Awards Season 2025 Is Under Way!

Who Attends:

1. Manufacturers: The leading manufacturers in sound for picture technology from leading major and independent Hollywood studios.
2. Creatives: Independent and facility-based sound editors, mixers and technologists, working with dialog, effects and music.
3. Technologists: Chief engineers, system integrators and the leading developers in workflow and product development.

Full Agenda

1. 12:00ET

   WELCOME

   

   Tom Kenny Mix

2. 12:02

   Sound for GLADIATOR II - Presented by Paramount Pictures

   

   Matt Collinge Supervising Sound Editor/Re-Recording Mixer

   

   Danny Sheehan Supervising Sound Editor

   

   Stephane Bucher Production Sound Mixer

   Ridley Scott films are a sound team's dream job, with rich environments, spectacular action scenes and compelling storylines. With Gladiator II, it's back to ancient Rome and the Coliseum, with swords, catapults and, this time around, an epic naval battle.

3. 12:30

   Sound for WICKED - Presented by Universal Pictures

   

   Andy Nelson Re-Recording Mixer

   

   Nancy Nugent Title Supervising Sound Editor

   

   Simon Hayes Production Sound Mixer

   

   John Marquis Supervising Sound Editor and Sound Design/Re-Recording Mixer

   Bringing a hit Broadway musical to film poses unique dialog and vocal challenges as the lead performers glide from the spoken word into a rousing song. Find out how the Wicked sound team set up a system for production and in the studio that captured Cynthia Erivo and Ariana Grande singing live on the set, then blended in orchestra, band and background singers, and then mixed it all together in Dolby Atmos.

4. 1:00

   Sound for NICKEL BOYS - Presented by Amazon MGM Studios

   

   Nicholas Monsour Editor

   

   Scott Alario Co-Composer

   

   Alex Somers Co-Composer

   

   Mark LeBlanc Sound Mixer

   

   Daniel Timmons Co-Supervising Sound Editor / Re-Recording Mixer

   

   Tony Volante Re-Recording Mixer

   In adapting Colsoon Whitehead's Pulitzer Prize-winning for the big screen, director RaMell Moss took the unique approach of shooting the entire POV from the two protagonist's viewpoints, leading to an equally experimental approach to sound and score.

5. 1:30

   Sound for DEADPOOL & WOLVERINE - Presented by Disney

   

   Craig Henighan Re-Recording Mixer

   

   Ryan Cole Co-Supervising Sound Editor

   

   Rob Simonsen Composer

   The Marvel action-comedy blockbuster has become a staple of the film industry, and nobody does superhero comedy like Deadpool. For the sound team, that means weapons, explosions, car chases, big score, classic pop songs and so much more, all on an epic scale, and all while hearing every word of Ryan Reynolds' rapid-fire delivery and Hugh Jackman's terse, anger-fueled responses.

6. 2:00

   Sound for CONCLAVE - Presented by Focus Features

   

   Volker Bertelmann Composer

   

   Valentino Giannì Production Sound Mixer

   

   Ben Baird CAS, Re-Recording Mixer

   The Vatican itself becomes a character--from the echo of pillared halls, to the private whispers in the back rooms, to the rhythm and squeaks of footsteps on marble--in the final mix of Conclave, and when coupled with Academy Award-winning composer Volker Bertelmann's score, it takes the audience emotionally and spiritually inside one of the world's most private and holy sanctuaries.

7. 2:30

   Sound for DUNE: PART TWO - Presented by Warner Bros

   

   Richard King Supervising Sound Editor/Sound Designer

   

   Doug Hemphill Re-Recording Mixer

   

   Ron Bartlett Re-Recording Mixer

   The first film in director Denis Villeneuve's epic Dune trilogy is a tough act to follow, having taken home six Oscars in 2022, including Sound, Score, Editing and Cinematography. But the story has so much more to offer, both visually and sonically, as we return to the Bene Gesserit, Harkonnens, Fremen, and the sands and winds of planet Arrakis. And this time Paul Atreides, the Muad'Dib, rides a sandworm.

8. 3:00

   Sound for MARIA - Presented by Netflix

   

   John Warhurst Supervising Sound Editor

   

   Gwennolé Le Borgne Supervising Sound Editor

   

   Lars Ginzel Re-Recording Mixer

   

   Mac Ruth Production Sound Mixer

   Angelina Jolie stars as opera singer Maria Callas in director Pablo Larrain's third and reportedly final bio-drama of important 20th century women. The period backgrounds, the intimacy and mystery of a private life, and the full-blown performances of a legendary soprano are interwoven masterfully by a tight, production-to-post, international sound team.

9. 3:30

   Sound for KINGDOM OF THE PLANET OF THE APES - Presented by Disney

   

   Ai-Ling Lee Re-Recording Mixer/Sound Designer

   

   Tobias Poppe Sound Designer/Supervising Sound Editor

   

   Andrew Nelson Re-Recording Mixer

   

   Mark Van Kool Production Sound Mixer

   It's all about the Apes this time around, as one of film's most enduring and entertaining franchises returns amid a battle for dominance in the new world order. The growth and maturity in ape vocalizations and language, the emergence of old/new technologies, and an emphasis on nature sounds and organic effects--along with big battles, of course--make this latest look at the Apes sound all new again.

10. 4:00

    Sound for JOKER : FOLIE A DEUX - Presented by Warner Bros

    

    Erik Aadahl Supervising Sound Editor/Sound Designer

    

    Ethan Van Der Ryn Supervising Sound Editor/Sound Designer

    

    Dean Zupancic Re-Recording Mixer

    

    Tom Ozanich Re-Recording Mixer

    

    Jason Ruder Supervising Music Editor

    

    Steve Morrow Production Sound Mixer

    The Gotham City that the Joker inhabits is a dark place, with a dark, brooding and sometimes maniacal backdrop that is echoed in the sound effects, Foley and background tracks, especially when blended and intertwined at the final mix with Academy Award-winning composer Hildur Guonadottir's mesmerizing score.

11. 4:30

    Sound for EMILIA PEREZ - Presented by Netflix

    

    Cyril Holtz Sound Supervisor/Re-Recording Mixer

    

    Aymeric Devoldère Supervising Sound Editor

    

    Hortense Bailly Supervising Voice Editor

    

    Carolina Santana ADR Supervisor

    There's nothing quite like Emilia Perez out there. It's been described as a "genre-defying musical-crime-comedy-thriller," but even that doesn't do justice to the story of a cartel crime boss who stages his own death and undergoes gender-affirming surgery in order to start a new life. Now imagine the story in sound and song, as this innovative and experimental audio team did.

12. 5:00

    Sound for ALIEN: ROMULUS - Presented by Disney

    

    Will Files Re-Recording Mixer/Supervising Sound Editor

    

    Lee Gilmore Sound Designer/Supervising Sound Editor

    Set in a timeline between the first two Alien films, Romulus reignites the classic series that has come to define the science fiction-horror genre. Space travel, mysterious cocoons, shock-thrills, scary silence, lots of weaponry, and a sound approach that integrates the mechanical and the futuristic--it's all there, accompanied by a Benjamin Wallfisch score that both pays homage and reimagines the original.

13. 5:30

    Sound for NOSFERATU - Presented by Focus Features

    

    Robin Carolan Composer

    

    Damian Volpe Supervising Sound Editor (Effects)/Supervising Sound Designer/Re-Recording Mixer

    

    Steve Little Supervising Sound Editor (Dialog)

    

    Michael Fentum Sound Designer

    Director Robert Eggers takes us back to Transylvania and the classic vampire story in this remake of the groundbreaking and highly influential 1922 German film of the same name, with all of its Gothic undertones, stone castles, period sounds, and, always, tension lurking in the shadows.

14. 6:00

    Sound for THE WILD ROBOT - Presented by Universal Pictures

    

    Randy Thom Supervising Sound Designer

    

    Brian Chumney Supervising Sound Editor

    

    Leff Lefferts Supervising Sound Editor/Re-Recording Mixer

    

    Gary A. Rizzo CAS, Re-Recording Mixer

    

    Kris Bowers Composer

    Animated films offer a blank palette to a sound editorial and mix team, a true sonic playpen. So when the servant-robot Roz is thrown off course during delivery and crash lands on a remote, uninhabited island, and is then accidentally activated, the sound team is able to create an all-new mechanical-natural-futuretech world for the ears.