Kneecap is a film chock full of manic energy, about an Irish hip-hop group swept up into a political grassroots movement almost against their will. This perfect mix of the music, multiple languages and madcap sound design fuels the chaos around our main characters. The Audio Post team of Louise Burton (Dialog Supervisor), Richard Armstrong (Music Editor), Aza Hand (Re-Recording Mixer) and Brendan Rehill (Supervising Sound Editor) tell us about recording ADR for live music performances, creating and mixing crowds going bonkers and the tricky art of making stereo songs intended for home listening fill up a large cinema. This episode is brought to you by Sound Ideas, check out their latest sound effects library Robots & Servos. https://www.sound-ideas.com/Product/1396/Robot-and-Servo-Sound-Effects- 
Show Notes: https://tonebenderspodcast.com/278-kneecap/ Podcast Homepage: https://tonebenderspodcast.com/ Tonebenders Host This Episode: Timothy Muirhead

Today we are going to be talking about field recording for the National Parks Service with recordist Chris Trevino. He tells us about his recent recording gig at Isle Royale Nation Park in Michigan, where he had his mics rolling in the park for 2 summer weeks. His goal was to capture the natural sounds of the pristine environment and the animals that call it home.  Chris discusses how he got the contract with the Parks Service, how he prepared for 2 weeks with no power and what it took to pull it off once he was out in the wilderness. As a reminder The Motion Picture Sound Editors Presents: The London Tonebenders Sound Design Meetup on Sept 24th, 7pm at the Queens Head pub in Soho. This episode is brought to you by Sound Ideas, check out their latest sound effects library Robots & Servos. www.sound-ideas.com/Product/1396/Ro…-Sound-Effects- Show Notes: https://tonebenderspodcast.com/277-field-recording-for-the-national-parks-service-with-chris-trevino/ Podcast Homepage: tonebenderspodcast.com Tonebenders Host This Episode: Timothy Muirhead

Creating sound for an installation in a physical space, like a museum or for an art piece, is a whole different world then tackling the sound of a film or game. There are so many variables it can make your head explode, exhibition space acoustics need to be accounted for, speaker placement can be any arrangement you can dream up, client expectations need to be met and managed, playback systems must be designed from scratch. Every installation project is an entirely new animal, with very little carrying over from job to job. We brought in 4 guests with extensive experience in this rarely talked about medium, so you can listen in as Jeremy Bloom, Jenn Grossman, Mike Clemow and Brad Nayman and share their hard learned lessons. Show Notes: https://tonebenderspodcast.com/268-sound-design-for-installations/ Podcast Homepage: https://tonebenderspodcast.com Tonebenders Hosts This Episode: Timothy Muirhead & Teresa Morrow

Supervising Sound Editors and Re-recording Mixers Christopher Scarabosio & Wayne Lemmer talk to us about their work on The French Dispatch. They tell us about what is it like working with director Wes Anderson, mixing at Abby Road Studios for the first time, and how they go about building/mixing an amazing sounding montage sequence. Show Notes (including transcript) at https://tonebenderspodcast.com/178-the-french-dispatch-with-wayne-lemmer-chris-scarabosio/

We are joined by Mark Mangini, Theo Green and Dave Whitehead to talk about their work on the new Denis Villeneuve film, DUNE. They talk about designing the sounds for the personal shields, Ornithopters, the ambiences of all the planets and the sand worm! Plus lots, lots more. Show Notes (including transcript): https://tonebenderspodcast.com/177-the-sound-of-dune/ Podcast Homepage: https://tonebenderspodcast.com

We are joined by Barry Donelly, Kristen Quinn, Benoît Marsalone and Arnaud Noble to talk about recording and designing sounds for underwater scenes in films and games. We discuss our favourite underwater recording sessions, what works and doesn't work with hydrophones and when it is best to fake it with water sounds recorded with normal microphones. See Show Notes and full Bios at https://tonebenderspodcast.com/176-recording-designing-underwater-sounds-roundtable/

Guest host Mark Kilborn sits down with Loic Couthier & Toivo Kallio, to talk about their sound work on the new PS5 game, Returnal. The Game is a sci-fi third person shooter, based on time loops happening within a shape shifting planet. The game really takes advantage of the new sound capabilities on latest playstation console, especially 3d audio. Show Notes: https://tonebenderspodcast.com/175-returnal-with-loic-couthier-toivo-kallio/ Podcast Homepage: https://tonebenderspodcast.com

Brad Engleking tells us about working on the sound for the amazing documentary, Fathom. The film is about scientists that are recording humpback whale calls and trying to decipher their language. Fathom features some of the most beautiful whale recordings ever captured.

In this episode we talk to Emmy nominated co-supervising sound editors Bernard Weiser and Brent Findley, from the hit series Ted Lasso. They do a deep dive on how they built a massive stadium full of fans chanting "Wanker" from a small loop group for source. They also discuss the rapid evolution of the ADR process in pandemic times, having now done two seasons under various levels of lockdowns. Some things they hope stay going forward and others that they can do without.

In this episode we talk with Craig Henighan (Supervising Sound Editor/SFX Re-Recording Mixer), Paul Massey (Dial/Music Re-Recording Mixer) and Ryan Cole (Dialog Supervisor) from the Shawn Levy directed film, Free Guy. We talk about finding sonic space for dialog when total chaos is happening on screen, dealing with visual effects changing with each new delivery and ADR during a pandemic.

In this episode we talk with the team behind the music documentary Billie Eilish: The World's A Little Blurry. Joining us are director RJ Cutler and members of the sound team including re-recording mixers Elmo Ponsdomenech & Jason "Frenchie" Gaya as well as Supervising Sound Editor Richard E. Yawn. They talk about the challenges of having source footage originally recorded on everything from VHS to iPhones, mixing music for concert footage and keeping Billie's home life sounding intimate.

In this episode we talk with Supervising Sound Editor Mac Smith and Re-Recording Mixer Brandon Proctor, from the new film Nine Days. They tell us how they created the sound for a story that takes place on another plane of existence and yet is entirely recognizable. The film centres on a wall of TVs that that needs sound to lead the viewers to what is (and isn't) important to the story.

Al Sirkett and Lucy Mitchell tell us about their experiences building new stand alone studio spaces in their backyards. They tell us everything they learned, what they would do different, and how much it has changed their lives.

When working on a project that features horses on screen, the sound design can be broken up into 3 main categories: Their hooves, Saddle/Bridle, and their Vocalizations and Breathing. None of these are easy to design the sound for. Luckily we have some of the most talented people working in audio post-production chiming in, to tell us how they approach horses in their work. Paula Fairfield, George Haddad, Wylie Statemen, Gary Hecker, Mandell Winter, Robert Stambler, Don Sylvester and Sandra Fox all pony up their hard earned knowledge. Sandra Fox Does a quick Horse Hoof Foley Demonstration (2:24) Wylie Stateman, Don Sylvester and Mandell Winter talk about doing sound for horses in westerns (4:20) Gary Hecker discusses his work for both horse foley and as a voice actor specializing in horse vocalizations (12:15) Robbie Stambler and Paula Fairfield breakdown a specific horse scene from The Rings Of Power (26:30) George Haddad explains his horse sound design workflow on the many western series he has been Sound Supervisor on (31:20) Show Notes: https://tonebenderspodcast.com/277-sound-design-for-horses/ Podcast Homepage: https://tonebenderspodcast.com Tonebenders Host This Episode: Timothy Muirhead

In this episode we are joined by the sound team from the hit Disney Plus series WandaVision. Gwendolyn Yates Whittle and Kim Foscato (Co-Supervising Sound Editors) as well as Danielle Dupre (Re-Recording Mixer) tell us about the immense pressure to complete the series to match Marvel's cinematic standards while working under pandemic restrictions. The also discuss how co-supervisors share the work load, creating sounds knowing they will become cannon and the workflow of processing White Vision's voice.

Way back in January, the great Mark Mangini penned a little blog post outlining some audio tropes that he was hoping to put to rest. That post inspired some slack threads, facebook posts, and a good general discussion about how we can be more original and creative when tasked with designing sounds and situations that can have quick and easy answers. In this not-so-serious conversation Mark gets together with Tim, Teresa and René to break down some tropes, spell out some reasons for going there anyway, and maybe…just maybe…we retire the now infamous Wilhelm.

We talk to Peter Albrechtsen (sound designer) & David Barber (re-recording mixer) about the intense and unique sound work done on director Robert Machoian's film The Killing of Two Lovers. Visually the film plays out over long steady shots, while much of the films plot takes place off screen with sound taking the lead. The director also chose not to have a composer and instead use sound design, almost as musique concrète, to build the tension.

We talked with an amazing lineup of guests about all angles of recording in the desert. George Vlad, Thomas Rex Beverly, Bethan Kellough, Zach Goheen

We pick up where we left off in episode 163 with guests Kate Finan, Dominic Lawrence & Heather Olsen talking about doing sound design for series animation. We cover how to deal with the tight scheduling and deadlines, the hard lessons we all learned when getting started in animation sound and the need to respect how important these shows are to young viewers.

In this episode we welcome Heather Olsen (Gravity Falls, The Fairly OddParents), and Kate Finan (Muppet Babies, Invader ZIM: Enter the Florpus) from California, as well as Dom Lawrence (The Octonauts, Danger Mouse) from Ireland to talk about the art of doing sound design for animated series. They join our regular hosts Teresa Morrow (Nina's World, Elinor Wonders Why) and Tim Muirhead (PAW Patrol, Bakugan) to really dig into what it takes to bring animation to life with sound.

Supervising Sound Editor Nicolas Becker, Foley Artist Heikki Kossi and Re-recording Mixer Jaime Baksht join us for a talk about their work on the amazing film The Sound of Metal.

In this episode we talk with the sound team behind the excellent new film Judas and The Black Messiah. We dig deep into a standout scene involving a speech to an exuberant crowd with lots of call and response happening. Marlowe Taylor talks about how he captured the sounds on set, as Production Mixer. Rich Bologna explains how he edited those sounds, in post, to create the intensity, and re-recording mixer, Skip Lievsay, tells us how he made it all sound HUGE.

In this episode we talk about the sound work done on the latest Aaron Sorkin film The Trial of The Chicago 7. We are joined by Reneé Tondelli (supervising sound editor) & Michael Babcock (re-recording mixer) as they tell us all the challenges they overcame to make this protest/courtroom drama come to life. From overcoming challenges of recording loop group and ADR in early lockdown conditions, to blending the sound of new scenes and original archive footage seamlessly this film presented endless challenges for the audio team.

In this episode speak with Sergio Diaz (Supervising Sound Editor) & Zach Seivers (re-recording mixer) about their work on director Chloé Zhao's new film Nomadland. This film has very little dialog and music, so a lot of the sonic emotion of the film is built by the sound design and the very prominent ambiences used in the film.

Have you ever been watching a stand-up comedy special and felt like you were in the room the day it was recorded? A lot of that energy relies on the sound of the crowd as they laugh and react to what the performer is doing on stage. Vinny Alfano has worked on the audio post-production on stand-up specials from Mike Birbiglia, Sarah Silverman, Iliza Shlesinger, Louis C.K, David A. Arnold and more. He talks us through how to translate that energy from the live performance to the screen by making crowd reactions immersive, and the performer crisp and clear. Also.... Attention Sound Designers and Mic Lovers! The Field Recording Slack is currently running a MACHINE themed crowdsource library. Whether you're just getting started or already sleep with a mic under your pillow, your sounds are needed!  There are some serious prizes  up for grabs from Pole Position, Aftertouch Audio, Penguin Grenade, Tonsturm, Sonorous Objects, Articulated Sounds, Thomas Rex Beverly, Shaping Waves, Axl Sound, Western Tiger, JSE, Surround Sound Lab and more. Mark Mangini and Ezra Dweck will choose the winning sounds after the June 30th deadline. For details on how to take part go to: https://docs.google.com/document/d/1cwXn-h6YBOaKaA9QSOofII_hkQLgX9OlYUKj-xDvFtc/edit There have already been 130 machines recorded and submitted, so lets get your sounds in too—You Don’t miss this one! Show Notes: https://tonebenderspodcast.com/266-audio-post-for-comedy-specials-with-vinny-alfano/ Podcast Homepage: https://tonebenderspodcast.com Tonebenders Host This Episode: Timothy Muirhead

This episode we are joined by Gilbert Lake who was the SFX re-recording mixer on the recent Patty Jenkins film Wonder Woman 1984. Gilbert tells us how he got started with his mixing career in New Zealand only to end up back in his home town of London England, the type of sound effects the director expects for a Wonder Woman film and how to make a scene inside a swirling vortex work when the characters are whispering!?

Melissa Pons is a field recordist and sound designer who recorded an amazing album of wolves and wildlife in Portugal at a sanctuary named Grupo Lobo. In this episode we discuss how she got started in sound, how the project came to be, what the edit was like, and the ecological value of wolves in nature.

We sit down with Ren Klyce to talk about his work as Supervising Sound Editor and Re-Recording Mixer on David Fincher's latest film Mank. We go done a rabbit hole on how he created the 'patina' over the entire soundtrack to make it feel like it was made in the depression era. It was no easy task....

In this episode we talk with Steve Boeddeker about the sound of the new documentary, The Dissident. He handled the entire sound edit and mix on this engrossing and complicated story that leans on sound heavily to make things clear. After that we visit with Cory Rizos, out of Montreal, and discuss his career in sound.

In this episode Richard King joins us to talk about the ultra complicated sound for Christopher Nolan's film, Tenet. We talk about creating interesting sound design for scenes happening in reverse time, how to build big cinematic body punches and his thoughts on the controversy over the film's dialog mix.

We are joined by the sound team behind the hit series The Mandalorian. Re-Recording Mixer Bonnie Wild & Sound Designer/Supervising Sound Editor Dave Acord tell us about making the sounds of light sabers, the beskar spear, and seismic bombs. They also discuss their approach to creating the endless array of new creature vocals that the Star Wars universe conjures up.

We welcome Tim Nielsen and Kai Paquin to talk about organizing & participating in Crowd Sourced Sound Effects Libraries. They have both run successful Crowd Sourced libraries that went on to raise lots of money for charities once completed. We also talk about the Universal Category System initiative, that Tim and Kai are the brains behind, and how it has helped streamline metadata in crowdsourced libraries.

The winter 2020 Journal of Media and Diversity included an important study produced by our good friend Emma Butt, illustrating the current state of diversity in the film sound industry in the UK. In this episode we discuss the origin and methodology of the study with Emma, and get into some possible solutions.

We are joined by the sound editorial team for the hit series The Queen's Gambit. Rachel Chauncey (foley artist), Gregg Swiatlowski (Sound Supervisor), Eric Hirsch (Sound Editor) and Leo Marcil (Sound Effects Designer), all talk about their work on this challenging project.

In this episode Eric Hoehn walks us through what it was like to do the final mixes for the Queen's Gambit during the lockdown. He also talks about his tricks to make dialog pop and what it is like working with Wylie Stateman.

This show hits hard! Invincible may be an animated series, but it is definitely not for young kids.  There are real consequences here, characters die, battles leave marks. The sound design has to be big and impactful to match the powers of the super heroes going toe to toe on screen.  Punches are huge, explosions really go BOOM.  Blood rains down.  Supervising Sound Editor Brad Meyer, Re-Recording Mixer Jeff Shiffman and Sound Effects Editor Katie Jackson tell us the secrets behind the sound design of the punches, the endless blood, inter-dimensional portals and lots more. Show Notes: https://tonebenderspodcast.com/265-invincible/ Podcast Homepage: https://tonebenderspodcast.com Tonebenders Host This Episode: Timothy Muirhead

Today Rene and Tim talk with the legendary Production Sound Mixer John Pritchett. John has worked on projects from Dirty Dancing to Avengers: End Game and just about everything in between. In addition to all the blockbusters he has also worked with auteur directors like Altman, Malick, Mendes, Oliver Stone, PT Anderson, and many more. He has seen it all and has the stories to prove it!

We do a deep dive into the ground breaking Sound Design of Scott Pilgrim Vs The World, to celebrate it's 10th Anniversary. Supervising Sound Editor Julian Slater tells us about his favourite moments and how they came to be.

In this episode we sit down with Sound Supervisor Tim Rakoczy in Austin Texas. We talk about his long collaboration with director Robert Rodriguez working on films like Alita: Battle Angle, Predators and Sin City. Tim is a great storyteller, you don't want to miss this one.

Wylie Stateman (Django Unchained, Godless, Hateful 8), Valerie Deloof (The Sisters Brothers), Mandell Winter (Deadwood: The Movie, Magnificent 7, Meek's Cutoff) and Don Sylvester (3:10 To Yuma) tell us about how they approach Sound Design for Westerns. From horses & guns to gritty foley & ambiences, we cover it all to make the wide open spaces of the old west come to life with sound.

We talk with "The Boys" Supervising Sound Editor, Wade Barnett, and Sound Designer David Barbee. They tell us about making gore sounds extra gross, how they evolved sound design for superheroes and how much fun it is working with a show runner that prioritizes sound design.

In this episode we talk with the ubiquitous Jack Menhorn about his latest project: Disintegration from V1 Interactive. Jack gets into the nuts and bolts of the asset management, voice production, vehicle building, and dynamic mixing. Jack also dives into his big leap into his first project as a full-on audio lead. In addition to running the sound department at V1, Jack has for years been an integral organizer in the online audio community – taking leadership roles in the iconic Designing Sound website, as well as the field recording slack. Its generally a good idea to follow him on twitter @JackMenhorn and spam him with gifs. You can also find him at JackMenhorn.com

Another interview recorded during Tim and Rene's trip to Austin earlier this year. In this episode the guys visit Shana Brown at her studio Chez Boom in Austin and chat with both Shana and Emma Butt about the ins and outs of work for hire ADR, studio hopping, and how both women face down misogeny in the work place.

We talk about the sound for the hit show Normal People with sound effects editor Anna Bertmark and Supervising Sound Editors Niall Brady & Steve Fanagan. We talk about creating the show's mood with sound, how to collaborate when everyone on the team is in different cities and lots more.

During the time of global pandemic sound designer Al Sirkett created the Ambient Isolation project as something to do with his daughter. The project ballooned into a massive crowdsource, where recordists from around the world captured the sounds of a locked down world. In Part 2 we’ve assembled a collage of contributions with short descriptions from some of the recordists that participated. This is a peaceful, meditative collage so allow yourself some space to take it in properly.

During the time of global pandemic sound designer Al Sirkett created the Ambient Isolation project as something to do with his daughter. The project ballooned into a massive crowdsource, where recordists from around the world captured the sounds of a locked down world. In Part 1 of this episode we talk with Al about the story of the project and how it came to be.

How do you use sound to amplify feelings of awkwardness and discomfort? In The Curse the sound design is tasked with making the viewers skin crawl in a very unusual way. The series is not horror, but there are times you feel you have to look away. Long silences (that are never actually silent!) lead to unexpected emotions in both the characters on screen and those watching at home. The show's main characters, played Emma Stone, Benny Safdie and Nathan Fielder, lie to themselves and each other while their lives spiral as a result. It is quite a ride. Re-recording mixers Tim Hoogenakker and Larry Benjamin are joined by Production Sound mixer Phillip Bladh to explain how they captured and sculpted the sound to be an emotion driving force for the series. Show Notes: https://tonebenderspodcast.com/264-the-curse/ Podcast Homepage: https://tonebenderspodcast.com Tonebenders Host This Episode: Timothy Muirhead

Rene, Tim and Teresa talk about the BLM movement

Tim and René sat down with Tom Hammond at his Soundcrafter Studios in Austin to talk about his 25 years of collaborating with director Richard Linklater. Tom tells us about the 12 year post production process on Boyhood, his start editing foley and how he survives and thrives working outside of Hollywood.

In 2018 the film world took notice when Alfonoso Cuarón, director of Gravity, released a black and white, period film called Roma to wide acclaim. It was one of the first films to truly explore and innovate in the Atmos format, and the dense soundfield was an intense labor of love throughout. In this episode we spoke with sound editor Javier Quesada about his intense and meticulous work in this project.