WWII Prisoner of war drama ‘Unbroken’ will compete in both the ‘Best Sound Editing’ and ‘Best Sound Mixing’ categories at the 87th Academy Awards ceremony on February 22nd. What better time to plug this video from The SoundWorks Collection, featuring an interviews with audio post team who worked on the film.
SoundWorks Collection – The Sound of Unbroken
In the latest offering from SoundWorks Collection, the spotlight is on Leslie Ann Jones, Director of Music and Scoring at Skywalker Sound. This 10-minute profile explores Jones’ musical roots and her 30-year career as a recording and mixing engineer.
Check out other SoundWorks Collection videos at: soundworkscollection.com
SoundWorks Collection have just released The Sound Of Transcendence an exclusive sound profile 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.
When I saw/heard Gravity last year it set me of on an exploration of dialogue panning to such an extent that I experimented with some fairly extreme panning in the film I was working on at the time. My experiment proved to be, well, inconclusive at best. So I went back to Gravity to see just how the panning worked within the context of the film, then decided to look beyond it and discovered some interesting dialogue panning going on in Cars (2006) and Strange Days (1995) as well.