Award-winning sound supervisor/re-recording mixer Michael Babcock dives into details of his work ‘KPop Demon Hunters’ — from creating demon vocals that work with the K-pop tunes, epic battles, to building huge crowds of chanting fans and much, much, more!
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Skywalker Sound’s supervising sound editor/sound designer Samson Neslund and re-recording mixer Onnalee Blank dive into the details of crafting ‘Thunderbolts*’ — now available on Disney+. They talk about using realistic sounds to create a grounded vibe for the superheroes, using dissonant drones and abstract textures for Sentry’s dark mindspace called ‘the Void,’ creating fun and chaotic fight scenes, and more!
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Sound supervisor/re-recording mixer Luciano Vignola and sound designer/re-recording mixer Filipe Messeder share their experience of creating realistic, disturbing sound for director Zach Cregger’s hit horror film ‘Weapons.’ Vignola and Messeder talk about their unique ‘contraption’ (called the Rumbler), which was used to create rattle layers for the end chase scene. They talk about their approach to panning foley, designing intricate reverbs to highlight the emptiness of spaces, working with the foley team to create believable gore, and much more!
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Ben Baird designed and mix the sound for both ‘Last Breath’ (the documentary), and ‘Last Breath’ (the feature film) – here’s how you tell the same story with two different sonic approaches:
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Director Akiva Schaffer’s crime-spoof comedy film ‘The Naked Gun’ (2025) is a sequel to the legacy ‘The Naked Gun’ franchise that began as ‘Police Squad!’ in the ’80s and never got old (or grew up, depending on how you look at it). Here, sound supervisor/re-recording mixer Dan Kenyon and sound effects editor Smokey Cloud talk about creating realistic sounds to juxtapose the over-the-top jokes, break down their sound work for specific scenes, and more!
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2x-Oscar-winning Supervising Sound Editor/Sound Designer Randy Thom talks about creating a familiar yet fresh sound for the live-action ‘How to Train Your Dragon’ film from Universal Pictures — now available for digital purchase and rental. Find out what animal sounds went into the dragon vocalizations, how Thom creates new whoosh sounds, what dragon he’d choose if he were a dragon rider, and more!
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Oscar-winning Sound Supervisor/Re-Recording Mixer Johnnie Burn at Wave Studios talks about crafting a post-apocalyptic world ruled by nature for director Danny Boyle’s ’28 Years Later’ — from recording his metal vocalist/mix tech for the Alpha infected’s scream, recording rural locations in England and Wales for authentic ambiences, and designing the sound of wind through skulls by (poorly) playing recorders and flutes, to shaping the overall mix during sound editorial, and much more!
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The SINNERS post sound team dives deep into their approach of capturing live on-set musical performances, worldizing music stems in the Juke Joint filming location, building believably massive Juke Joint crowds using production recordings, foley, and loop group, crafting experiential musical moments, creating a realistic day to night transition using specific insect and bird recordings, designing natural-sounding vampires, perfecting the immersive Dolby Atmos and IMAX mixes, and much, much more!
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