294 episodes
SoundWorks Collection Colemanfilm Media Group
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- TV & Film
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4.0 • 91 Ratings
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The goal for the SoundWorks Collection is simple; we are dedicated to profiling the greatest and upcoming sound minds from around the world and highlight their contributions. We take you behind the scenes and straight to the dub stage for a look into audio post-production for feature films, video game sound design, and original soundtrack composition.
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The Sound of Shōgun
Join us as we embark on a journey through the sonic landscape of the hit FX series show 'Shogun', as we delve deeper into the soul-stirring melodies and atmospheric sounds that define this captivating series.
Set in Japan in the year 1600, Lord Yoshii Toranaga is fighting for his life as his enemies on the Council of Regents unite against him, when a mysterious European ship is found marooned in a nearby fishing village.
For this conversation, we feature the sound and music teams of 'Shogun' which take center stage, transporting viewers to a realm where every whisper holds weight and every clash reverberates with history.
We are joined today by composer Leopold Ross, Supervising Sound Editor Brian Armstrong, re-recording mixer Greg Russell and re-recording mixer Steve Pederson. -
The Sound and Music of RIPLEY
In this exclusive video, we take you behind the scenes of the Netflix sensation 'RIPLEY' to explore the haunting sound and music that define the series. Featuring in-depth discussions with Composer Jeff Russo and Re-recording mixer, Supervising Sound Editor, and Sound Designer Larry Zipf, we reveal the intricate artistry that brings the world of 'RIPLEY' to life.
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The Music of ATLAS with Composer Andrew Lockington
Follow the epic journey of composer Andrew Lockington as he creates the extraordinary score for Netflix’s latest action/sci-fi film, ATLAS. Dive into exclusive behind-the-scenes footage of Lockington traveling the globe in search of sound, from exploring corners of Japan to recording in an abandoned underground station in London. Watch the score unfold at the legendary Abbey Road Studios, delivering a larger-than-life musical feat for Brad Peyton’s latest blockbuster.
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Jim Henson Idea Man with Director Ron Howard and Composer David Fleming
We chat with Academy award winning director/producer Ron Howard and composer David Fleming, to discuss their latest film, "Jim Henson: Idea Man." This fantastic documentary delves deep into the life and legacy of the singular, creative visionary Jim Henson.
From his early days puppeteering on local television to his worldwide success with Sesame Street and The Muppet Show. This inspiring film offers unprecedented access to Jim's personal archives, taking us on a captivating journey into the mind of this complex and inspiring artist.
"Jim Henson Idea Man" takes us into the mind of this singular creative visionary, from his early years puppeteering on local television to the worldwide success of "Sesame Street," "The Muppet Show," and beyond. Academy Award®-winning filmmaker Ron Howard captures Henson's restless creativity, ambition, and artistic evolution in the style and spirit of his complex subject, an artist who revolutionized television, inspired generations, and created some of the world’s most beloved characters. Featuring new interviews with Henson's closest collaborators and children, as well as never-before-seen materials from his personal archives—including home movies, photographs, sketches, and diaries— Howard brings us an entertaining and insightful look at a man whose boundless imagination changed the world. -
The Sound of Oppenheimer - Can You Hear The Music
In this exclusive SoundWorks Collection video, we explore the sound effects tracks of "Can You Hear The Music" scene and how this Oscar nominated sound team collaborated with Director Christopher Nolan.
Featuring Sound Designer / Supervising Sound Editor Richard King, Re-Recording Mixer Gary A. Rizzo, Re-Recording Mixer Kevin O'Connell and Production Sound Mixer Willie Burton. -
Maestro: Sound Breakdown
The dynamic sound team behind the film Maestro discuss the live recording of Mahler’s Second at Ely Cathedral in London. Production Sound Mixer Steve Morrow discusses capturing the London Symphony Orchestra, Supervising Sound Editor Richard King, Re-Recording Mixers Tom Ozanich & Dean Zupancic and Music Supervisor Jason Ruder highlight the in depth sound mixing process to bring the scene to life.
Posted with Permission from Netflix: Behind the Streams
Customer Reviews
Migrate not some but all episodes as promised
Please migrate the all episodes, including the one released on 2/24/2017 about the Last Guardian with Takeshi Furukawa, to the new Dolby Institute podcast, as announced in the last episode.
Incredible education... but production needs work
I’ve been a viewer/listener of SoundWorks since 2008. It has opened my mind to so many ideas about sound design and music production for film and beyond. I own a sound design company now, but still remember (and actively lean on) references and lessons I’ve learned from SWC along the way. Lessons which I might never have heard about if Michael had not had the idea to create this series. Kudos, and thank you for the years of education. That all being said… I want to echo some of the reviews that I see here when I say that the production and mixing of this podcast needs some love.
First of all, and I cannot stress this enough: I DO NOT like the sound of the Dolby app!! I know that you are trying to promote it by using it in practice, but you have chosen to replace the nearly-ubiquitous “radio voice” sound of podcasts with a solution that sounds like content coming from a complete amateur who cannot afford real equipment. I mean no disrespect to content creators who are just starting off — I’ve been there! — but you are a long-running show about sound design who’s interview subjects are primarily other folks who work in sound and music. All of you should be able to set up a nice mic!Hell, in some episodes there are clearly fox being recorded over a phone or Zoom/Skype line... and I end up preferring their sound over the app.
As for the panels, I know there are others leaving reviews here who dislike the dynamic range. It doesn’t bother me as much, but I can certainly understand for those listening in a high noise environment like a car or the gym that riding the volume button can get annoying. Perhaps a little master bus compression couldn’t hurt?
I’m not sure if there is any deliberate intent in making this podcast sound more “homemade“, but given the subject matter and how much of an educational tool it has become for many listeners, I think you should be aiming high to model excellent sound production. when the host and many of the interview subjects use the Dolby app... it just doesn’t even remotely cut it.
I don’t want to end on such a negative note, so I will just say this: thank you. As much as I have to say about the production, it is only (literally and figuratively) one-star’s-worth of my thoughts about this podcast. You drew the curtain back on a craft and an industry that wound up being my chosen career and I will be forever grateful for that.
Amazing content — ironically awful sounding
First. This podcast is amazing. The content is beyond awesome to hear and such a detailed dive into post audio that you are hard pressed to find elsewhere these days.
But I can only give 4 stars because the audio mixing...or lack thereof.
It’s incredibly ironic that a podcast mainly interviewing professional dialogue recordists, editors and mixers has such terrible audio. Depending on the episode, you may get a decently leveled mix, but on others, especially the panels and group interviews are normally just awful and almost impossible to listen to. Which is sad because the content is so rich.
These days a majority of people are listening on a commute or in an environment where it’s not perfectly quiet around them, so hearing some of these interviews is going to be extremely difficult.
I would be willing to mix these for free just so I can hear all the content and so others don’t have to continue to suffer! I am not usually a harsh critic, but I guess because I love this podcast and content so much I am hoping this is maybe seen by those who produce it and is addressed!
Thanks for your time putting all this together guys — it really is amazing, just please try and pay more attention to the final product and get some consistency going.
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