Tonebenders Podcast

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TV & Film
**Tonebenders Podcast**

Tonebenders is a Sound Design podcast dedicated to covering the worlds of sound editing, field recording and audio post production for film, television and gaming. Through interviews and experiments we delve into everything from foley to plugins. Check us out at www.tonebenderspodcast.com

Latest Episodes:

121 - George and Thomas record rain Dec 10, 2019

Show notes

121 - George and Thomas record rain by Tonebenders Podcast

120 - Joker w/ Alan Murray, Dean Zupancic & Tom Ozanich Dec 07, 2019

Show notes

Supervising Sound Editor Alan Murray and Re-Recording Mixers Dean Zupancic & Tom Ozanich talk us through their work on Joker. We dig deep into subway shooting scene, and how they found the sound of Gotham.

119 - Wylie Stateman Dec 04, 2019

Show notes

We sit down with 8 time Oscar Nominee, Wylie Stateman to talk about the state of the audio post industry, his first steps when tackling new projects and how he maintains decades long working relationships with directors like Quentin Tarantino. We also pull apart his recent work on Once Upon a Time... In Hollywood

118 - Jojo Rabbit with Ai-Ling Lee & Tobias Poppe Nov 22, 2019

Show notes

We talk with the co-Supervising Sound Editors on Taika Waititi's new film Jojo Rabbit, Ai-Ling Lee (Also SFX Re-Recording Mixer) and Tobias Poppe. They tell us about passing scenes back and forth during the edit phase, how they treated the films imaginary characters with sound and lots more.

117 - Skip Lievsay & Blake Lehy Nov 16, 2019

Show notes

In this episode we check in with Skip Lievsay & Blake Leyh to talk about their recent work on the bio-pic Harriet. They discuss bringing the sound of the 1800s to the screen, dealing with studio execs on the mix stage and their many years of collaboration since their first shared credit on 1991's Barton Fink.

116 - Ford vs Ferarri with Paul Massey & David Giammarco Nov 12, 2019

Show notes

In this episode Paul Massey and David Giammarco talk us through the their mix of the James Mangold film For vs Ferrari. We break down two particular scenes soup to nuts.

115 - The Sound of The Cave Nov 08, 2019

Show notes

We are joined by 4 Members of the sound team of the AMAZING new documentary The Cave from Oscar nominated director Feras Fayyad. Sound supervisor Peter Albrechtsen is joined by sound editor Rena Eid, and re-recording mixers Tim Neilsen and Lars Ginzel to talk about the unique sound design for this gritty doc about an underground hospital in war torn Syria. Mixed in ATMOS, the sound plays an unusually large role in telling this heartbreaking story.

114 - I Am Mother Sound Crew & Director Oct 31, 2019

Show notes

This episode features two separate interviews about the sound work on the Sci-fi film I Am Mother. First up, we talk with Pete Smith (Re-recording mixer), Tom Heuzenroeder (Sound designer), Duncan Campbell (Sound designer & Foley recordist) and special co-host for this interview Carlos Manrique Clavijo (Mix assistant & mix studio tech). They talk about the task of bringing the robot (Mother) to life with sound design plus lots more. After that (39 min) Timothy talks, one on one, with the film's director Grant Sputore. Grant tell us about how blown away he was by the sound design on I am Mother and the way he communicated with the sound team to achieve his (aural) vision.

113 - Midge Costin Director of Making Waves Oct 24, 2019

Show notes

Timothy talks to Midge Costin about her new documentary feature on the art of sound for films called Making Waves. Calling in from Ghent, Belgium, Midge tells us about how the film came to be and why she was born to make this project. Go to www.makingwavesmovie.com to find a way to see this film, featuring sound luminaries Walter Murch, Ben Burtt, Gary Rydstrom and so many more!

112 - Rocketman's Music, Sound & Picture Sep 28, 2019

Show notes

In this episode Tim & Teresa welcome Rocketman's Picture Editor (Oscar Winner Chris Dickens), Music Editor (Andy Patterson) and Sound Supervisor (Danny Sheehan). They talk about how their departments worked together to create the film's complicated sound scape. The picture had to be edited to match the music, and then the music had to be chopped up to accommodate the picture's needs. Finally the sound effects and mix had to sell all the transitions to make it all work.

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