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Sound Design

SoundWorks Collection – The Sound of Transcendence

In this exclusive SoundWorks Collection sound profile we talk with the sound team behind Director Wally Pfister’s debut film Transcendence Featured interviews include Director Wally Pfister, Supervising Sound Editor Mark Mangini, Re-recording Mixer Terry Porter, Re-recording Mixer Jeremy Peirson, Dialogue and ADR Supervisor Byron Wilson, and Music Editor Erich Stratmann.Read More

The Sound of Need for Speed

The SoundWorks Collection  talks with the sound team behind Director Scott Waugh’s film Need for Speed which is based on the most successful racing video game franchise. Featured interviews include Supervising Sound Editor Tobias Poppe, Re-recording Mixer Greg Russell, Re-recording Mixer Scott Millan, and Composer Nathan Furst.Read More

The Sound of The Hobbit: The Desolation of Smaug

In this exclusive SoundWorks Collection sound profile we visit Park Road Post Studios in Wellington, New Zealand to talk with the sound team of Director Peter Jackson’s The Hobbit: The Desolation of Smaug. Featured interviews include Re-recording Mixer Michael Hedges, Re-recording Mixer Chris Boyes, Re-recording Mixer Michael Semanick, Re-recording Mixer Gary Summers, Composer Howard Shore, Read MoreRead More

Brent Burge on Editing the Sound of “The Hobbit: The Desolation of Smaug”

Neil Turitz interviews Brent Burge on some of the unique challenges of creating the soundscape of Middle Earth for Peter Jackson’s “The Hobbit: The Desolation of Smaug” SSN: How do you approach a film of this size and scope? Burge: These films require a great deal of work, accomplished by a hugely talented crew we Read MoreRead More

How To Record Surround Sound

Production sound mixer Richard Ragon explains how sound is recorded and how 5.1 Surround Sound is created in post. If you are looking on how to record surround sound – Specifically, the actors voices for a film, movie, or show of some sort, I have good news. Surround sound, specifically 5.1 audio is NOT actually recorded Read MoreRead More

Creating the Sound Mix for a Film with Only 3 Lines of Dialogue

Sound Editor Brandon Proctor talks about the work required to create Robert Redford’s lost-at-sea film All is Lost. There are only three lines of dialog in All is Lost and two of them are monosyllabic.  Still, after the initial rush of doing a movie with Robert Redford abated, sound editor Brandon Proctor had the same reaction as his colleague, Steve Boeddeker: How are we Read MoreRead More

A Basic Introduction to the Sound Editing and Mixing

Oliver Peters runs down some basic terminology and techniques of Sound Editing: Like picture editing, the completion of sound for a film also goes through a series of component parts. These normally start after “picture lock” and are performed by a team of sound editors and mixers. On small, indie films, a single sound designer/editor/mixer Read MoreRead More

Learn Professional Sound Recording with Clinton Harn

Film Sound Sessions is a collection of articles designed to educate and inform filmmakers on how to record exceptional audio for film and video. Clinton Harn has been working as a record producer, filmmaker, session musician, drummer and recording engineer for the past 15 years. He has been a lecturer at JMC academy for the Read MoreRead More

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