Join the team behind the sound and music of Stranger Things 3 for a discussion about how the sound of the show has evolved and grown over three seasons, delivering cinema quality sound on an episodic schedule and budget, how to preserve that experience across all home platforms, the challenges of keeping creature sounds fresh and new, and finally, how the famous Neverending Story sequence came together.

Craig Henighan - Sound Supervisor

Mark Patterson - Dx and Music Mixer

David Klotz - Music Editor

Angelo Palazzo - SFX Editor

Katie Halliday - SFX Editor

Moderated by Glenn Kiser, Director of the Dolby Institute

Recorded at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019

We chat with Supervising Sound Editor, Sound Designer and Re-recording Mixer Damian Volpe to discuss his recent collaboration with visionary Director Robert Eggers and explore his new film, The Lighthouse.

Shot in black-and-white, the film follows two lighthouse keepers (portrayed by Willem Dafoe and Robert Pattinson) as they are faced with solitude, but start to lose their sanity and become threatened by their worst nightmares.

Damian Volpe is a Brooklyn based sound designer, supervisor, and mixer. He is a founding member of Harbor Sound, and a working partner of ((Audience)), a non- profit group dedicated to presenting music and sound art in new contexts, including specifically the use of movie theaters as concert halls. He has had the good fortune to collaborate over several decades with an amazing cast of directors including Ira Sachs, Debra Granik, Robert Eggers, Dee Rees, Marielle Heller, Ted Melfi, Mira Nair, Peter Hedges, Jim Jarmusch, and Matthew Barney.

Damian’s work can be heard in a wide variety of feature films (The Lighthouse, Can You Ever Forgive Me?, Leave No Trace, St. Vincent, Mudbound, Drive, Winter’s Bone, Margin Call, Forty Shades of Blue, Happiness), documentaries (Billy the Kid, Trouble the Waters) and art pieces (Drawing Restraint 9, States of Unbelonging, Last Address). His work can also be heard at the award-winning Gear Platte River Road Archway Monument and at The George Washington Museum and Education Center in Mount Vernon. His sonic interests include susurration, hypnogogia, tintinnabulation, buzz, bottomlessness, and decay.

Film sound legends Walter Murch (The Godfather, Apocalypse Now), Ben Burtt (Star Wars, Wall•E), Gary Rydstrom (Jurassic Park, Saving Private Ryan) and Making Waves director Midge Costin join Dolby Institute director Glenn Kiser in conversation before a live audience after the film’s premiere at the Tribeca Film Festival. The wide-ranging discussion touches on the role of subjective sound in creative storytelling, why the sound of Wall•E’s voice made some people cry, and how famed director Francis Ford Coppola uses what he calls “silent take 6.”

Re-recording mixer Cheryl Ottenritter discusses documentary sound design & Dolby Atmos mixing at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.

Hidden Pacific's Sound Team:

Rick Rush, Sound Design

Cheryl Ottenritter, Sound Design and Re-Recording Mixer

Adam Parrish King, Sound Design and Re-Recording Mixer

Moderated by Michael Coleman, SoundWorks Collection

Ott House Audio, or OHA as it’s often called, is a boutique studio based in Silver Spring, Maryland. The heart and soul of this woman-owned business is Cheryl Ottenritter. Cheryl's love for the art of sound shines through every project that comes through her doors. Launched in 2006 in the basement of John and Cheryl’s home, it wasn’t until 2007 that OHA moved into a small studio; allowing her to expand the services she offered. In 2019, Ott House moved into its current space on Fenton Street. OHA now boasts a Dolby Atmos® mix suite, three surround sound mix suites, a record booth, a fully equipped machine room, and a brigade of sound engineers with over 50 years of experience.

OHA provides clients with a full range of audio services; including but not limited to, sound design, mixing (surround and stereo), recording, radio, casting, paymaster, and audio description. OHA is on the forefront of new technologies and mediums; thus assuring that they will always be able to deliver creative and effective audio for their clients. We also provide remote review sessions - allowing instant collaboration with clients from all over the world.

www.otthouseaudio.com

George Massenburg discusses mixing an Alicia Keys track in Dolby Atmos at the Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.

"Follow the Tracks" panel recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019

A panel of experts discusses where our dialog tracks come from, where they go, and what happens to them along the way, from set to screen.

Panelists:

Gary Bourgeois - CAS Re-recording Mixer

Adam Carl - Recordist

Matt "Smokey" Cloud - Assistant Editor

Chris Jacobson - CAS Re-recording Mixer

Anna Mackenzie - Dialog Editor

Ben Patrick - CAS Production Mixer

Tod A. Maitland - Production Mixer

Moderated by:

Gary Bourgeois - CAS Re-recording Mixer

"The Networked Studio: Building a Near-Field Immersive Room With Audio-Over-IP" panel recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019

Chief engineers, designers and integrators discuss the ins and outs of building a near-field immersive audio studio using advanced Audio-Over-IP networking technologies and tools.

Panelists:

Brian Armstrong, Streamline System Design

Lane Burch - Sony Pictures Studio

Ron Romano - Belmont University

Phil Wagner - Wagner Consulting

Brian Armstrong - Streamline System Design

David Henszey - Managing Member Henszey Sound LLC.

Moderated by: Phil Wagner

Immersive Audio Workflow: Concept, Editorial, Design and Mix panel

Recorded at the 2019 Mix Magazine Sound for Film & TV event at Sony Studios on Saturday, September 28, 2019.

Our panel of experts will discuss a how-to plan for creating and delivering audio through the post-production process for the best use of immersive sound technology.

Moderated by: Carolyn Giardina - The Hollywood Reporter

Panelists:

Steve Ticknor - Supervising and Sound Design Editor Sony Pictures Studios

Tony Lamberti - Supervising Sound Editor, Re-Recording Mixer Sony Pictures Studios

Caleb Hollenback - Formosa Group

Cheryl Ottenritter - Sound Designer and Re-Recording Mixer Ott House Audio

Scott Kramer - Netflix

Paula Fairfield - Sound Designer

Wylie Stateman, a legendary sound designer and post-production media entrepreneur, delivered the Keynote Address at the sixth annual Mix Presents Sound for Film & Television, held Saturday, September 28, at Sony Pictures Studios in Culver City, Calif.

Wylie has supervised more than 150 sound projects, and his work has been recognized in the industry with over 40 nominations spanning every decade of his 40-year career. His industry recognitions include 8 Oscar nominations, 6 BAFTA nominations, 2 Emmy nominations, and 30-plus MPSE Golden Reel nominations. In 1994 he received, with Lon Bender and Kim Waugh, an Academy Scientific and Technical Award for an innovation that contributed to the advancement of digital audio post-production workflows.

Wylie has worked extensively with every major studio in Hollywood, along with some of the most prolific writer/directors in the motion picture and television industries. His creative sound work has included multiple collaborations with Oliver Stone, John Hughes, Quentin Tarantino, Wolfgang Petersen, Cameron Crowe, Scott Frank and Rob Marshall, among others.

Just a few of the many films Wylie has worked on include: Tron, Footloose, Ferris Bueller’s Day Off, Stand By Me, Born on the Fourth of July, The Doors, Jerry Maguire, JFK, Natural Born Killers, Kill Bill Vols. 1 and 2, Shrek, Inglourious Basterds, Snowden, Deepwater Horizon and this year’s Once Upon a Time in Hollywood.

Wylie was a co-founder of the post production sound services company Soundelux, where he served in a senior executive management capacity involved in overall operations. He also served as Chairman for the Soundelux Entertainment Group, a holding company that oversaw 11 entities, including The Hollywood Edge (sound effects libraries), Modern Music (music editorial for feature films and television), DMG (computer game design), and Mind’s Eye/Jabberwocky (books on tape), as well as Soundelux Systems and Showorks (both focused on location-based entertainment and show control). A few years ago, Wylie established 247SND, centered around a Dolby Atmos design studio, in Topanga.

His most recent work, Once Upon a Time In Hollywood, is Wylie’s seventh collaboration with Quentin Tarantino. During this project, he and his team applied a rapid prototyping process, an approach that they have been refining over the past five years. By continually incorporating new and refined sound design, dialog and music elements directly into the Avid track, Wylie and his crew enable the editor and director to take sound contributions into consideration throughout the editorial assembly process. Always in service to the director’s needs and vision, the process makes it easier to approve sonic elements in progressive stages, rather than forcing all of the decisions into the final weeks of post.

Wylie sees the rapid prototyping of sound as part of a bigger transition in sound editorial, where there are no longer predefined boundaries between the crafts. New technologies are turning upside-down the traditional sound editing and final mixing processes in content creation. In addition, artists working with the latest audio technologies around the world are publishing an enormous quantity of high-quality, multichannel recordings, which is changing how designers source materials to create new works.

Post-production sound now offers global collaborative possibilities, greater mobility, and many opportunities to improve efficiency. Recently, Wylie has been pursuing new entrepreneurial endeavors toward these ends. It is an exciting time to work in the sound space.

We chat with the sound team of The Dark Crystal: Age of Resistance which was recently released as a 10-episode series on Netflix. In this conversation we chat with Re-Recording Mixer / sound designer / supervising sound editor Tim Nielsen, foley artist Shelley Roden and supervising adr editor Tim Hands.

The Dark Crystal: Age of Resistance returns to the world of Thra, with an all new adventure. When three young Gelfling discover the horrifying secret behind the Skeksis’ power, they set out on an epic journey to ignite the fires of rebellion and save their world.

Rediscover the age of wonder inspired by Jim Henson’s groundbreaking vision. The Dark Crystal: Age of Resistance.