SoundWorks Collection

Attention soldier! In this episode we talked with Lead Sound Designer Andres Almstrom and Audio Director Bence Pajor from EA Dice studios located in Stockholm, Sweden who recently finished work on Battlefield 1. In Battlefield 1 the player will experience the origins of modern warfare where the old world was destroyed, giving way to the new one. The player will experience innovative, modern weaponry and vehicles of World War I as you battle across the land, air and sea. This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. THX certifies the world’s best consumer electronics to provide users with the assurance of superior quality. Find out more at thx.com

This week we are featuring a special event hosted by Pyramind studios based in San Francisco who hosted a panel on VR Sound Design. This panel was moderated by Greg Gordon, CEO and Creative Director of Pyramind and included Sharosh Khuwaja from Subpac, Kevin Bolen from Skywalker Sound, David Grunzweig from Dysonics and Brennan Anderson from Pyramind. You can find out more about Pyramind's music production school and creative studio services at www.pyramind.com This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com

How do sound designers find inspiration? What paths do they take to tap into their creative minds to create unique sound tracks? Leading sound designers in film and television will discuss those moments where sound becomes the driving factor of the story, and then detail how those sounds are achieved. Moderator: Carolyn Giardina, Hollywood Reporter Panelists: Will Files, MPSE Mark P. Stoeckinger, MPSE Paula Fairfield, MPSE Ben L. Cook, MPSE Harry Cohen Paul Menichini, MPSE This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com

Historically, musical sequences in film and television have been done with pre-records, playback and lip-synching. There has been a move in recent years toward a more organic approach to recording live performances for these types of scenes. Moderator: Glen Trew, CAS Panelists: Gary Bourgeois, CAS Phil Palmer, CAS David Klotz Gary Raymond Joseph Magee This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com

You don’t need a Hollywood-sized re-recording stage to create a compelling immersive soundtrack. But you do need to know the basic requirements of system design and setup—from console/DAW integration to monitor placement—to ensure that the tracks translate to the outside world. In this discussion, chief engineers, studio designers, system integrators and leading immersive manufacturers detail how to build small, medium and large immersive post-production spaces to fit any need. Moderator: Jonathan Deans, CTO, Westlake Pro Panelists: Bill Johnston, VP of Engineering, Formosa Group Nathan Oishi, Director of Engineering, Sony Pictures Studios Jerry Steckling, CTO, JSX Mark Binder, re-recording mixer Tom Brewer, re-recording mixer Brett Crockett, Vice President, Sound Technology Research and Development, Dolby Peter Chaikin, JBL This podcast is brought to you in part by RØDE Microphones – providing premium audio products at an accessible price, enabling people around the world to achieve their creative goals. With mics for studio, video-recording and podcasting; you’re bound to find the mic you need. To find out more visit www.rode.com

Leading Broadway sound designer Nevin Steinberg discusses his work on hit shows including Hamilton, Bright Star, The Full Monty, and Spamalot; why he doesn’t listen to the cast albums of his shows, the trials of redesigning theater sound for touring companies, coming trends in Broadway sound design, and his experiences working with such legendary artists as Lin-Manuel Miranda, Mike Nichols, Steve Martin, and Edie Brickell. This podcast is sponsored by The Dolby Institute: www.dolby.com/us/en/dolby-institute.html

Tim Gedemer, one of the most experienced artists working in sound for Virtual Reality with collaborations with studios including Jaunt, Specular Theory, and others, joins us to discuss the current state of sound for VR. In this episode we discuss the crazy first days of full spatial audio for the initial wave of VR projects, and why traditional filmmakers tend to stumble in their first VR experiences. Tim also provides a step-by-step discussion of how sound for VR works, from production capture through to the frustration of having to take off the headset so you can see the mixing console. He also discusses some of his most successful collaborations, and the differences between audio for cinematic, game-based, and live VR experiences. This podcast is sponsored by The Dolby Institute: www.dolby.com/us/en/dolby-institute.html

Visual artist Sophie Clements joins her longtime sound design/music collaborator Jo Wills to discuss their site-specific piece “Attempting to Delay the Inevitable,” an installation at the Dolby Gallery; the role of sound in her visual art pieces; why CG images would never work in her art; and how sound and image collaborate to strike wonder, awe, and seduction for the audience. We’re joined for this conversation by Kevin Byrd, Dolby’s Head of Visual Experiences. This podcast is sponsored by The Dolby Institute: www.dolby.com/us/en/dolby-institute.html

Legendary Foley artist John Roesch discusses his 30+ year career performing sounds for films including E.T., Back to the Future, The Dark Knight, The Girl with the Dragon Tattoo, and Inception; the challenge of performing Foley for rainy scenes, why Foley can’t come from an effects library, and how you walk steps for a Transformer.

This week we are featuring the 2016 Mix Magazine Presents Sound for Film event hosted at Sony Pictures Studios in Culver City. This event focused on a theme of “The Merging of Art, Technique and Tools”. In this weeks episode we are featuring re-recording mixer Gary Bourgeois, who delivered the keynote speech to open the special film sound event. Gary's list of credits ranges from the music documentaries early in his career, to Pretty in Pink, Back to School, Ghostbusters II, Benny and Joon, Dolores Claiborne and a host of major film credits through the 1980s, 1990s, 200s and on to the present day. He has mixed a variety of television productions, from series to made-for TV movies. Stay tuned for additional exclusive panel discussions that we will be featuring on the podcast from this years Mix Magazine Presents Sound for Film event. You can hear more conversations with sound designers, composers and directors on the SoundWorks Collection podcast on iTunes and streaming online at www.SoundWorkscollection.com