SoundWorks Collection

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.

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.

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.

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.

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.

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.

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.

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.

This week we talk with the sound team behind Director Bill Pohland’s film, “Love and Mercy” which presents an unconventional portrait of Brian Wilson, the mercurial singer, songwriter and leader of The Beach Boys. Set against the era-defining catalog of Wilson’s music, the film intimately examines the personal voyage and ultimate salvation of the icon whose success came at extraordinary personal cost. We chat with supervising sound editor Nicholas Renbeck, sound designer and sound re-recording mixer Eugene Gearty and sound re-recording mixer Chris Jenkins.

In this episode we talk with Emmy award-winning sound designer Daniel Colman about his work on BATTLESTAR GALACTICA, and MARVEL’S AGENTS OF SHIELD. Daniel shares his thoughts on why musicians make the best sound designers, the challenges of living within the rules of television’s dynamic range, and how the signature sound of the space battles in GALACTICA was developed.