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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Behind the Emmy-nominated Sound Editing on ‘The Righteous Gemstones’ – with Nicholas Renbeck, Deborah Wallach, Rachel Wardell, Ailin Gong, Tommy Stang, and Michael Brake
The sound editing team on ‘The Righteous Gemstones’ talks about their 2025 Emmy-nominated work on S4, Ep. 1 ‘Prelude,’ which is in the running for ‘Outstanding Sound Editing For A Comedy Or Drama Series (Half-Hour).’ The team talks about performing and editing foley for the Civil War battles and encampment scenes, editing pre-recorded music to fit the Confederate army musicians playing on-screen, designing moments of quiet reflection during grim scenarios, bringing out the dark comedy through sound, and much more!
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Making Murderbot’s Mind-Blowing Sound – a sonic deep-dive with Tyler Whitham, Danielle McBride, Alexandra Fehrman and Emilie Corpuz
Apple TV+ sci-fi action-comedy series ‘Murderbot’ — streaming now — is a smorgasbord of sound artfully crafted by sound supervisors Tyler Whitham and Danielle McBride, and re-recording mixers Alexandra Fehrman and Emilie Corpuz. Here, they talk about creating a signature sound for the series’s reluctant protagonist Murderbot, designing ships, sandworms, HUD/UI effects, high-tech medical equipment, alien planets, a space soap opera that’s a series inside the series, and mixing scenes with overlapping dialogue, double dialogue processing, tons of effects and score, and so much more!
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The Sound of The Last of Us S2: Inside the Epic Battles, Infected Hordes & Hidden Details
Max’s hit series The Last of Us raises the intensity to new heights in Season 2. Here’s Michael Benavente, Christopher Battaglia, and Chris Terhune on how the sound team designed massive hordes of infected using only three voice actors, kept rain interesting using bespoke water recordings, re-created the Seraphites’ whistle-based communication, and so much more!
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Diving Deeper into Andor S2’s Superb Sound: Building Sonic Intensity for Ep. 208 – with David Acord and Margit Pfeiffer
David Acord (Re-Recording Mixer/Sound Designer/Supervising Sound Editor and Margit Pfeiffer (Dialogue & ADR Supervisor/Supervising Sound Editor) at Skywalker Sound break down their sound work scene by scene on Ep. 208 “Who Are You?” — up for Emmy consideration for both Sound Editing and Sound Mixing for a Comedy or Drama Series (One Hour):
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Designing Disquieting Sound for ‘Black Mirror’ Season 7 – with Tom Jenkins, James Hayday, James Ridgway, Poppy Kavanagh, and Alex Sawyer
Explore the disquieting sound for ‘Black Mirror’ Season 7 with sound supervisor/sound designer Tom Jenkins, sound designer James Hayday, re-recording mixer James Ridgway, music editor Poppy Kavanagh, and supervising dialogue editor Alex Sawyer, who dive into their sound work on “USS Callister: Into Infinity,” “Eulogy,” “Hotel Reverie,” and “Plaything.”
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Achieving Articulate Chaos on ‘American Primeval’ using the Rolling Mix Method – with Wylie Stateman and Anne Jimkes-Root
‘American Primeval’ sound designer Wylie Stateman and supervising sound editor/music editor Anne Jimkes-Root talk about their “Rolling Mix” approach to crafting organized chaos and contrasting beauty for Director Peter Berg’s limited series set in the American West.
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Designing and Mixing the Gripping Sound of ‘Dope Thief’ – with the Formosa Group Sound Team
‘Dope Thief’ sound supervisor Marla McGuire, re-recording mixers Stephen Fitzmaurice and Danielle Dupree, and sound designer Jonathan Golodner detail their work on each episode, talk about designing and mixing realistic gunfights, using sound to set the scene and build tension, and much more.
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