SoundWorks Collection

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The Sound and Visual Effects of “Star Wars: The Force Awakens" at NAB 2016 Apr 21, 2016

Show notes

Moderated by Bryan Bishop, Senior Reporter of The Verge and featuring Matt Wood, Supervising Sound Editor, Skywalker SoundJames Clyne, Visual Effects Art Director, Industrial Light & Magic and Pat Tubach, Visual Effects Supervisor, Industrial Light & Magic.

Produced in partnership with the Motion Picture Sound Editors (MPSE)

With a procession of new and classic sounds and more than 2100 visual effects shots, "Star Wars: The Force Awakens" is an epic accomplishment. The film contains a plethora of digitally generated characters and environments that seamlessly blend with the practical effects. It features new signature sounds for first time characters, alien creatures and lightsabers. See some great behind the scenes footage and glimpse how sound and VFX worked together to produce highest grossing US motion picture…ever.

Virtual Reality Audio Panel at NAB 2016 Apr 21, 2016

Show notes

Moderated by Jacqueline Bosnjak, CEO & Partner, Q Department | Mach1 and featuring Martin Walsh, Vice President, R&D, DTS, Inc., Nicolas Tsingos, Director of E-media Technology, Dolby Laboratories, Jean-Pascal Beaudoin, President and Lead Creative Sound Director, Headspace Studio, Jyri Huopaniemi, Head of Formats and Platforms, Digital Media Business Unit, Nokia Technology and Tim Gedemer, President, CEO of Source Sound, Inc.

We can only see what is in front of us, but we hear and can identify sounds from every direction. Audio is a key component of the emerging language of VR, with unique challenges impacting capture, production, and end-user experience. This panel will focus on this extremely important yet rarely covered topic.

"Deadpool": Leveraging Technology to Create a Stunning Superhero Film at NAB 2016 Apr 21, 2016

Show notes

Moderated by Vashi Nedomansky, Post-Production Workflow and Editorial Consultant, “Deadpool” and featuring Joan Bierman, Post Supervisor, “Deadpool”, Jonathan Rothbart, VFX Supervisor, “Deadpool” and Matt Carson, First Assistant Editor, “Deadpool”.

The recently released 20th Century Fox blockbuster film "Deadpool" crushed numerous opening box office records, with its staggering $132.7 million Friday-to-Sunday debut. Based on the Marvel comic character by the same name and starring Ryan Reynolds, "Deadpool" is described as a game changer for this genre and pushes all kinds of technology boundaries. In this session, hear a fascinating case study about the approaches 20th Century Fox and "Deadpool" director, Tim Miller, took to create this edgy film about an unconventional, anti-hero with a dark, twisted sense of humor. Find out how the film's editorial and VFX post production teams were set up and trained at Tim Miller's Blur Studio in Culver City while the film was shot on location in Vancouver. Remote cutting rooms created efficiencies for the editors and saved significant overhead for the production. Learn how Tim Miller's design experience in the gaming industry, including the cinematic work on epic video games, such as "Call of Duty", set him up to create a stunning, action-packed film.

Pullstring - Computer Conversations with Characters Apr 13, 2016

Show notes

In this exclusive SoundWorks Collection interview we talk with the sound team at PullString, an entertainment and technology company that combines art and science to enable computer conversation with characters.

We discuss their conversational entertainment products including Humani: Jessie’s Story, available on Facebook Messenger, Talking Barbie, and ToyTalk family entertainment apps The Winston Show, SpeakaZoo, SpeakaLegend, and SpeakOrTreat.

The Sound of 10 Cloverfield Lane Apr 12, 2016

Show notes

In this exclusive SoundWorks Collection interview we talk with the sound team of Director Dan Trachtenberg's film, 10 Cloverfield Lane including Supervising Sound Editor Robert Stambler, effects sound re-recording mixer Will Files and dialogue and music sound re-recording mixer Lindsey Alvarez.

In our discussion we explore key sound scenes including the opening title sequence, alien creature vocals and ship by’s and how the sound and music team achieved a sense of confinement for the films characters.

The Sound of Batman vs Superman with Scott Hecker Apr 01, 2016

Show notes

In this exclusive SoundWorks Collection interview we talk with Supervising Sound Editor Scott Hecker about his work on Director Zack Snyder's Batman v Superman: Dawn of Justice.

Scott breaks down how the sound team created new sounds for the Batmobile, Batwing, Wonder Women, Aquaman, Flash, Doomsday, and Superman.

The Sound of The Revenant with Lon Bender and Martin Hernandez Feb 19, 2016

Show notes

Martin Hernandez and Lon Bender. In this two-part podcast, we catch up with Academy Award nominees Lon Bender and Martin Hernandez to discuss their BAFTA-winning work on The Revenant. Lon talks about recording Foley in Colorado on real snow (with horses!) and gives advice to young sound artists. Martin talks about managing directors’ anxiety, and describes getting his start doing radio shows with director Alejandro Inarritu in Mexico when they were college classmates.

The Sound of Sicario with Alan Murray Feb 19, 2016

Show notes

Alan Murray, two-time Academy Award-winner nominated this year for Sicario, discusses using sound to tell the audience that things may not be quite right, how low-end can heighten tension, and his remarkable 40 year collaboration with Clint Eastwood.

The Sound of Mad Max Fury Road with Mark Mangini and Dave White Feb 19, 2016

Show notes

Mark Mangini and David White, nominated this year for Mad Max: Fury Road, talk about the challenges of managing such an epic production, how they used ADR to achieve emotional intimacy, the use of silence in chaos, and how director George Miller (who trained as a doctor) can cure common maladies.

The Sound of The Martian with Re-recording Mixer Paul Massey Dec 27, 2015

Show notes

In this exclusive SoundWorks Collection interview we talk with music and dialogue Sound Re-recording Mixer Paul Massey about his work on Director Ridley Scott's The Martian. The final mix was completed at Twickenham Studios in London and music was recorded and mixed by Peter Cobbin at Abbey Road Studios for Composer Harry Gregson-Williams.

Paul also discusses working with editor Pietro Scalia and sound designer/supervising sound editor Oliver Tarney to craft the multiple futz and radio instances throughout the film.

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