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Get insight from our exclusive interview with sound designer, Ed Kaufman on life as a post production pro, tips on how to best make dialogue, music, and audio pieces all fit together and more!

You might think video production is all about, well, video, but sound connects an audience to what they are seeing. It adds emotion, supports the visuals, and every edit cut and it defines the overall mood and tone of your narrative.

When it comes to bringing a story to life with sound, there's more to it than meets the eye... or ear. Woody Woodhall, CAS is President of Allied Post Audio in Santa Monica, CA and is an award winning supervising sound editor, sound designer and rerecording mixer. He has sound supervised and mixed feature films, documentaries and for television he’s VO recorded, sound edited and mixed hundreds of episodes of programming for MTV, Comedy Central, Food Network, Nat Geo, History, USA Network and VH-1 to name a few.

They say necessity is the mother of invention. 2020 is a case in point. Social distancing and widespread lockdowns during the coronavirus pandemic have fast-tracked a global digital transformation. Billions of people have found new ways to work remotely and connect with each other. In the audiovisual industry, productions have found new ways to continue, facilitated by live streaming, virtual production tools and video conferencing technology, not to mention super-fast connectivity thanks to 4G, 5G and fibre optics. Post-production, in some cases, has actually thrived.

With a career that spans back to his days in recording more than a decade ago, Production Sound Mixer José Frías has long-held a love for the audio industry. Although he got his start in music, he’s held many different audio production roles, which has led to his working on projects for high-profile clients, such as Motorola, IBM, ESPN, Time Magazine and more.

Brad Engleking of TBD Post has been a sound professional in the film industry since 2000 when he graduated from Texas State University with a degree in music/sound recording technology. During this time he has worked on a wide range of film projects from Robert Rodriguez's Sin City to James Cameron’s Alita Battle Angel to Terrence Malick's A Hidden Life.

Supervising Sound Editor Damian Del Borrello and Orchestrators Jonathan Beard, Ed Trybek and Henri Wilkinson (collectively known as Tutti Music Partners) recently spoke with ProductionHUB regarding their work bringing the incredible sounds of Tolkien's world to life on Amazon Prime's Lord of the Rings: The Rings of Power.

If I had to pick one constant among independent film festival submissions it would be unintelligible dialogue. The cause of desperation of every director; the bane of every mixing engineer’s existence; the source of suffering of your friends and family, forced to go through a whole movie they don’t understand because the actors’ words simply can’t be heard. This and many other nuances of your film’s sound are the victims of a few often overlooked details, which in turn result in the delivery of a subpar soundtrack, driving your audio post team insane and wasting production money. Good news is these mistakes can very easily be prevented. You can start by tackling a few key issues often associated with your role.

Creating great sound along with mixing and editing is truly an art form, one that I really have admired for a long time. The sound tools used by creative professionals today have taken audio to a whole new place. Audiences at all levels want and expect really good audio whether it is in the movie or home theatre. Clear dialogue, background, sound effects, and music all have to be spot on. Boutique studios and full on post facilities know that getting all the elements right matters to the success of the program.

by N. HalpernThe Sony Pictures Sound Effects Series is a ten-volume collection of sound effects, foley, and sound design elements. This wide-ranging collection takes its material directly from the vaults of Sony Pictures Entertainment; unsurprisingly, the quality of the material is uniformly top notch. Besides being a nice potential additional to a sound designer or mixer’s arsenal, this is also an excellent commercial library for quick access for editors, producers, theater producers, and even composers (more on that later) who need to take sound matters into their own hands.