising sound editor for The Wire, The Deuce, and Treme.  20K is made out of the studios of Defacto Sound and hosted by Dallas Taylor.  This episode was a feature of the incredible podcast Every Little Thing. Go subscribe!   To find out how WeTransfer is proud of their privacy policy, click here.  Go to forhims.com/20k for your $5 trial month.  Consider supporting the show at donate.20k.org  Episode transcript, music, and credits can be found here: https://www.20k.org/episodes/loopgroups

The Pro Audio Suite Podcast is a Bi-Weekly podcast designed for Audio Professionals. With your Hosts George (The Tech) Whittam, Robert Marshall (Audio Engineer/Source Elements Creator/Owner), Andrew Peters (Premier Voice Talent/Co-Owner Realtime Casting), and Darren "Robbo" Robertson  (Studio Owner/Sound Designer), we cover the gamut of Audio issues. From voice Over tips and tools to Project and Professional Studio set up and fit out, to the latest in gear and everything in between. This week we chat about weird things that can happen to audio files when you send them over the internet, Robbo tells a horror story about a project he was recently involved in, and George reveals the piece of Antique gear that gives his studio it's "sound", and we talk with Re-Recording mixer and Sound Supervisor from LA, David Raines. A fascinating look behind the scenes of Hollywood production, and an amazing story about the recording of the dialogue tracks for the Sean Connery blockbuster "The Hunt FOr Red October". Find out more about David .. Don't forget to like our The Pro Audio Suite Podcast copyright George Whitham, Andrew Peters, Robert Marshall & Darren Robertson.   Products or companies we discuss are not paid endorsements. They are not sponsored by, nor do we have any professional or affiliate relationship of any kind with any of the companies or products highlighted in the show.... sadly! It's just stuff we like, think is cool and maybe of interest to you our listeners.   “When the going gets weird, the weird turn professional.” ― Hunter S Thompson  

In this episode we sit down with Nicholas Renbeck for a talk about what it is like to be working as a freelance Sound Supervisor in New York City. We go in depth on his recent Golden Reel and Emmy award winning work for the HBO series “The Night of” as well as other projects he has worked on in his long career. Thanks to C5 Sound for letting us use their studio to conduct the interview.

In this episode we sit down with Nicholas Renbeck for a talk about what it is like to be working as a freelance Sound Supervisor in New York City. We go in depth on his recent Golden Reel and Emmy award winning work for the HBO series “The Night of” as well as other projects he has worked on in his long career. Thanks to C5 Sound for letting us use their studio to conduct the interview.

FXF_S03EP06: MIKE NICHOLS: SUZANA PERIC, NANCY ALLEN, DEBORAH WALLACH, ANN GRAY, LEE DICHTER, RON BOCHAR, PAUL LEVINPLAY PODCAST Filmmaker Mike Nichols who died in 2014, first became famous performing as part of an improvisational comedy duo with writer-director Elaine May-- What began as an improvised skit with Chicago's Compass Players, expanded to a radio show which then moved to television and ended as a Broadway hit and Grammy winning album. Nichols the comedian, Nichols the director of movies and television, Nichols the director of plays, Nichols the producer, the writer, whose work earned him four Emmys, a Grammy, an Oscar, and nine Tonys was also an urbane man about town whose wit and humanity preceded him in reputation and attracted the admiration and loyalty of the best actors and artists in television film and theater. From his first film Who's Afraid Of Virginia Woolf, nominated for 13 Oscars and winner of 5 to The Graduate, Catch 22 Carnal Knowledge Silkwood, Wit, Angels in America and Charlie Wilson's War he established himself as an important cultural leader in multiple disciplines. In this episode of Frame By Frame, you'll meet the collaborators who helped craft films such as Angels in America, Primary Colors and Charlie Wilsons War, including music editors Suzana Peric and Nancy Allen, ADR Supervisor Deborah Wallach, re-recording mixer, Lee Dichter, Sound Supervisor, Ron Bochar, Post Production Manager, Ann Gray and Producer and Post Production Supervisor, Paul Levin. You can share this conversation through our website bit.do /framebyframe—or via Twitter at @postny. You can write us at framebyframe@postnewyork.org. This session was recorded at Bang Music & Audio Post in New York City. Today's podcast recording was engineered by BANG's senior audio engineer, Paul Vitolins. Frame By Frame is expanding to include short interviews spotlighting up and coming new york post professionals talking about their collaborations with bold new filmmakers in snapshot conversations called New York Minute. Listen for upcoming mini-episodes inserted within the larger podcasts soon. We welcome your suggestions - write to us at framebyframe@postnewyorkalliance.org Frame By Frame is a podcast series hosted by editor Isabel Sadurni, that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we'll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we'll share the stories that define New York as an essential ongoing capital of the global film industry. Proudly presented by the Post New York Alliance and the New York Motion Picture Editors Guild. Produced by Isabel Sadurni and Ben Baker.

FXF_S03EP06: MIKE NICHOLS: SUZANA PERIC, NANCY ALLEN, DEBORAH WALLACH, ANN GRAY, LEE DICHTER, RON BOCHAR, PAUL LEVINPLAY PODCAST Filmmaker Mike Nichols who died in 2014, first became famous performing as part of an improvisational comedy duo with writer-director Elaine May-- What began as an improvised skit with Chicago's Compass Players, expanded to a radio show which then moved to television and ended as a Broadway hit and Grammy winning album. Nichols the comedian, Nichols the director of movies and television, Nichols the director of plays, Nichols the producer, the writer, whose work earned him four Emmys, a Grammy, an Oscar, and nine Tonys was also an urbane man about town whose wit and humanity preceded him in reputation and attracted the admiration and loyalty of the best actors and artists in television film and theater. From his first film Who's Afraid Of Virginia Woolf, nominated for 13 Oscars and winner of 5 to The Graduate, Catch 22 Carnal Knowledge Silkwood, Wit, Angels in America and Charlie Wilson's War he established himself as an important cultural leader in multiple disciplines. In this episode of Frame By Frame, you'll meet the collaborators who helped craft films such as Angels in America, Primary Colors and Charlie Wilsons War, including music editors Suzana Peric and Nancy Allen, ADR Supervisor Deborah Wallach, re-recording mixer, Lee Dichter, Sound Supervisor, Ron Bochar, Post Production Manager, Ann Gray and Producer and Post Production Supervisor, Paul Levin. You can share this conversation through our website bit.do /framebyframe—or via Twitter at @postny. You can write us at framebyframe@postnewyork.org. This session was recorded at Bang Music & Audio Post in New York City. Today's podcast recording was engineered by BANG's senior audio engineer, Paul Vitolins. Frame By Frame is expanding to include short interviews spotlighting up and coming new york post professionals talking about their collaborations with bold new filmmakers in snapshot conversations called New York Minute. Listen for upcoming mini-episodes inserted within the larger podcasts soon. We welcome your suggestions - write to us at framebyframe@postnewyorkalliance.org Frame By Frame is a podcast series hosted by editor Isabel Sadurni, that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we'll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we'll share the stories that define New York as an essential ongoing capital of the global film industry. Proudly presented by the Post New York Alliance and the New York Motion Picture Editors Guild. Produced by Isabel Sadurni and Ben Baker.

Composer Carter Burwell and sound designer/mixer Skip Lievsay talk about their remarkable 30-year collaboration with the Coen Brothers and share stories starting with Blood Simple in 1985 and continuing through all 17 of the Coen’s films. Scenes are discussed from Raising Arizona, Miller’s Crossing, The Man Who Wasn’t There, Burn After Reading, and you’ll learn how it turns out there is actually musical score in No Country for Old Men. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

Director Joe Wright and his sound supervisor Craig Berkey talk about using sound design to build worlds as diverse as Churchill’s World War II London in Darkest Hour, the synesthezia of a homeless schizophrenic in The Soloist, or a fantastic Neverland in Pan. Wright and Berkey explore why recording Foley in the real Churchill war rooms was important, how working in the London rave scene after college influenced Wright’s use of sound, and why having the score to play for the actors on set is important. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

Darren Aronofsky is one of the most innovative and boundary-pushing directors working in cinema. Join him in conversation with his longtime sound supervisor Craig Henighan as they discuss their work on Requiem for a Dream, The Fountain, Black Swan, Noah, and mother! In this episode Aronofsky talks about how Mother! ended up without a musical score, creating the character of the house, and how each element of the track is deliberately crafted. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

Triple Oscar®-winner Richard King discusses his remarkable collaboration with Christopher Nolan, from The Prestige to Dunkirk. https://linktr.ee/dolbyinstitute (Subscribe) to the Dolby Institute Podcast. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). Movie buff? Follow Dolby Cinema on https://www.instagram.com/dolbycinema/?hl=en (Instagram).

Three-time Academy Award winning sound supervisor Richard King discusses his remarkable collaboration with the director Christopher Nolan, which began with The Prestige and has continued through this summer’s Dunkirk. Richard talks about creating the sirens of the German dive-bomber planes, and addresses some of the controversies of Nolan’s mixes. He also touches on working with other directors including Paul Thomas Anderson, Sam Shepard, and Nicolas Roeg. Richard also answers questions from other sound designers. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

Writer/director Edgar Wright joins sound designer Julian Slater in conversation about their remarkable five film collaboration, starting with Shawn of the Dead and continuing through their most recent film, Baby Driver. In this episode you’ll learn why Wright records sound on location scouts, dissect the sonic components of the infamous “Tequila” shoot-out scene from Baby Driver, and hear why Julian Slater feels Dolby Atmos was designed for the film. In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music.

In this episode Timothy sits down with Bob Hein, in his Studio in New York City, for a one on one interview about Mr. Hein's impressive career as a Sound Supervisor. He talks about what it is like to work with great directors (Wes Anderson, Woody Allen, Lee Daniels, Jim Jarmusch), how the industry in NYC has changed in recent years, and lots more. This is a man who has seen it all in this industry and has great stories to tell.

In this episode Timothy sits down with Bob Hein, in his Studio in New York City, for a one on one interview about Mr. Hein's impressive career as a Sound Supervisor. He talks about what it is like to work with great directors (Wes Anderson, Woody Allen, Lee Daniels, Jim Jarmusch), how the industry in NYC has changed in recent years, and lots more. This is a man who has seen it all in this industry and has great stories to tell.

Phil Stockton is a long time Sound-Supervisor based in New York City. In this episode we talk to him about the work he did on Martin Scorsese's new film "Silence". Lots of effort went into creating the soundscape of this story that takes place 400 years ago. As a bonus we start off with a quick hit of Tom Fleischman's experience as the re-recording mixer of the film.

Phil Stockton is a long time Sound-Supervisor based in New York City. In this episode we talk to him about the work he did on Martin Scorsese's new film "Silence". Lots of effort went into creating the soundscape of this story that takes place 400 years ago. As a bonus we start off with a quick hit of Tom Fleischman's experience as the re-recording mixer of the film.

The fate of the earth lies in the hands of two stoners from Los Angeles. "Cheech & Chong" meets "Star Trek." Starring Bryan Irzyk, Brandon Barrick, Angi Lenhart, Troy Vincent, and Mort Burke. Featuring Julia Irzyk, Shannon McKain, Steve Wright, Matt Keene, Debbie Friedman, Sky King, Nathan Ballard, Darius De La Cruz, and Greg Shouse. Written & Edited by Steve Wright. Produced & Directed by Matt Keene. Sound Supervisor, Jeff Ecker. Artwork by Dakota Bardy. In memory of Joe Wright. A Manning Road Production.