SoundWorks Collection

Nothing beats hearing playback of an immersive mix in a theatrical-sized re-recording stage, like those here at Sony. But with the accelerated demand from streaming services and the early realization that immersive audio translates well both up (into larger environments) and down (into the home environment), fewer and fewer will be built. It’s the mid-sized, versatile immersive studio—one that is able to handle sound design, editorial, premixing, TV mixing, documentaries, and even big feature films—that is taking over the audio post-production community. Here, studio designers, chief engineers and facility owners discuss the acoustic challenges and the built-in sonic versatility of recent projects, with an emphasis on controlling the low end. Bruce Black - MediaRooms Technology Lane Burch - Sony Pictures Entertainment Tom Davis - SeisMic Sound, Inc. Peter Grueneisen - nonzero\architecture

It’s hard to believe that it’s been 10 years since Disney, Pixar and Dolby launched the Atmos format at the El Capitan Theater with the release of Brave (amid competition from Auro 3D and DTS:X). It was the Wild West, with re-recording mixers exploring the creative possibilities of the new formats while at the same time figuring out the strengths and weaknesses of objects and beds. Does dialog travel, or does it stay in the center? How far up and back can you go with an orchestral score? Can you go too far with bullet-bys? Here, some of Hollywood’s top mixers talk about what they’ve learned these past ten years, including thoughts on the sometimes competing realities of the cinema and home environments. Tony Cariddi - Appward Tim Hoogenakker - Signature Post Gregory King - King Soundworks Tony Lamberti - Sony Pictures Studios Mathew Waters - Independent

While the initial decisions regarding a soundtrack typically take place in the script reading and the picture edit, the combination of the music and effects edits will always reveal a much fuller, richer and more integrated sound experience, especially in an immersive audio environment, where space is no longer at a premium. Here, top supervising sound editors, sound designers and music editors discuss the creative inspiration—and sometimes the happy accidents—that emerge when sound design and music feed off of each other, citing real examples from recent films. Robert Stambler - Independent Mark Stoeckinger - Formosa Group Becky Sullivan - Sony Danika Wikke - Formosa Group

Join us for a conversation with Composer Rob Simonsen, composer for The Adam Project, Ghostbusters: Afterlife and director Darren Aronofsky's The Whale.

Join Tom Kenny as he talks with the sound team behind the Apple Original Films and Skydance Animation’s new feature film “Luck”. The story of Sam Greenfield, the unluckiest person in the world! Suddenly finding herself in the never-before-seen Land of Luck, she must unite with the magical creatures there to turn her luck around. Gary A. Rizzo - Re-recording Mixer Devon Kelley - Foley Supervisor

Mix Magazine editor Tom Kenny will moderate the discussion, titled “Sound Changes,” where topics will include everything from the nature of today’s re-recording stage, the rise of streaming services, new technologies and formats, and the emergence of the sound designer/mixer, with a few fun stories tossed in. Will Files - Pacific Standard Sound Craig Henighan - Pacific Standard Sound Julian Slater - Warner Bros.

In this episode we chat with Composer Natalie Holt who recently was nominated with two Emmy nominations for Outstanding Music Composition For A Series and Outstanding Original Main Title Theme Music for the Disney+ series Loki. We discuss her process working on the highly acclaimed Star War series Obi-Wan Kenobi, balancing work and family, collaborating with her creative team and planning for the future! ABOUT NATALIE HOLT: Natalie Holt is a multi-award winning British composer who trained at the Royal Academy of Music in London and the National Film & Television School. She is the first woman to score a live action Star Wars project. Her numerous film and television credits include the Obi-Wan Kenobi (Disney+) with John Williams, the Marvel television series Loki (starring Tom Hiddleston and Owen Wilson), the Netflix film Fever Dream (Dir: Claudia Llosa) the BBC’s Wallander (starring Kenneth Branagh), Knightfall (starring Mark Hamill), Paddington (starring Hugh Bonneville), Deadwater Fell (starring David Tennant) and the award-winning BBC drama Three Girls. She co-scored the WW1 film Journey’s End with Oscar winner Hildur Guðnadóttir (Joker), The Honourable Woman and Victoria with Martin Phipps (The Crown) and composed additional music for Hans Zimmer and Martin Phipps on the film Woman in Gold. An accomplished violinist and violist, she has performed at the Royal Albert Hall and the closing ceremony of the Olympic Games. She is known for her experimental string-based scores, on which she plays violin, piano and vintage synthesizer, as  well as for her large orchestral music which she records at London’s Abbey Road Studios. She won the prestigious Ivor Novello award in 2015, was made an Associate of the Royal Academy of Music in 2017, was nominated for an Emmy award and won the Best International Score at the Beijing International Film Festival in 2018 for her score on Journey’s End with Hildur Guðnadóttir. Natalie is also a member of The Academy of Motion Picture Arts and Science. NATALIE HOLT: www.natalieholt.com MORE VIDEOS AND NEWS: www.SoundWorksCollection.com

In this exclusive conversation we chat with the sound & music team from Riot Games behind Arcane: League of Legends.  Featuring Co-supervising Sound Editor & Sound Designer Brad Beaumont, Co-supervising Sound Editor & Sound Designer Eliot Connors and Composer Alexander Temple. Based on the world behind League of Legends, Arcane dives into the delicate balance between the rich, utopian city of Piltover Crest icon.png Piltover and the seedy, oppressed underground of Zaun. Known across Runeterra as the "city of progress," many of the most brilliant minds call these cities home. But the creation of hextech, a way for any person to control magical energy, threatens that balance. The story follows the origins of two iconic League champions-and the power that will tear them apart.

Visionary director Denis Villeneuve discusses the creative benefits of early collaboration with his sound team, the process of crafting Dune's unique soundscapes including: Arrakis desert, sandworm, ornithopter, spice (melange) and the voice of the Bene Gesserit. Featuring Supervising Sound Editor & Sound Designer Mark Mangini, Supervising Sound Editor & Sound Designer Theo Green and Re-recording Mixer Ron Bartlett. MORE VIDEOS AND NEWS: www.SoundWorksCollection.com

In this exclusive conversation we chat with Director Neill Blomkamp about his new horror film, Demonic which is being released by IFC Midnight. We also feature his sound team including Vince Renaud (Sound Supervisor, Dialogue Editor, Re-recording Mixer) Jo Rossi (Sound Supervisor, Sound Designer, Re-recording Mixer, Sound Effects Editor) Nolan McNaughton (Sound Designer, Sound Effects Editor) and Maureen Murphy (Foley Artist). From the director of DISTRICT 9 and ELYSIUM, a young woman unleashes terrifying demons when supernatural forces at the root of a decades old rift between mother and daughter are revealed.