SoundWorks Collection

Re-recording mixer Cheryl Ottenritter discusses documentary sound design & Dolby Atmos mixing at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019. Hidden Pacific's Sound Team: Rick Rush, Sound Design Cheryl Ottenritter, Sound Design and Re-Recording Mixer Adam Parrish King, Sound Design and Re-Recording Mixer Moderated by Michael Coleman, SoundWorks Collection Ott House Audio, or OHA as it’s often called, is a boutique studio based in Silver Spring, Maryland. The heart and soul of this woman-owned business is Cheryl Ottenritter. Cheryl's love for the art of sound shines through every project that comes through her doors. Launched in 2006 in the basement of John and Cheryl’s home, it wasn’t until 2007 that OHA moved into a small studio; allowing her to expand the services she offered. In 2019, Ott House moved into its current space on Fenton Street. OHA now boasts a Dolby Atmos® mix suite, three surround sound mix suites, a record booth, a fully equipped machine room, and a brigade of sound engineers with over 50 years of experience. OHA provides clients with a full range of audio services; including but not limited to, sound design, mixing (surround and stereo), recording, radio, casting, paymaster, and audio description. OHA is on the forefront of new technologies and mediums; thus assuring that they will always be able to deliver creative and effective audio for their clients. We also provide remote review sessions - allowing instant collaboration with clients from all over the world. www.otthouseaudio.com

George Massenburg discusses mixing an Alicia Keys track in Dolby Atmos at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.

"Follow the Tracks" panel recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019 A panel of experts discusses where our dialog tracks come from, where they go, and what happens to them along the way, from set to screen. Panelists: Gary Bourgeois - CAS Re-recording Mixer Adam Carl - Recordist Matt "Smokey" Cloud - Assistant Editor Chris Jacobson - CAS Re-recording Mixer Anna Mackenzie - Dialog Editor Ben Patrick - CAS Production Mixer Tod A. Maitland - Production Mixer Moderated by: Gary Bourgeois - CAS Re-recording Mixer

"The Networked Studio: Building a Near-Field Immersive Room With Audio-Over-IP" panel recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019 Chief engineers, designers and integrators discuss the ins and outs of building a near-field immersive audio studio using advanced Audio-Over-IP networking technologies and tools. Panelists: Brian Armstrong, Streamline System Design Lane Burch - Sony Pictures Studio Ron Romano - Belmont University Phil Wagner - Wagner Consulting Brian Armstrong - Streamline System Design David Henszey - Managing Member Henszey Sound LLC. Moderated by: Phil Wagner

Immersive Audio Workflow: Concept, Editorial, Design and Mix panel Recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019. Our panel of experts will discuss a how-to plan for creating and delivering audio through the post-production process for the best use of immersive sound technology. Moderated by: Carolyn Giardina - The Hollywood Reporter Panelists: Steve Ticknor - Supervising and Sound Design Editor Sony Pictures Studios Tony Lamberti - Supervising Sound Editor, Re-Recording Mixer Sony Pictures Studios Caleb Hollenback - Formosa Group Cheryl Ottenritter - Sound Designer and Re-Recording Mixer Ott House Audio Scott Kramer - Netflix Paula Fairfield - Sound Designer

Wylie Stateman, a legendary sound designer and post-production media entrepreneur, delivered the Keynote Address at the sixth annual Mix Presents Sound for Film & Television, held Saturday, September 28, at Sony Pictures Studios in Culver City, Calif. Wylie has supervised more than 150 sound projects, and his work has been recognized in the industry with over 40 nominations spanning every decade of his 40-year career. His industry recognitions include 8 Oscar nominations, 6 BAFTA nominations, 2 Emmy nominations, and 30-plus MPSE Golden Reel nominations. In 1994 he received, with Lon Bender and Kim Waugh, an Academy Scientific and Technical Award for an innovation that contributed to the advancement of digital audio post-production workflows. Wylie has worked extensively with every major studio in Hollywood, along with some of the most prolific writer/directors in the motion picture and television industries. His creative sound work has included multiple collaborations with Oliver Stone, John Hughes, Quentin Tarantino, Wolfgang Petersen, Cameron Crowe, Scott Frank and Rob Marshall, among others. Just a few of the many films Wylie has worked on include: Tron, Footloose, Ferris Bueller’s Day Off, Stand By Me, Born on the Fourth of July, The Doors, Jerry Maguire, JFK, Natural Born Killers, Kill Bill Vols. 1 and 2, Shrek, Inglourious Basterds, Snowden, Deepwater Horizon and this year’s Once Upon a Time in Hollywood. Wylie was a co-founder of the post production sound services company Soundelux, where he served in a senior executive management capacity involved in overall operations. He also served as Chairman for the Soundelux Entertainment Group, a holding company that oversaw 11 entities, including The Hollywood Edge (sound effects libraries), Modern Music (music editorial for feature films and television), DMG (computer game design), and Mind’s Eye/Jabberwocky (books on tape), as well as Soundelux Systems and Showorks (both focused on location-based entertainment and show control). A few years ago, Wylie established 247SND, centered around a Dolby Atmos design studio, in Topanga. His most recent work, Once Upon a Time In Hollywood, is Wylie’s seventh collaboration with Quentin Tarantino. During this project, he and his team applied a rapid prototyping process, an approach that they have been refining over the past five years. By continually incorporating new and refined sound design, dialog and music elements directly into the Avid track, Wylie and his crew enable the editor and director to take sound contributions into consideration throughout the editorial assembly process. Always in service to the director’s needs and vision, the process makes it easier to approve sonic elements in progressive stages, rather than forcing all of the decisions into the final weeks of post. Wylie sees the rapid prototyping of sound as part of a bigger transition in sound editorial, where there are no longer predefined boundaries between the crafts. New technologies are turning upside-down the traditional sound editing and final mixing processes in content creation. In addition, artists working with the latest audio technologies around the world are publishing an enormous quantity of high-quality, multichannel recordings, which is changing how designers source materials to create new works. Post-production sound now offers global collaborative possibilities, greater mobility, and many opportunities to improve efficiency. Recently, Wylie has been pursuing new entrepreneurial endeavors toward these ends. It is an exciting time to work in the sound space.

We chat with the sound team of The Dark Crystal: Age of Resistance which was recently released as a 10-episode series on Netflix. In this conversation we chat with Re-Recording Mixer / sound designer / supervising sound editor Tim Nielsen, foley artist Shelley Roden and supervising adr editor Tim Hands. The Dark Crystal: Age of Resistance returns to the world of Thra, with an all new adventure. When three young Gelfling discover the horrifying secret behind the Skeksis’ power, they set out on an epic journey to ignite the fires of rebellion and save their world. Rediscover the age of wonder inspired by Jim Henson’s groundbreaking vision. The Dark Crystal: Age of Resistance.

Re-recording mixer Pete Horner discusses the incredible process of restoring and remixing the 40th anniversary edition of Apocalypse Now: Final Cut that was recently released in Dolby Atmos and 4K Ultra HD. Pete shares how he created a new master track, enhanced the LFE with the help of a new Meyer Sound speaker and collaborated with Director Francis Ford Coppola and Walter Murch.

In this exclusive SoundWorks Collection conversation, we chat with the sound team behind Director Quentin Tarantino's film, Once Upon a Time in Hollywood. Featuring Production Sound Mixer Mark Ulano, Supervising Sound Editor Wylie Stateman and Re-Recording Mixer Michael Minkler!

As president and CEO of Bleeding Fingers Music and Extreme Music, Russell Emanuel is a trailblazing leader, innovator, and producer in the music industry. Bleeding Fingers is one of the leading producers of quality-crafted film and television scores in the world, bolstered by a unique creative association and business partnership with industry legend, Hans Zimmer, and his long-term business partner, Steve Kofsky. Russell’s vision for Bleeding Fingers led to a thriving collaboration with David Attenborough and BBC on the music for Planet Earth II – a score that contributed to the series’ record-breaking viewership, international acclaim, and BAFTA and Emmy nominations for Bleeding Fingers’ work. This paved the way to his most recent project - producing the score for the highly-anticipated BBC One natural history landmark, Blue Planet II, which premieres later this year. Alongside his work producing the series’ orchestral score, Russell creatively produced a track for the prequel, titled “(ocean) bloom,” featuring a collaboration with Radiohead, one of the world’s most acclaimed rock bands, and Hans Zimmer. Under Russell’s leadership, Bleeding Fingers has amassed an expert crew of over a dozen in-house composers leading to an unmatched balance of musical creativity, collaboration and efficiency. Bleeding Fingers’ music has strengthened countless projects, with their prolific and diverse output including scores featuring sweeping orchestral pieces, industrial rock and electronic sounds, Americana, and everything in between. Operating out of their twenty-studio Santa Monica facility on the same campus as Remote Control Productions, the company is producing carefully-tailored scores for some of the most acclaimed series on television. In addition to Planet Earth II and Blue Planet II, Bleeding Fingers’ musical efforts include Netflix’s Roman Empire, Amazon’s American Playboy, and Crackle’s Snatch. Before creating Bleeding Fingers, Russell had already made a name for himself as a titan within the composing industry, thanks to the tremendous success of Extreme Music, which he co-founded in 1997. Extreme Music was conceived as a business that would provide production music for projects that did not have access their own composers, while retaining incredibly high standards of passion and quality. The company soon became famous, not only for the music it offered, but also for the notorious punk energy and marketing that Russell channeled through the company (most famously, he sent condoms to numerous industry professionals, printed with the massage “the only safe thing you will ever get from us”). Russell grew the company to such a large success that it was purchased by SonyATV in 2008 for $110 million with Emanuel still remaining as the active CEO. Russell is not only an entrepreneur, but an experienced musician within his own right. For many years, he was a session musician, producer and manager, most notably managing The Jam and Stiff Little Fingers. He’s also collaborated with musical heavy-hitters such as George Martin, Snoop Dogg, Rodney Jerkins, and Quincy Jones, and spent an early stint of his career engineering at Abbey Road Studios. Russell currently lives in Los Angeles. When not working, he likes to perform with his twisted pop-hit cover band "Courtesy Flush,” ride his Harley Davidson and serve as a chauffeur and entertainment officer to his wife and five children.