290 episodes
SoundWorks Collection Colemanfilm Media Group
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- TV & Film
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4.0 • 90 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 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 -
The Sound of Napoleon
Delve into the epic tale of Napoleon Bonaparte in Ridley Scott's cinematic masterpiece. Join us as we explore the mesmerizing world of "Napoleon," where the revolutionary backdrop of 18th-century France is painted with the strokes of impeccable storytelling and a captivating musical score and sound design.
In this video, we dissect the pivotal moments of Napoleon's life, from the guillotine's chilling descent on Marie Antoinette to the triumphant Battle of Austerlitz. From the audacious coronation scene in 1804 to the haunting echoes of the Battle of Austerlitz in 1805. Witness the symphony of emotions as Napoleon faces love, betrayal, and the inexorable march of time.
Featuring Paul Massey, Re-recording mixer, James Harrison, Sound Designer & Supervising Sound Editor, Stéphane Bucher Production Sound Mixer and William Miller Re-recording Mixer. -
The Sound and Music of Maestro
Embark on a cinematic journey into the soul-stirring world of "Maestro," directed by the multitalented Bradley Cooper. This exclusive SoundWorks Collection video delves into the profound sound and music that weave the tapestry of Leonard Bernstein's life.
We explore various sonic scenes, the complexities of Bernstein's relationships, from his early romantic entanglements to the transformative encounter with Felicia Montealegre. We journey through decades of Bernstein's life, from the lavish parties of the 1950s to the emotional crescendo of Mahler's Resurrection Symphony in 1973, witness the intricate interplay of music and narrative. The film's exploration of Bernstein's personal battles and his enduring love for Felicia adds layers to the symphony of emotions.
Featuring Director and Co-writer Bradley Cooper, Tom Ozanich, Re-recording Mixer, Dean Zupancic, Re-recording Mixer, Richard King, Sound Designer, Jason Ruder, Supervising Music Editor and Executive Music Producer and Steven Morrow, Production Sound Mixer.
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MORE VIDEOS AND NEWS:
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The Sound and Music of The Color Purple
In this exclusive SoundWorks Collection video we explore the seamless integration of the blues, gospel, and spirituals of Director Blitz Bazawule's THE COLOR PURPLE.
We delve into how the music becomes a character in itself, amplifying the triumphs and tribulations of Celie and the ensemble cast. From the hauntingly beautiful to the joyously uplifting, THE COLOR PURPLE weaves a sonic tapestry that mirrors the emotional richness of Alice Walker's Pulitzer Prize-winning novel.
ABOUT THE COLOR PURPLE
Torn apart from her sister Nettie (Halle Bailey) and her children, Celie (Fantasia Barrino in her major motion picture debut, reprising her 2005 role from Broadway) faces many hardships in her life, including an abusive husband simply called Mister (Colman Domingo). With the support of sultry singer Shug Avery (Taraji P. Henson) and stand-her-ground stepdaughter Sofia (Danielle Brooks, Tony-nominated for the role on Broadway), Celie ultimately finds extraordinary strength in the unbreakable bonds of a new kind of sisterhood.
“The Color Purple” is directed by Blitz Bazawule from a screenplay by acclaimed playwright and WGA Award winner Marcus Gardley (“The Maid”). Bazawule is a Ghanaian multimedia artist who was a co-director on Beyonce’s Black is King and made his feature debut with the critically acclaimed Afrofuturistic “The Burial of Kojo.”
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MORE VIDEOS AND NEWS:
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The Sound and Music of Elemental
Dive into Pixar's latest creation, "Elemental," where the relationship between Ward and Ember, embodying fire and water, take center stage. We explore the creative process that transforms abstract elements into relatable characters and the delicate art of sound design and music which infuse our characters with personality and emotion.
Featuring Director Peter Sohn, Composer Thomas Newman and Supervising Sound Editor, Re-recording Mixer and Sound Designer Ren Klyce and Supervising Sound Editor Coya Elliott.
ABOUT ELEMENTAL:
In a city where fire, water, land, and air residents live together, a fiery young woman and a go-with-the-flow guy discover something elemental: how much they actually have in common.
SUBSCRIBE ON YOUTUBE:
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MORE VIDEOS AND NEWS:
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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.