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Supervising Sound Editor Mandell Winter has supervised sound editing and mixing teams for Apple's Defending Jacob, HBO's Outsider, & Quibi's #FreeRayshawn. Mandell received two Emmy nominations last year for his work on HBO's Deadwood: The Movie and Season 3 of HBO's True Detective. Additionally, in 2019 he received two MPSE Golden Reel Award nominations for True Detective, a third for Deadwood, and a fourth for What's My Name: Muhammad Ali. He talked exclusively to ProductionHUB about how COVID has altered his day-to-day, breaking into the industry (accidentally!) and what film made him tear up.

In our latest interview, we spoke with Peter Albrechtsen, supervising sound editor and sound designer for the newest installment of the Evil Dead franchise, Evil Dead Rise.

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.

The industry has been talking a lot about using virtual sets recently and for good reasons. Most of the attention has surrounded The Mandalorian, Disney +’s $120 million flagship show. While they’ve certainly pioneered the field and brought it the attention it deserves, a lot of projects don’t have Disney’s production money for their projects. With that being said, designing and utilizing virtual sets is not reserved for the flagship studio projects. Every independent filmmaker should be looking at how they can use this tool to their advantage as there are several scenarios where it can be helpful.

Blackmagic Design DaVinci Resolve 15 Studio is a very interesting post-production offering. Resolve 15 Studio has so many options and directions you could lose yourself and endlessly work on improving just that one clip if you don’t keep track of your sessions. Let's take a look at the many facets of Blackmagic Design Resolve 15 Studio.

GDC Session with speaker Rod Abernathy, Rednote Audio.Rod Abernethy is known throughout Europe, Asia and the Americas for his cutting-edge approach to music composition for video games, television and film. Credits include: Sound Dead Space, Rage, Wheelman, Alpha protocol, Hobbit, King Arthur and Transformers, Madagascar 3, and more! Rod’s music has also been featured in programming for major networks including ABC, CBS, Discovery Channel, ESPN, Fox, G4, HBO, Nickelodeon, TLC and PBS.

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.

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.

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.