Hear from the audio pros behind Bullet Train, The Woman King, The Lord of the Rings: The Rings of Power and more on Mix Sound for Film & TV.
Culver City, CA (October 7, 2022)—The audio professionals behind High-speed train, The female king, The Lord of the Rings: The Rings of Power and Billy Joel: Live from Yankee Stadium and others shared their ideas last week as part of the Mix Expert Panel series at the ninth edition Mix presents sound for film and TVheld at Host Partner Sony Pictures Studios, Culver City, CA.
“These panels always fill the room, and I think that’s because we put them up early on as a way for creatives to talk to creatives,” says Tom Kenny, co-editor of To mix together and moderator for this year’s series of expert panels. “Audiences get a real insight into what’s going on in high-end sound for picture, from the specific techniques used in a particular film, to the rapid changes in workflow and the emergence of a new breed of studio. I am very grateful to these panelists. They work hard, and they still want to go out on a Saturday and talk to others, to pass on their knowledge.
The Mix Expert Panel series followed the opening remarks and A Keynote Conversation: Sound Changes, held at the legendary Cary Grant Theatre.
SOUND EDITING: the interaction between sound design and music
While the initial decisions about a soundtrack usually take place when reading the script and editing the picture, the combination of the music and effects edits will always reveal a much fuller, richer and more integrated, especially in an immersive audio environment, where space is no longer a premium. Here, Tom Kenny hosts a discussion with supervising sound editors Becky Sullivan (The female king), Mark Stoeckinger (High-speed train), Robert Stambler (The Lord of the Rings: The Rings of Power) and Danika Wikke (Only murders in the building).
SOUND MIXING: 10 years of immersive re-recording
Hard to believe it’s been 10 years since Disney, Pixar and Dolby debuted the Atmos format at the El Capitan Theater with the release of Brave (in the middle of competition from Auro 3D and DTS:X). It was the Wild West, with re-recording mixers exploring the creative possibilities of new formats while discovering the strengths and weaknesses of objects and beds. Does the dialogue travel or stay central? How far can you go back and forth with an orchestral score? Can you go too far with chips? Here, moderator Tom Kenny talks to re-recording mixers Tony Lamberti (The female king), Gregory King (Physical, Easter Sunday), Tim Hoogenakker (13: The Musical, Fusion: Three Mile Island) and Mathew Waters (father of the bride, The unbearable weight of massive talent).
SOUND TECHNOLOGY: The Versatile, Mid-Size, Versatile Mixing Room
Nothing beats playing back an immersive mix in a theater-sized re-recording scene. But with the accelerating demand for streaming services and the early realization that immersive audio translates well both upwards (in larger environments) and downwards (in the home environment), less less will be built. It’s the versatile, mid-size immersive studio capable of handling sound design, editorial, pre-mixing, TV mixing, documentaries and even big feature films that’s taking over the audio post-production community. . Here, Tom Kenny sits with studio designers Peter Grueneisen (nonzeroarchitecture) and Bruce Black (MediaRooms Technology), owner and studio mixer Tom Davis (SeisMic Sound) and Lane Burch (executive director, Post Sound Services Engineering , Sony Pictures Studios).