Martyn Harries AMPS in conversation with Tom Taylor - Production Sound Mixer and Lee Salevan - Re-Recording Mixer and Supervising Sound about their work on Clint Bentley's film "Train Dreams". We hear about the training and preparation Lee had for working on quiet films and about the scene which moved Tom to tears.

Martyn Harries AMPS talks with the post and production sound team from Ryan Coogler’s AMPS Award nominated film ‘Sinners’. Find out how they built the soundtrack for the intense, surreal montage, the implications frequent recuts had on the Foley tracks, and how Felipe, the music editor, coped with the rigours of being on set. With Martyn in this episode are: Chris Welcker, Brandon Proctor, Steve Boeddeker, Benny Burtt, David Butler, and Felipe Pacheco.

Thanks to Isabel Derr and Kate Davis AMPS of Azimuth Post Production for their help editing this episode.

Martyn Harries AMPS talks with the Co-Supervising Sound Editors Margit Pfeiffer and David Acord (also Sound Design) about their work on Andor Season 2. We hear how the legacy sounds from Star Wars are respected and enhanced and about how the Ghor language was created and how cast member have become fluent speakers.

Supervising Sound Editor / Re-Recording Mixer – David Giammarco, Supervising Sound Editor - Eric A. Norris and Production Sound Mixer – Tod A. Maitland some of the team behind the sound for "Springsteen: Deliver Me from Nowhere" in conversation with Martyn Harries AMPS. Find out the team's favourite moments and their biggest challenges and why Tod records with 6 lavs on an actor!

Thank you to Isabel Derr and Azimuth for their help in preparing this episode.

Martyn Harries AMPS in conversation with Ulrika Akander - Dialogue Supervisor, Michael Babcock - Supervising Sound / Re-Recording Mixer, Joe Dzuban - Re-Recording Mixer, and Balázs Varga - Production Sound Mixer about their work on James Vanderbilt's film "Nuremburg", the challenging sets and the attention to detail involved with a period piece.

Please Note - There is a technical problem with Joe's mic at 29'40" but we thought his answer was important and needed including

Thank you to Kate Davis AMPS and Azimuth for help with the edit and mix.

Louise Burton AMPS in conversation with Judi Lee-Headman AMPS, CAS - Production Sound Mixer on Nia DaCosta's film "Hedda". Hear why Judi spent all her time in the "dog house" and how 3D printing saved the day for the dialogues.

Jake Whitelee AMPS talks with some of the team behind the epic soundtrack of F1 the movie. AMPS Award winning Production Sound Mixer Gareth John AMPS, and Supervising Sound Editors Al Nelson and Gwen Whittle.

Hear what it was like to be filming on a live Formula One racetrack, how to mic up an F1 engine, and how Lewis Hamilton feels while he’s driving that fast.

You can watch F1 now on Apple TV.

Thanks to Kate Davis AMPS and Azimuth Post Production for the record and edit.

Steve Single - Sound Supervisor, Re-recording Mixer and Andy Neil - Sound Design and Re-recording Mixer in conversation with Martyn Harries AMPS about the challenges of Mona Festvold’s latest film The Testament of Ann Lee. A musical with a difference with challenging scenes weaving in and out of historical drama, music and chanting, and some wonderful atmospheres and FX. Find out what made the cast very ill, the team’s favourite moments and the most challenging scenes.

Edit and Mix by Isabel Derr at Azimuth Post Production https://azimuth.tv/

Sound Designer/ Supervising Sound Editor Nathan Robitaille, Supervising Sound Editor Nelson Ferreira and Re-Recording Mixer Brad Zoern are in conversation with Rob Walker AMPS about the sound for Guillermo del Toro’s film Frankenstein.

This episode explores the creation and evolution of the animal/human creature voice, their collaborative approach to the creative process and the intuitive bond with their producer. Even the blunderbuss gets its moment in the spotlight!

Louise Burton AMPS MPSE in conversation with Supervising Sound Editor/ Re-Recording Mixer Paul N.J. Ottosson and Production Sound Mixer Thomas Varga about their work on Kathryn Bigalow’s “House of Dynamite”, the challenges of recording and editing a huge ensemble cast multi-stage and how to maintain tension inside the interior space.

This episode is sponsored by Ursa Straps https://ursastraps.com/