Podcasts about supervising sound editor

NOTE: This episode contains SPOILERS from the second season and season finale of Severance. Today we let Kier guide us into the extraordinary sound work of season two of "Severance," the hit Apple TV+ series from creator Dan Erickson and director Ben Stiller. Focusing on the groundbreaking storytelling of episodes 207 and 210, Supervising Sound Editor, Sound Designer, and Re-recording Mixer Jacob Ribicoff, Re-recording Mixer Bob Chefalas, and David Schwartz (the Production Sound Mixer on those two episodes), break down how they crafted the show's eerie, minimalist sonic landscape. They explore everything from the show's surreal dreamlike ambiences and rhythmic sound/music interplay, to that unforgettable marching band sequence in the season finale. “One of the primary objectives, according to Ben [Stiller], was that Lumon should be a quiet place, a place with the air sucked out of it… I thought, wouldn't that be really interesting to create room tones out of breathing, out of breath, and actually just fold those in and mix those in with normal room tones? So there's kind of some animal breath and some human breath in there — like, very long… just a breath that just goes on for an entire scene.” —Jacob Ribicoff, Supervising Sound Editor, Sound Designer, and Re-recording Mixer, “Severance” Be sure to check out “Severance,” now streaming on AppleTV+, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

In this episode of the Geektown Behind The Scenes podcast, we're heading into the world of Gilead to explore the incredible sound design of The Handmaid's Tale, now airing its sixth and final season on Channel 4 & Prime Video in the UK, and Hulu in the US.Host Dave Elliott is joined by David McCallum, supervising sound editor specialising in dialogue and ADR, and Brennan Mercer, sound designer and sound effects editor. Together, they reveal how the sound of The Handmaid's Tale is crafted — from the oppressive quiet of Gilead to the chaos of refugee trains.We talk about:How ADR and sound effects shape character and emotionElisabeth Moss's passion for sound as a directorCreating motifs like the "Gilead theme" with tape delayThe intense work behind the infamous “milk train” sceneWhy subtle sound design can be more powerful than big effectsWhether you're into sound design, filmmaking, or just love The Handmaid's Tale, this is a fascinating deep dive into one of TV's most uniquely crafted soundscapes.

Supervising Sound Editor, Re-recording Mixer, and Sound Designer Mixer David Acord and Supervising Sound Editor and Dialogue & ADR Supervisor Margit Pfeiffer join us to discuss the powerful, visceral sound of the final season of "Andor." As one of the darkest and most grounded series in the Star Wars galaxy, "Andor" features a deeply cinematic soundscape — ranging from brutal hand-to-hand combat to haunting silence, immersive crowd scenes, and intentionally fuzzy radio transmissions. David and Margit break down their collaborative process, the evolution of the sonic language across the series, and how they used Dolby Atmos® to bring audiences even deeper into the world of espionage, rebellion, and sacrifice.“We want to make sure that the audience feels the threat and the danger of these weapons. The impact of those weapons has to be violent… A laser whiz by has to strike fear.”—David Acord, Supervising Sound Editor, Re-recording Mixer, and Sound Designer, "Andor"Be sure to check out “Andor,” all episodes now streaming on Disney+, in Dolby Vision® and Dolby Atmos®.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode on YouTube.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

JOE DZUBAN is a Sound Designer and Re-Recording Mixer who has worked his way up in key positions including Sound Engineer, Recordist, Dialogue Editor, Sound Effects Editor, Supervising Sound Editor, to Sound Designer and Re-Recording Mixer on over 100 movies including AQUAMAN AND THE LOST KINGDOM, THE KISSING BOOTH 1, 2 and 3; AQUAMAN, STAR TREK BEYOND, CONJURING 1 and 2, FAST AND THE FURIOUS 6 and 7 and INSIDIOUS 1 and 2. He's also been nominated for the Golden Reel Award five times.   Host Jason E. Squire is Editor of The Movie Business Book and Professor Emeritus, USC School of Cinematic Arts.Music: “The Day it All Began and it All Ended” by Pawel Feszczuk (License: CC by 4.0). 

Casey's work includes: A Good Person, Bad Times At The El Royale, Concrete Cowboy, Zack Snyder's Justice League, John Wick Chapter 4, The Nowhere Inn, The Accidental Getaway Driver, Mussolini: Son Of The Century, and From The World Of John Wick: Ballerina.

Grant's film credits include: The Sound Of Silence, Hillbilly Elegy, To Leslie, Knock At The Cabin, Noelle, and Nyad. His television work includes: The Walking Dead: Dead City and Full Swing. Grant's more recent films include: Mother Couch and Mermaid, and his upcoming work includes Outcome and Eleanor The Great.

Welcome to Following Films, the podcast where we explore the creative minds behind the movies and shows we love. I'm your host, Chris Maynard.Today, we're diving into the sonic world of Invincible—Amazon's hit adult animated superhero series that's equal parts heartfelt and harrowing. If you've been following the journey of 17-year-old Mark Grayson as he discovers his powers and unravels the dark truth about his father, Omni-Man, then you already know this show pulls no punches—visually or sonically.Joining me is Brad Meyer, MPSE, a Golden Reel-winning and Emmy-nominated Supervising Sound Editor whose work has helped define the visceral, emotional landscape of Invincible. Brad brings over a decade of experience in post-production audio and has lent his talents to projects across Netflix, HBO, Hulu, Nickelodeon, and more. From creepy horror flicks to energetic animated adventures, Brad's sound design isn't just about effects—it's about storytelling.In this episode, we'll talk about how sound shapes the world of Invincible, what it takes to balance superhero spectacle with grounded emotional beats, and why audio is one of the most powerful—and often overlooked—tools in filmmaking.So turn it up and settle in—this is Following Films.

Robert Egger's latest film, Nosferatu, is loaded with dread. That feeling of dread is largely delivered by the amazing sound design created by Damian Volpe (Sound Designer, Re-recording Mixer & Supervising Sound Editor), Steve Little (Supervising Sound Editor, Dialog Editor & Supervising ADR Editor) and the rest of the sound team. Egger's instructions were to base everything on organic sounds, so eerie ambiences were built out of the actors breathing and machines were built to create haunting winds. They also discuss the voice processing that was done to create the iconic voice of Count Orlock and lots more. Please consider donating through the M.P.S.E donation portal to California Wild Fire Relief. https://www.justgiving.com/page/mpselafirerelief If you donate now M.P.S.E. will match your donation, effectively doubling the amount that will get to those in need. Tonebenders has already donated this way, and hope that listeners will follow. This episode is sponsored by Sound Ideas, check out their 50% off sale happening now until Jan 31st: www.sound-ideas.com Notes: https://tonebenderspodcast.com/296-nosferatu/ Podcast Homepage: tonebenderspodcast.com This episode is hosted by Timothy Muirhead

Michael Kammes is a technology visionary in the media and entertainment industry, with nearly 20 years of experience designing and building production and post-production workflows, systems, and facility integrations. As Senior Director of Innovation at Shift Media, Michael plays a pivotal role in shaping cutting-edge solutions for the industry. He's also held leadership roles at BeBop Technology and Key Code Media, showcasing his expertise in cloud-based post-production and systems integration. Beyond the technical side, Michael's creative work includes roles as a Dialogue Editor, Supervising Sound Editor, and Re-Recording Mixer. An Apple Certified Trainer, Avid Certified Support Representative, and member of Motion Picture Sound Editors, Michael is a sought-after speaker on trends in post-production and hosts the popular "5 THINGS" podcast, which draws an audience of industry insiders worldwide. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. We are always up for new ideas! You can find OWC RADiO at OWCRadio.com, on Spotify, Apple Podcasts and all other podcatchers! Michael Kammes has visited OWC RADiO on several occasions and if you'd like to follow him further, visit any of the following links: 1. About his book on Remote Collaboration, 2. Virtualizing Post Production in the Cloud with Bebop Tech, 3. NAB 2019 ABOUT OWC: Other World Computing, under the leadership of Larry O'Connor since he was 15 years old, has expanded to all corners of the world and creates hardware and software that make the lives of creatives and business-oriented companies faster, more efficient and more stable.  Go to MacSales.com for more information and to discover an ecosystem that serves your needs. As Larry says, “Our dedication to excellence and sustainable innovation extends beyond our day-to-day business and into the community. We strive for zero waste, both environmentally and strategically. Our outlook is long-term, and in everything we do, we look for simplicity in action and sustainability in practice. For us, it's as much about building exceptional relationships, as it is about building exceptional products.” ABOUT CIRINA CATANIA: Cirina Catania, is a successful filmmaker, former Sr Vice President of Worldwide Marketing at MGM-UA and United Artists, and one of the co-founders and former director of the Sundance Film Festival. She is the founder, CEO, and Executive Director of the non-profit, High School Media Collective. Cirina is Founder/Lead Creative at the Catania Group Global, Showrunner and Host of OWC RADiO and partner, Lumberjack System, and Tech Ambassador for companies such as Blackmagic Design.  She is a long-time member of the Producers Guild, Writers Guild, Cinematographers Guild, the National Press Club, the National Press Photographer's Association, and more. She has worked as a writer, director, supervising producer, cinematographer, post-producer, or marketing exec on over 150 film, television, and new media projects for the big screen as well as for networks such as National Geographic and Discovery.

"Dune: Part Two" was one of 2024's biggest films critically, financially, and now, awards-wise, as it's on a similar run as the first film was in 2021 through early 2022. "Dune" went on to receive 10 Oscar nominations and six wins: Best Cinematography, Best Film Editing, Best Production Design, Best Original Score, Best Sound, and Best Visual Effects. The second film impressively ups the scale, delivering one of the grandest big-screen achievements audiences have experienced in their lifetimes, and we're proud to have many members of the crew here to dive back into the sands of Arrakis with us as Oscar voting gets underway for the 97th Academy Awards. First, we have my interview with Academy Award-nominated Director, Co-Writer and Producer Denis Villeneuve, followed by Brendan Hodges's conversation with Academy Award-winning Cinematographer Greig Fraser, then we have Giovanni Lago's interview with Academy Award-winning Costume Designer Jacqueline West, then we have Dan Bayer's interview with Academy Award-winning Production Designer Patrice Vermette and Set Decorator Shane Vieau, followed by my interviews with Academy Award-winning Film Editor Joe Walker, Academy-Award winning sound team consisting of Supervising Sound Editor & Sound Designer Richard King, and Re-Recording Mixers Ron Bartlett and Doug Hemphill, and then we end on my conversation with Academy Award-winning Visual Effects Supervisor Paul Lambert. Please be sure to check out the film, which is now available to rent digitally from Warner Bros. Pictures or stream on HBO Max and is up for your consideration for this year's Academy Awards in all eligible categories. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Visionary director Robert Eggers joins forces with acclaimed sound artist Damian Volpe to deliver a stunning reimagining of the classic vampire tale “Nosferatu.” In this episode, Eggers and Volpe take us behind the scenes to discuss how they used cutting-edge sound design and Dolby Atmos® to create a truly terrifying and immersive experience. From the spectral sounds of Count Orlok's castle to the brilliant use of silence and dynamic range, this conversation unpacks the intricate audio techniques that make the film so unforgettable.“I mean, it begins even before [the first scene] with the quote-unquote logo animations. [We] recreated silent film-style logos… with audio analog hiss and some wind, which morph into each other. You know, I think these horror film cold openings that end with a jump scare, when they're done successfully… keep you on edge of your seat for the rest of the film because… you know that anything's possible.”—Robert Eggers - Director, Writer, and Producer, “Nosferatu”Joining today's conversation: - Damian Volpe - Sound Designer, Supervising Sound Editor, and Re-recording Mixer - Robert Eggers - Director, Writer, and ProducerDamian Volpe also wanted to thank his fellow team members: - Steve Little - Sound Supervisor - David Giammarco - Re-recording Mixer - Michael Fentum - Sound Designer - Heikki Kossi - Foley Artist - Shelley Rodin - Foley Artist - Joel Raabe - Foley Editor/Mixer - Grace Wong - Assistant Sound Editor - Tim Hands - ADR Editor - Samir Foco - Sound Effects EditorBe sure to check out “Nosferatu” in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®, when it premieres in the U.S. on December 25th.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Four members of the sound team from director Jacques Audiard's new film, Emilia Pérez, joined me for a talk about how they tried to use the sound design to make a new kind of musical. Cyril Holtz (Sound Supervisor & Re-Recording Mixer), Aymeric Devoldère (Supervising Sound Editor), Hortense Bailly (Supervising Voice Editor) and Carolina Santana (ADR Supervisor) share their workflows on this complicated film. Including dealing with songs featuring pre-recorded vocals, live singing from on set and ADR recorded months later and making it all flow seamlessly. This episode is sponsored by Sound Ideas new Golf Sound Effects library: https://www.sound-ideas.com/Product/2441/Golf-Sound-Effects Show Notes: https://tonebenderspodcast.com/289-emilia-perez/ Podcast Homepage: https://tonebenderspodcast.com This episode is hosted by Timothy Muirhead

Jimmy is an award-winning Film and Television Producer, Educator, and Supervising Sound Editor. He is credited on more than 500 productions and has won 2 Emmys and 5 Golden Reel awards. Jimmy is the founder of award-winning training operations for Autistic adults and disabled Veterans.

We often talk about how gorgeous the Alien films look. How lived-in they feel, how great the ship designs are, how iconic the creatures have become. But so much of what makes the Alien Saga special isn't visual at all: it's what they sound like. In today's episode, Jaime, Patrick, Christian, and Adam chat with Lee Gilmore, Alien: Romulus' Supervising Sound Editor, about the huge honor—and challenge—of adding to that rich sonic history with this new film.  Wondering how they got the Corbelan IV to sound so real? How they managed to make the xenomorph's iconic scream feel more terrifying than ever? Join as as Lee takes us on a journey through the amazing sound design of Alien: Romulus. Echo Probe concept art by Pablo Dominguez. // Apple Podcasts: bit.ly/perfectorganismitunes // For more on this and our other projects, please visit www.perfectorganism.com. // If you'd like to join the conversation, find us on our closed Facebook group: Building Better Worlds // To support the show, please consider visiting www.perfectorganism.com/support. We've got some great perks available! // And as always, please consider rating, reviewing, and sharing this show. We can't tell you how much your support means to us, but we can hopefully show you by continuing to provide better, more ambitious, and more dynamic content for years to come

Coll's feature film work includes: Trees Lounge, The Fog Of War, Restrepo, James White, Christine, Mother, The Whale, Barbie, and Mountain Queen: The Summits Of Lhakpa Sherpa. Coll's television work includes the series: Chasing the Moon, The Jinx: The Life And Deaths Of Robert Durst, and Dr. Death.

Vancouver based Eugenio Battaglia joins us to go over his work as Supervising Sound Editor, Sound Designer and Re-Recording Mixer on Longlegs. The films amazingly successful theatrical run was fuelled by the unique sounds that drive this movie. Eugenio was instructed by director, Oz Perkins, that he wanted the film's soundscape to feel like rock & roll, so the film is infused with subtle sounds of vinyl records, things going backwards, and a vibe of being gritty and unhinged. There are a lot of fun and interesting sound decisions in Longlegs, from unusually loud foley and breathing to the Heartbeat of Hell! Don't forget to take a few minutes to do our listener survey at https://tonebenderspodcast.com/listener-survey/ Show Notes: https://tonebenderspodcast.com/272-longlegs/ Podcast Homepage: https://tonebenderspodcast.com Tonebenders Host This Episode: Timothy Muirhead

Christina Wen, Supervising Sound Editor and Re-recording Mixer, joins Susan and Ben to discuss Presumed Innocent, a 2024 TV show. Christina shares what it's like having a career as a supervising sound editor and re-recording mixer for film, tv and video games. She discusses the importance of having a mentor, her role as a voting member of the Television Academy, and creating tension through sound on Presumed Innocent. Christina plays our “Law On Film” game. Follow Christina on Instagram @christina.yue.26, LinkedIn or IMDb.  Presumed Innocent is streaming now on Apple TV+.  Rate and review on Apple Podcasts to help us reach more listeners. Find out about our guests and upcoming events by following us at Facebook, Twitter, Instagram, and TikTok, contribute to our Patreon, or shop at lifeinthecredits.com. Life in Our Credits Hosts: Susan Swarner and Ben Blohm Executive Producer: Michelle Levin Logo Art: Melissa Durkin Music Composer and Performer: Steve Trowbridge --- Support this podcast: https://podcasters.spotify.com/pod/show/lifeinthecredits/support

Episoe 104 - This time I chat with Ahsoka producer and ILM VFX Supervisor, Richard Bluff along with his colleague Matthew Wood, Supervising Sound Editor.Key takeaways:The collaboration between sound and visual effects departments is crucial in creating a cohesive and immersive experience for the audience.Early involvement of sound in the production process helps inform the visuals and enhances the storytelling.The use of practical effects, such as miniatures, can provide a unique and grounded look to the visuals.Designing and creating sound for ships in the Star Wars universe involves a balance between familiar elements and new, unique sounds.The organic and mysterious nature of the Eye of Sion and the witches' voices in Ahsoka adds depth and intrigue to the storytelling.The balance between using technology and practical effects is a constant consideration in visual effects production. The use of LED screens allowed for interactive lighting and realistic reflections in the visual effects of 'The Mandalorian' and 'The Book of Boba Fett'.Collaboration between the visual effects and sound departments was crucial in creating the desired effects and atmosphere for the shows.The Howlers were created using a combination of motion bases, horses, and visual effects to achieve a realistic and dynamic performance.The creative team is constantly looking for new techniques and technologies to improve the visual effects and sound design of the series.Ahsoka is available to watch on Disney+.Enjoy!Donate ButtonAll the links

This week we discuss the sound, music, and cinematography of “Masters of the Air,” the epic WWII limited series from Apple TV+. With so many films and shows about World War II over the past several decades, one of the biggest challenges of the series was keeping things fresh. So the creative teams took some ingenious approaches to give every episode and action sequence a unique look, sound, and feel.“Because there's so much time spent in the air with these planes, and so many different planes, we really wanted to sell the geography of each location within each plane and also each and every different plane. So one of the ways that we did that was that Mike [Minkler] and I had the different sequences cut by different people, with a fresh take. Or I did this particular sequence, and then I would hand it off to another editor. Or they would do that, and then pass it to me. And so we had a lot of interplaying around with each other's material, which I think keeps it really fresh, whilst not just copying and pasting material. When you have this much time in the air, you really need to keep the listener involved and their ear kind of excited at all times.”—Jack Whittaker, Supervising Sound Editor, “Masters of the Air”Joining our conversation:- Supervising Sound Editor Jack Whittaker - Re-recording Mixer Duncan McRae- Re-recording Mixer Michael Minkler- Composer Blake Neeley- Cinematographer Jac FitzgeraldBe sure to check out “Masters of the Air” on Apple TV+.Please subscribe to Dolby Creator Talks, wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

JAMES DAVID REDDING III is a Supervising Sound Editor, Sound Designer, and Re-recording mixer with multiple prestigious awards for his work sculpting soundscapes for television and film productions. You have heard his work on The Queen's Gambit, The Americans, Carol, The Patient, Amazon Prime's Mr. & Mrs. Smith, and many others. Our host, Cirina Catania, described him as an orchestra leader for sound in this interview and had a great time asking him about  how he created sound for some of this generation's most iconic productions. Listen in, we've got lots of sound secrets for you! If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. We are always up for new ideas! You can find OWC RADiO at OWCRadio.com, on Spotify, Apple Podcasts and all other podcatchers! ABOUT OWC: Other World Computing, under the leadership of Larry O'Connor since he was 15 years old, has expanded to all corners of the world and works every day to create hardware and software that make the lives of creatives and business-oriented companies faster, more efficient and more stable.  Go to MacSales.com for more information and to discover an ecosystem that serves your needs. As Larry says, “Our dedication to excellence and sustainable innovation extends beyond our day-to-day business and into the community. We strive for zero waste, both environmentally and strategically. Our outlook is to the long term, and in everything we do, we look for simplicity in action and sustainability in practice. For us, it's as much about building exceptional relationships, as it is about building exceptional products.” ABOUT CIRINA CATANIA: Cirina Catania, is a successful filmmaker, former Sr Vice President of Worldwide Marketing at MGM-UA and United Artists and one of the co-founders and former director of the Sundance Film Festival. She is the founder, CEO and Executive Director of the non-profit, High School Media Collective. Cirina is Founder/Lead Creative at the Catania Group Global, Showrunner and Host of OWC RADiO and partner, Lumberjack System, as well as Tech Ambassador for companies such as Blackmagic Design.  She is a long-time member of the Producers Guild, Writers Guild, Cinematographers Guild, the National Press Club, National Press Photographer's Association, and more. She has worked as a writer, director, supervising producer, cinematographer, post-producer, or marketing exec on over 150 film, television and new media projects for the big screen as well as for networks such as National Geographic and Discovery. Cirina is based in San Diego, D.C. and Berlin when she is not on the road filming in the Amazon or other exotic locations. She is very proud of the fact that she has not yet contracted Malaria and that after all these years, she still loves her job!

We are back with another Geektown Behind The Scenes Podcast, and this week Dave is chatting with the sound team behind Apple TV+'s epic WW II drama ‘Masters Of The Air' - Supervising Sound Editor, Jack Whittaker, and Re-Recording Mixers Duncan McRae and Michael Minkler.‘Masters Of The Air' stars Austin Butler and Callum Turner, and follows the incredible true story of the 100th Bomb Group, a B-17 Flying Fortress heavy bomber unit in the US Eighth Air Force, based in England during World War II. It is the third series from the creative team behind both ‘Band Of Brothers' and ‘The Pacific'.In the epic drama, Jack's expertise as a Supervising Sound Editor ensures that every auditory detail, from the roar of engines to the subtle nuances of dialogue, contributes to the immersive storytelling experience. He collaborates with Re-Recording Mixers Michael & Duncan, whose mastery lies in blending and enhancing different audio elements, the sound team meticulously crafts a sonic landscape that transports viewers into the heart of World War II aviation.Their work goes beyond mere technicality – it becomes a narrative force. The rumble of engines becomes a heartbeat, the soaring planes echo the bravery of young pilots, and the silence between explosions creates tension that underscores the gravity of their missions. Through their artistry, the sound team adds layers of emotion, suspense, and authenticity, enriching the narrative and ensuring that the audience feels the intensity of the story on a visceral level.Jack Whittaker's previous work includes films such as Marvel's ‘Shang-Chi', Ryan Reynolds ‘Free Guy', and the Oscar-winning short ‘War Is Over!'. Duncan McRae also worked on ‘War Is Over!', along with the films ‘One Night in Miami', ‘Hamilton', and ‘John Wick: Chapter 3'. Michael Minkler's extensive CV includes ‘The Pacific', ‘Elvis' (also starring Austin Butler), Tom Hanks film ‘Greyhound', plus ‘Once Upon a Time... in Hollywood', ‘Mamma Mia!', ‘Dreamgirls', and even goes back to 'Star Wars: A New Hope'.If you've yet to catch ‘Masters Of The Air' the entire series is available now on Apple TV+ worldwide.Support this show http://supporter.acast.com/geektown. Hosted on Acast. See acast.com/privacy for more information.

Continuing our coverage of the 2024 Academy Awards®, we have another all-star team of sound artists whose work on “Maestro” is nominated in the Best Sound category.Today's panel includes:- Richard King, Sound Designer & Supervising Sound Editor.- Tom Ozanich, Re-recording Mixer.- Dean A. Zupancic, Re-recording Mixer.- Steven Morrow, Production Sound Mixer.“Maestro” is a highly stylized yet intimate film about Leonard Bernstein: his fraught marriage, his affairs, his family, and - of course - his storied career. This gave director Bradley Cooper an amazing opportunity to conduct extensive recreations of some of the composer's famous concerts, all recorded live on set — including that unforgettable concert at Ely Cathedral:“We shot for the first day and, in Bradley's words, he was saying he wasn't really feeling it. He was just nervous about the whole thing. Because it's decades of building up to this moment, in front of the best orchestra in the world, and you're pretending to be the conductor. And the pressure that you're putting on yourself to be perfect and you're just not hitting it. And so he came in the next day and said, ‘let me do it one more time, and let's just do this one shot where the camera goes around… Our film is really just this big wide shot. Let's shoot this shot with a crane. Come all the way around, come back around, by the end of the song, be over Felicia's shoulder, and that's it.' We shot that on the last day, the last take. And that was it. I mean, that was done. As soon as that take was over, everybody knew we had it.”—Steven Morrow, Sound Mixer, “Maestro”Be sure to check out “Maestro,” now streaming on Netflix in Dolby Vision® and Dolby Atmos®, ahead of the Academy Awards, live from the Dolby Theatre® on March 10th!For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

"Maestro" had its world premiere at the 2023 Venice International Film Festival, where it competed for the Golden Lion. It is the second film to be directed by Academy Award-nominee Bradley Cooper following "A Star Is Born" and features him and Academy Award-nominee Carey Mulligan transforming into Leonard Bernstein and his wife, Felicia Montealegre. The two were kind enough to spend a little bit of time talking with me about their work on the film, and I also got the chance to speak with the film's Costume Designer, Academy Award-winner Mark Bridges. Dan Bayer also interviewed Academy Award-winning Supervising Sound Editor Richard King. All three interviews can be listened to below. Please be sure to check out the film, which is now streaming on Netflix and is up for your consideration in all eligible categories at the 96th Academy Awards, including Best Picture, Best Director, Best Actor, Best Actress, Best Costume Design and Best Sound. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

Today on GIG we explore into the magical world of sound for film and more specially the job of supervising sound editor Gwen Whittle. With a career spanning several decades, Gwen has shaped sound landscapes for some of the biggest blockbuster films of our generation like "Avatar" and "Top Gun,” Gwen's  career is not just marked by her association with cinematic blockbusters or the 5 Academy Awards she probably has sitting on the fireplace in her living room. It's the relationships that she's has created along the way with her team which she refers to as   ‘Family' …   that's what is most important to her.IMDBVisit GIG with Mike Redman @https://www.gigwithmikeredman.com/podcastsEmail me questions, guests you would like to see @ : gigwithmikeredman@gmail.comThanks for listening !Mike Redman

In our latest episode of Musicians vs the World we'll be learning about the role and importance of the sound editor and re-recording mixer in the film and television industry. It's a possible career path for musicians, so we're going learn about it over the next 2 episodes. My guest today is Supervising Sound Editor and Re-recording mixer, James Parnell from Monkeyland Audio. Topics Include: • The difference between a sound editor and a re-recording mixer • The process of re-recording and mixing • What is foley? • How much sound is foley, and how much is original sound? • Ear Fatigue – what is it? Why is it a problem? • How to protect hearing as a sound remixer • How to stay true to source material in an adaptation • Advice for musicians wanting to become sound editors http://www.jamesparnell.com/ https://www.monkeylandaudio.com/ https://frostedlens.com/musicians-vs-the-world

For this episode, number 88, I spoke with Mac Smith about the path he took to his career as Supervising Sound Editor and employee of Skywalker Sound, via marching bands, a chance meeting with Walter Murch, being propelled into the industry working for Robert Zemekis on Castaway. And so much more.Listen in for the full story.Thanks to the folks at Skywalker Sound for helping set this up.All the links!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

DO YOU LIKE STAR WARS? We welcome Supervising Sound Editor from Skywalker Sound, Mac Smith (veteran of Ponyo, Up, Tron Legacy, Avengers: Endgame, and Star Wars: Visions) to teach a clinic about how sound design works in movies. And to demonstrate it, Mac walks us thru the perfect showcase of Rian Johnson's Star Wars: Episode VIII - The Last Jedi! Experience Star Wars thru the ears of an expert and hear details you never noticed that subconsciously enhance the story. We were blown away and you will be too. Chapters Introduction (00:00:00) Hatch News (00:21:25) The Last Jedi Roundtable Discussion (00:24:07) Your Letters (02:04:54) Notes and Links Check out the BRAND NEW Escape Hatch Merch Drop! Our all new collection of swag is available now and every order includes a free Cameo style shoutout from Haitch or Jason. Browse our collection now. Join the Escape Hatch Discord Server! Hang out with Haitch, Jason, and other friends of the pod. Check out the invite here. Escape Hatch is a TAPEDECK Podcasts Jawn! Escape Hatch is a member of TAPEDECK Podcasts, alongside: 70mm (a podcast for film lovers), Bat & Spider (low rent horror and exploitation films), The Letterboxd Show (Official Podcast from Letterboxd), Cinenauts (exploring the Criterion Collection), Lost Light (Transformers, wrestling, and more), and Will Run For (obsessed with running). Check these pods out!. See the movies we've watched and are going to watch on Letterboxd Escape Hatch's Breaking Dune News Twitter list Rate and review the podcast to help others discover it, and let us know what you think of the show at letters@escapehatchpod.com or leave us a voicemail at +1-415-534-5211. Follow @escapehatchpod on Twitter and Instagram. Music by Scott Fritz and Who'z the Boss Music. Cover art by ctcher. Edited and produced by Haitch. Escape Hatch is a production of Haitch Industries.

I'm joined by James Parnell who shares many insights into the process of sound editing and mixing of some of your favorite sequences! Entertainment Community Fund  Twitter/Instagram: @twistedmetalpod Email: twistedmetalpod@gmail.com Music by: CMStrikeAudio

On this episode, I present JV Club's first panel, THE SOUNDS OF THE 61st ANNUAL NEW YORK FILM FESTIVAL, featuring the following panelists:  Priscilla: Stephen Barden (Re-recording Mixer, Sound Designer) Nelson Ferreira (Supervising Sound Editor)  Ferrari: Tony Lamberti (Re-recording Mixer, Supervising Sound Editor) The Zone of Interest/Poor Things: Johnnie Burn (Sound Designer*, Supervising Sound Editor, Re-recording Mixer)  *Not Sound Designer on Poor Things Janet Planet: Allison Jackson (Sound Mixer) Maestro: Steven Morrow (Sound Mixer) This episode was sponsored by Impact24 Public Relations. Impact24 PR is an entertainment public relations agency for industry professionals, projects, organizations, and studios. We leverage strategic communication, innovative content creation, and impactful promotions to amplify projects, careers, and individual narratives. Follow us on social media @impact24pr and visit us online www.impact24pr.com

If you're interested in sound design audio work for feature and scripted content, this is the episode for you! Hear from this Emmy-nominated team.  Anthony Vanchure is an Emmy-nominated Supervising Sound Editor who has strengthened a variety of projects in television and film with his unique talents and precise creative approach. Most recently, Anthony has been celebrated for his work on Roku's Weird: The Al Yankovic Story directed by Eric Appel and starring Daniel Radcliffe, which he spearheaded with his regular collaborator Mike James Gallagher. In addition, Anthony earned an Emmy nomination for Outstanding Sound Editing in Amazon's acclaimed documentary Lucy and Desi, directed by Amy Poehler. Anthony is also serving as supervising sound editor on Apple's upcoming original film Selena Gomez: My Mind and Me, which is set to open AFI Fest 2022. Mike James Gallagher is an Emmy-nominated sound designer who has elevated many films and television shows with his wide-ranging talents. Mike began his professional sound design career on the short film, Verbatim, which was an official selection at Sundance Film Festival. He went on to work on Netflix's 1922, an adaptation of a Stephen King novella, Netflix's Song Exploder, a series based on the popular podcast, HBO's Phoenix Rising, and Hulu/FX's Hysterical. He is also extremely passionate about sound design education, having produced and directed masterclasses for Oscar-winning sound designers Richard King and Mark Mangini.

Martyn Harries talks with James Parnell, Supervising Sound Editor and Re-recording Mixer about his work bringing Twisted Metal, an exciting, action packed, award winning playstation game adaptation to our screens, his career in both London and LA and much, much more. Our very own Rob Walker gets a mention and James has advice for those starting out in the industry.

In this episode of Scenecraft, we break down "The Orient Express" scene from Mission: Impossible – Dead Reckoning Part One (2023), directed by Christopher McQuarrie. We are also joined by James Mather, Supervising Sound Editor on the film, for his "Pro Take"! Drop us a line at contact@scenecraftpodcast.com, or follow us on Instagram, Twitter, TikTok, and Threads @scenecraftpodcast for the latest news on the show. — Show Notes — Quick Takes ~ 00:01:18 Elemental (2023), Polite Society (2023), Indiana Jones and the Dial of Destiny (2023), The Other Two (2019-2023), The Bear - Season 2 (2023), No Hard Feelings (2023) Scene Selection ~ 00:13:50 Mission: Impossible – Dead Reckoning Part One (2023) (Scene: The Orient Express) Pro Take ~ 00:58:18 James Mather - Supervising Sound Editor (Mission: Impossible – Dead Reckoning Part One) New episodes will be released twice a month – stay tuned!

A long time ago, in a galaxy far, far away… Take some time this week to remember your original happy hour: Saturday mornings as a kid, waking up at dawn, jumping on the couch with a bowl of chocolate cereal, turning on the ‘toons, tuning out the outside world, and working your way into a sugar hangover before noon. This week, we celebrate May the Fourth Be With You and the sweet sounds of Star Wars with two GIANT guests, Supervising Sound Editor at Skywalker Sound and actor MatthewWood (Star Wars Episode I: The Phantom Menace, The Book of Boba Fett) and composer JosephShirley (CreedIII, TheMandalorian) Landing the apprenticeship of his dreams with sound effects legend and Oscar winner Ben Burt, MatthewWood took to sound editing like a Mon Calamari to water. And, like the snap hiss of a lightsaber or the twangy ripple of an Imperial blaster Matthew hyper-jumped to Star Wars royalty with sound supervisor credits that include a ton of Star Wars AND some quality character work as the voice of “General Grievous” and the modern physical embodiment of our favorite majordomo, “Bib Fortuna” among many more. And if that isn't enough to milk your moof, we sat down with composer JosephShirley at WonderCon2023 to talk about landing his Star Wars dream job and scoring, what we declare, as the greatest Star Wars scene of the Disney era. You don't want to miss this! Join Grim Shea, Jimmy The Gent and Marke as we beep, boop, pew, pew and Wilhelm scream the heck out of this May the 4th! MTFBWY!

This week, Searchlight Pictures has released a brand new film, "Chevalier", which is about Joseph Bologne, an illegitimate son of an African slave and a French plantation owner, who rises to improbable heights in French society as a celebrated violinist-composer and fencer, complete with a love affair and falling out with Marie Antoinette. Recently, I got to speak with Greg Hedgepath, a supervising sound editor with a list of impressive credits spanning over 40 years. Greg's work includes "Frozen", "The Princess and the Frog", and "Chevalier".   In addition to working on "2 Fast 2 Furious",  "The Hunger Games", "Straight Outta Compton", "Howard The Duck", and "Footloose."  

This week, Searchlight Pictures has released a brand new film, "Chevalier", which is about Joseph Bologne, an illegitimate son of an African slave and a French plantation owner, who rises to improbable heights in French society as a celebrated violinist-composer and fencer, complete with a love affair and falling out with Marie Antoinette. Recently, I got to speak with Greg Hedgepath, a supervising sound editor with a list of impressive credits spanning over 40 years. Greg's work includes "Frozen", "The Princess and the Frog", and "Chevalier".   In addition to working on "2 Fast 2 Furious",  "The Hunger Games", "Straight Outta Compton", "Howard The Duck", and "Footloose."  

This week, Searchlight Pictures has released a brand new film, "Chevalier", which is about Joseph Bologne, an illegitimate son of an African slave and a French plantation owner, who rises to improbable heights in French society as a celebrated violinist-composer and fencer, complete with a love affair and falling out with Marie Antoinette. Recently, I got to speak with Greg Hedgepath, a supervising sound editor with a list of impressive credits spanning over 40 years. Greg's work includes "Frozen", "The Princess and the Frog", and "Chevalier".   In addition to working on "2 Fast 2 Furious",  "The Hunger Games", "Straight Outta Compton", "Howard The Duck", and "Footloose."  

Nathan Ruyle is a Sound Designer, Supervising Sound Editor, Re-recording mixer, and the founder of the independent post-production sound company, This is Sound Design. This is Sound Design provides complete sound services for independent, mid-budget, and studio feature films and series, including recent releases by Universal, HBO, Sony, Fox Searchlight, Netflix, Blumhouse and Amazon. Nathan has designed and mixed over 70 feature films which have premiered at every major festival in the world, including films shortlisted for the Academy Award (United Skates, HBO) in 2019 and nominated for an Emmy (Every Act of Life, PBS) in 2020 and multiple awards from Sundance, Cannes, and SXSW. Nathan has an MFA in Sound Design and Integrated Media from the California Institute of the Arts (CalArts) where he also taught for 7 years as a member of the film and animation faculty. Nathan is also a frequent lecturer at AFI and has worked with students on three Student Academy Award-winning films. Nathan's company, This is Sound Design, recently opened a new full-service post-sound facility in Burbank, CA with 3 mix stages and ADR/Foley recording studios. Nathan sat down with Fares Muthana to discuss what sound design is, what goes into recording sound for a project, working on the Oscar shortlisted film Joyland, the process of ADR recording, and more. This Is Sound Design Website: https://tisd.tv/#about This Is Sound Design Instagram: https://www.instagram.com/tisdstudios/?hl=en Let's Get Ready Network is the place for coverage of all the things you love. On LGRN - Entertainment, we discuss, review, and react to movies, TV, video games, pop culture, and more. YOUR HOST FOR THIS EPISODE ►Fares Muthana http://www.twitter.com/FaresMuthana

Carolyn is joined by the Composer, Supervising Sound Editor, Co-Sound Designer, and Rerecording Mixer for the Netflix war epic, 'All Quiet on the Western Front.' Together, they talk about creating the sounds of war and weaving the score and sound effects to keep the audience on the edge of their seats. Learn more about your ad choices. Visit megaphone.fm/adchoices

Table of Contents: 0:02:03 - ALL QUIET ON THE WESTERN FRONT0:22:49 - AVATAR: THE WAY OF WATER0:53:44 - THE BATMAN1:05:44 - ELVIS1:39:20 - TOP GUN: MAVERICKWelcome to this year's coverage of the Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot! Here are the nominees, in alphabetical order:ALL QUIET ON THE WESTERN FRONT —Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel, and Stefan KorteAVATAR: THE WAY OF WATER — Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers, and Michael HedgesTHE BATMAN — Stuart Wilson, William Files, Douglas Murray, and Andy NelsonELVIS — David Lee, Wayne Pashley, Andy Nelson, and Michael KellerTOP GUN: MAVERICK — Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark TaylorWith the exception of ELVIS (due to time), each of these interview excerpts is taken from our full episodes dedicated to the sound design of each of these incredible films. Here's a table of contents, in case you'd like to jump around, as well as links to the full episodes from our back catalogue:0:02:03 - ALL QUIET ON THE WESTERN FRONT - from episode 139, January 10, 2023Edward Berger — Writer and DirectorLars Ginzel — Re-recording MixerViktor Prášil — Production Sound MixerFrank Kruse — Sound Supervisor and Sound DesignerUnfortunately, nominee Stefan Korte (Re-recording Mixer) was unable to join us at the time of this recording0:22:49 - AVATAR: THE WAY OF WATER - from episode 140, January 14, 2023Christopher Boyes — Re-recording Mixer, Supervising Sound Editor, and Sound DesignerDick Bernstein — Supervising Sound EditorMichael Hedges — Re-recording MixerJulian Howarth — Production Sound MixerGwendolyn Yates Whittle — Supervising sound editorUnfortunately, nominee Gary Summers (Re-recording Mixer) was unable to join us at the time of this recording.0:53:44 - THE BATMAN - from episode 116, March 8, 2022Matt Reeves — DirectorMichael Giacchino — ComposerWilliam Files — Supervising Sound EditorDouglas Murray — Supervising Sound EditorAndy Nelson — Re-recording MixerUnfortunately, nominee Stuart Wilson (Production Sound Mixer) was unable to join us at the time of this recording.1:05:44 - ELVIS - recorded recently, exclusively for this episodeDavid Lee — Production Sound MixerWayne Pashley — Re-recording Mixer, Sound Designer, and Supervising Sound EditorMichael Keller — Re-recording MixerAndy Nelson — Re-recording Mixer1:39:20 - TOP GUN: MAVERICK - from episode 133, November 22, 2022Joseph Kosinski — DirectorBjørn Schroeder — Supervising Sound EditorJames H Mather — Supervising Sound EditorAl Nelson — Supervising Sound EditorChris Burdon — Re-recording MixerMark Taylor — Re-recording MixerUnfortunately, Mark Weingarten (Production Sound Mixer) was unable to join us at the time of this recording.Many thanks to all the studios for helping us pull these interviews together! Be sure to...

Join our host Marie-Claire Gould (@mariecgould) and Guest David W. Collins (@davidwcollins) Supervising Sound Editor and ADR Supervisor for Willow in our Segment Following Willow – covering the Disney+ Series Willow. LINKS: Lucasfilm / Skywalker sound https://www.lucasfilm.com/news/telling-stories-with-sound-supervising-sound-editor-david-w-collins-on-willow/ Soundtrack Show: https://www.iheart.com/podcast/105-the-soundtrack-show-29021108/ Interview: https://www.fanthatracks.com/interviews/vintage-interview-david-collins/ Join us on Discord, follow us on Twitter, read more on Whattheforce.ca, join […]

We're back with James Mather, Supervising Sound Editor on “Mission: Impossible - Rogue Nation” and "Fallout" and Sound Designer and Supervising Sound Editor on “Top Gun: Maverick!” This week we dive into "Maverick," tease "Dead Reckoning Part One," and talk about the heartbeat sound during the Torus scene in "Rogue Nation." Also: "Wallace and Gromit!"

As we continue our 2023 Awards coverage, today we are talking to the sound team behind another film on the Best Sound Academy Awards shortlist — “Avatar: The Way of Water.”Joining us is four-time Academy Award winning re-recording mixer, supervising sound editor, and sound designer Christopher Boyes; supervising sound editor Dick Bernstein; re-recording mixer Michael Hedges; sound mixer Julian Howarth; and supervising sound editor Gwendolyn Yates Whittle.As you'll hear about in detail in this interview, every member of the sound and music teams needed to work very closely together, in a concerted effort, to make the sound of this film as clean and as clear as possible. Or as James Cameron would often put it, “clarity is king.” Easier said than done with a movie this complex.“In the end, Avatar — visually — is such a complicated image. And I think the human brain can easily take that in and enjoy it. But we — delivering the sound of Avatar — have to work against that, because the human brain can look at all those beautiful visuals, but can't necessarily process a thousand different sonic notions. Really, we wanna simplify it and get the sound to speak to the story that we're trying to tell. And it's not part of the story, it doesn't belong in the track.”— Christopher Boyes, Re-recording Mixer, Supervising Sound Editor, and Sound Designer, “Avatar: The Way of Water”“Avatar: The Way of Water” is now in theaters, in Dolby Vision® and Dolby Atmos®, where available.Be sure to check out our earlier episode with Gwendolyn Yates Whittle, on dialogue editing and ADR.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

This episode we are joined by James Mather, Supervising Sound Editor on “Mission: Impossible - Rogue Nation” and "Fallout" and Sound Designer and Supervising Sound Editor on "Top Gun: Maverick.” This week we discuss Christopher McQuarrie's approach to sound design, the prank Tom Cruise pulled on Simon Pegg, and a hidden "Godfather" homage in "Fallout." More next week!

EPISODE 79: Sound Editor Mike James Gallagher and Supervising Sound Editor Anthony Vanchure, whose collaboration on the documentary Lucy and Desi earned the pair an Emmy nomination for “Outstanding Sound Editing.”  Mike and Anthony most recently worked on the biopic Weird: The Al Yankovic Story, which premiered at TIFF and is now available on Roku. Mike worked as the film's main Sound Designer and Sound Editor, and Anthony worked as the Supervising Sound Editor. The film stars Daniel Radcliffe and explores the life of the famous parody singer Weird Al Yankovic in an alternate reality. In addition to his work in film sound departments, Mike is also the creator of INDEPTH Sound Design, an educational platform and a treasure trove of sound design inspiration. The pair's previous credits also include Phoenix Rising, and Meltdown: Three Mile Island.  mikejamesgallagher.com - imdb.com/name/nm3602373Contact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Twitter: @JannKloseBandJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

Multiple Academy Award winning director Alejandro G. Iñárritu joins us to discuss his latest work, the surreal, yet somehow pseudo-autobiographical film, “BARDO, False Chronicle of a Handful of Truths.” Since this episode focuses almost exclusively on the sound of the film, joining the conversation is much of the film's sound team:Martín Hernández - Supervising Sound Editor and Sound DesignerSantiago Núñez - Production Sound MixerJon Taylor - Re-recording MixerKen Yasumoto - Re-recording Mixer and Sound DesignerWhile the film is truly a visually stunning epic, the director focused much of his attention on the audio, because, as he put it:“I really think that this film is — audio, 75% [of the experience]… It's my favorite film, audio-wise, by far. I think it's a much more complex and difficult film than I have done. And the work that this team did is invaluable. And the experience of the audio in Dolby Atmos — you can close your eyes and really understand and feel the film. So I think the job that this team did is absolutely extraordinary. I'm very happy with it.”— Alejandro G. Iñárritu, Director and Co-writer, “BARDO, False Chronicle of a Handful of Truths”Be sure to check out “Bardo,” available on Netflix starting on December 16th, in Dolby Vision® and Dolby Atmos®. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

We talk with Supervising Sound Editor, Sound Designer & Re-Recording Mixer Johnnie Burn about the amazing sounds in director Jordan Peele's recent film: Nope. Johnnie tells us about designing winds to evoke something more sinister, using ATMOS to its fullest and creative ways of making alien vocals. Show Notes: https://tonebenderspodcast.com/204---nope-with-johnnie-burn/ Podcast Homepage: https://tonebenderspodcast.com Tonebenders Hosts This Episode: Timothy Muirhead & Mark Kilborn

Director Joseph Kosinski and his sound team discuss their groundbreaking work on the hit sequel to the classic 80s film "Top Gun." Joining the discussion are re-recording mixers Chris Burdon and Mark Taylor, as well as supervising sound editors James Mather, Al Nelson, and Bjørn Schroeder. Since most of the movie's flight scenes were filmed practically (or "in-camera") without relying on too many visual effects in post-production, this created some unique challenges for the sound team. “It was a great catching up with [production sound mixer] Mark Weingarten after he was done with the shoot. And I know that he had a lot of challenges in the beginning just to get those recorders into the cockpit because they had to go through a lot of different steps to ensure the safety. They had to make sure that they could still use the ejector seat just in case of an emergency. So this little recorder had to eject with them, they had to be separate from the cameras. I think it was really important to [director] Joe [Kosinski] and [producer] Tom [Cruise] and everyone in the crew that they could keep it simple and that they could basically trigger the recording before they took off and do all the recordings.” — Bjørn Schroeder, Supervising Sound Editor, "Top Gun: Maverick""The truth of flying in these airplanes is: They're not that interesting to listen to. When you're inside doing it, it looks spectacular and it feels incredible; and from the outside these jets are deafening and have so much character, depending on where it is relative to you and how fast it's moving. But from the inside, it's very much like riding on an airliner. It's that kind of constant hum. So a big challenge of this film was figuring out, 'okay, that's reality. So we've got this really realistic image that was captured, but how do we get the emotion that we wanna feel from the soundtrack in this?' And that is not easy. There was a lot of — obviously — work and effort from design through mixing to achieve that. And luckily we've got a whole panel full of experts here to take us through that."— Joseph Kosinski, Director, "Top Gun: Maverick"With Awards Season fast approaching, this is certainly a film to look out for in the Best Sound category, and this episode offers a unique insight into just how much went into crafting such a thrilling and dynamic mix.Check out "Top Gun: Maverick" today, available in Dolby Atmos® and Dolby Vision®, where available.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

EPISODE 74: Nathan Ruyle is a Sound Designer, Supervising Sound Editor, Re-recording mixer, and founder of the independent post-production sound company, This is Sound Design. TiSD provides complete sound services for independent, mid-budget, and studio feature films and series, including recent releases by Universal, HBO, Sony, Fox Searchlight, Netflix, Blumhouseand Amazon. Nathan has designed and mixed over 70 feature films which have premiered at every major festival in the world, including films shortlisted for the Academy Award (UnitedSkates, HBO) in 2019 and nominated for an Emmy (Every Act of Life, PBS) in 2020 and multiple awards from Sundance, Cannes, and SXSW. Nathan has an MFA in Sound Design and Integrated Media from the California Institute of the Arts (CalArts) where he also taught for 7 years as a member of the film and animation faculty. Nathan is also a frequent lecturer at AFI and has worked with students there on three Student Academy Award-winning films. Nathan'scompany, This is Sound Design, recently opened a new full-service post-sound facility in Burbank, CA with 3 mix stages and ADR/Foley recording studios. tisd.tvContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Twitter: @JannKloseBandJoin our Facebook GroupPlease support the show with a donation, thank you for listening!...

My guest is Leff Lefferts making a return to WCA after his first appearance on WCA #101. Leff comes from a music recording background but has worked in film sound for the last 16 years at Skywalker Sound. He's worked as a Sound Effects Editor, Sound Editor, Supervising Sound Editor, Sound Designer, and Re-Recording Mixer on various movies, including, The Croods: A New Age, The Revenant, The Peanuts Movie, How to Train Your Dragon 2, and many more.  In this episode, we discuss: Randy Thom Skywalker Sound ATMOS Telling Stories Roles in Film Sound Technology Changes  Content on Streaming Services Planning Your Life Music Industry vs Film Industry Watching the Credits Making Records for Enjoyment Financial Security UA Plugins Early Days of Pro Tools Bay Area Pro Audio Lore Matt's Rant: Being Proactive Links and Show Notes Leff on WCA #101 Leff's Email Leff on IMDB WCA on Instagram Matt on Instagram  Connect with Matt on Linkedin Current sponsors & promos Credits Guest: Leff Lefferts Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith

EP 55 | Gwen Yates Whittle, Supervising Sound Editor ('Avatar 2', 'Jurassic World: Dominion') by Soundstage Access