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. AUDIO PODCAST SUBSCRIBE: https://linktr.ee/soundworkscollection MORE VIDEOS AND INDUSTRY NEWS: https://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.

In our conversation we chat with Director Jeff Orlowski about his Emmy nominated documentary The Social Dilemma now streaming on Netflix. We also feature Supervising Sound Editor / Sound Designer, Richard Gould, Foley Artist Andrea Gard and Composer and Production Sound recordist Mark Crawford. We tweet, we like, and we share— but what are the consequences of our growing dependence on social media? As digital platforms increasingly become a lifeline to stay connected, Silicon Valley insiders reveal how social media is reprogramming civilization by exposing what’s hiding on the other side of your screen. The Social Dilemma premiered at the 2020 Sundance Film Festival on January 26, 2020, and was released on Netflix on September 9, 2020. The documentary went on to be viewed in 38,000,000 homes within the first 28 days of release. It received 7 nominations for the 73rd Annual Emmy Awards in 2021.

We chat with Director R. J. Cutler and Emmy-nominated Music Director Aron Forbes who was nominated for Outstanding Music Direction and Outstanding Sound Mixing for a non-fiction or reality programming about their recent collaboration on Billie Eilish: The World's A Little Blurry now streaming on AppleTV+. "Billie Eilish: The World’s A Little Blurry” tells the true coming-of-age story of the singer-songwriter and her rise to global superstardom. From award-winning filmmaker R.J. Cutler, the documentary offers a deeply intimate look at this extraordinary teenager’s journey, at just seventeen years old, navigating life on the road, on stage, and at home with her family, while writing, recording and releasing her debut album “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” The documentary is from Apple Original Films, in association with Interscope Films, The Darkroom, This Machine and Lighthouse Management & Media. Directed by R.J. Cutler and starring Billie Eilish, Finneas O’Connell, Maggie Baird, and Patrick O’Connell as themselves. SUBSCRIBE ON YOUTUBE: http://bit.ly/SubscribeSoundWorksCollection AUDIO PODCAST SUBSCRIBE: https://linktr.ee/soundworkscollection MORE VIDEOS AND NEWS: https://www.SoundWorksCollection.com

In the exclusive conversation we talk with the creative team behind Zenimation on Disney+ including creator and editor David Bess, Executive Producer Amy Astley, Re-recording Mixer David Fluhr and Supervising Sound Editor and Sound Designer Shannon Mills. Unplug, relax, and refresh your senses for a moment of mindfulness with Walt Disney Animation Studios’ “Zenimation” – an animated soundscape experience. Whether it’s baby Moana being called by the ocean, Anna and Kristoff walking through an icy forest, or Baymax and Hiro Hamada flying over San Fransokyo, these iconic scenes become an aural experience like no other with the sounds of ocean waves, an icy forest and soaring flight. “Zenimation” pays tribute to both the visual and sound artists who have created Walt Disney Animation Studios’ legacy of films.

In this conversation we talk with Re-recording Mixers Jon Taylor and Frank A. Montaño about their longtime collaboration with Director Justin Lin and their explosive and dynamic sound mix on F9: The Fast Saga.

Subtle choices in timing, backgrounds, EQ, reverb or overall balance in the dialog, music and effects can make the difference between a good mix and an award-winning mix. From production sound, to editing, to the re-recording stage, these expert sound editors and mixers discuss the sonic choices and overall tone that make their shows unique. Moderator - Tom Kenny, Editor of Mix Magazine Odin Benitez - Formosa Group. Joe Schultz - Waterman Sound. Danika Wikke - Formosa Group. Mix Sessions: Emmy® Awards Season is a virtual event honoring the year’s best creative talent in television sound—Editing, Mixing and Music. While the global pandemic has affected media distribution, schedules and attendance, it has not affected the quality of the sound work, and that work deserves to be recognized.

In the exclusive conversation we chat with sound designer and sound supervisor Mark Mangini about the new Pro Sound Effects, Odyssey Creatures library. Sonify the beasts and critters of your wildest dreams with The Odyssey Collection: Creatures. Add life and energy to any project with characterful animal recordings ranging from rare and exotic to common and domesticated – plus designed beasts and mythical beings. Create realistic scenes and otherworldly soundscapes with animal sounds from around the globe, including leopard growls, lion roars, horse whinnies, rhinoceros bellows, bird calls, monkey vocals, dog barks, insect swarms and more. This library features thorough coverage of more common creatures like birds, dogs, horses and insects – as well as many obscure animals. Developed in exclusive collaboration with Academy Award®-winners Mark Mangini & Richard L. Anderson, Odyssey Creatures delivers a huge variety of natural, high-quality, one-of-a-kind animal recordings and masterfully designed creature sounds – so you can stay creative and deliver your best sound. www.prosoundeffects.com/odyssey AUDIO PODCAST SUBSCRIBE: https://linktr.ee/soundworkscollection MORE VIDEOS AND INDUSTRY NEWS: https://www.SoundWorksCollection.com

We chat with Composer Jermaine Stegall about the music of Coming 2 America directed by Craig Brewer and now streaming on Amazon Prime Video. Set in the lush and royal country of Zamunda, newly-crowned King Akeem (Eddie Murphy) and his trusted confidante Semmi (Arsenio Hall) embark on an all-new hilarious adventure that has them traversing the globe from their great African nation to the borough of Queens, New York - where it all began. AUDIO PODCAST SUBSCRIBE: https://linktr.ee/soundworkscollection MORE VIDEOS AND INDUSTRY NEWS: https://www.SoundWorksCollection.com

We chat with Supervising sound editor Sergio Diaz and re-recording mixer Zach Seivers about Director Chloé Zhao's new film, Nomadland. Frances McDormand and director Chloé Zhao met a day before the 33rd Independent Spirit Awards in March 2018, and instantly wanted to do a film together. Filming for Nomadland took place over four months in fall 2018, with writer-director Zhao splitting time between set and pre-production for Eternals (2021). McDormand, Zhao, and other crew members lived out of vans over the course of production. David Strathairn, and real-life nomads Linda May, Charlene Swankie, and Bob Wells, also star. The sound design was very important to the film and was tailored to the very different specific landscapes Fern travels through. For this Zhao and her team worked with Mexican born Sergio Diaz, who has collaborated with renowned directors Alfonso Cuarón (Roma), Guillermo del Toro (Pan's Labyrinth, Hell Boy II: The Golden Army), and Alejandro González Iñarritu (21 Grams, Babel). For Nomadland he partnered with Los Angeles based Zach Seivers who also served as re-recording mixer. “We wanted to keep the sound design true to the soundscapes of the places where Fern finds herself, explains Zhao. “Very much like the music, we didn’t want to use “tricks” in sound design to tell the audiences how and what to feel. We wanted to be creative, experiential in our sound design, as well as true and honest.”