Sundance Institute and Skywalker Sound  join forces for the Sundance Institute Film Music and Sound Design Lab for the Seventh year running.   The Film Music Program’s mission is to educate, develop, and nurture collaboration across filmmakers, composers and sound designers.  As in previous years, the 2019 program features a live orchestra to perform each composer/director team’s original score and a distinguished group of Creative Advisors in residence to mentor the Fellows.   Skywalker Sound’s Randy Thom, Bob Edwards, Dennis Leonard, Richard Gould, Baihui Yang, Kimberly Patrick, Stephen Urata, Alyssa Nevarez and Jonathan Stevens will join the Sundance Lab Composer and Director Fellows.  Click here for a full list of 2019 participants.

Qianbaihui Yang has pointed a microphone at a roaring, spitting jaguar, walked alongside biting camels and stood near a pack of playful, loud elephants—all to capture realistic sound effects.

A sound editor at Skywalker Sound in Marin County, Calif., near San Francisco, Ms. Yang edits dialogue between characters for film and television and creates and synchronizes scene-specific sounds, such as tires spinning, feet clomping or sirens blaring.

Most recently, she helped edit “Toy Story 4,” due out in June, and has worked on films including “Captain Marvel,” “A Wrinkle in Time” and “Cars 3.” She spoke with The Wall Street Journal about her job and career path; here are edited excerpts.

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Avengers: Endgame soars at the box office and has taken in an astonishing $2.2 billion in less than two weeks – making it the 2nd highest-grossing movie in history worldwide (!).

Supervising sound editor Shannon Mills has worked on a number of Marvel movies, and in this exclusive A Sound Effect interview, he gives you the in-depth story about that Avengers: Endgame sound – including the audio team’s tactics for creating sounds that match the scale of what’s on-screen, how they kept the epic battles from becoming a chaotic mess, working with (and recreating) unique superhero signature sounds & much more:

Written by Jennifer Walden, images courtesy of The Walt Disney Company.

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Captain Marvel  continues its huge success at the box office, and here, supervising sound designer/re-recording mixer Christopher Boyes gives you the inside-story on how the sound for the film was made.

He covers everything from crafting Captain Marvel’s signature sounds, the sound of the Kree technology, the Skrull shape-shifting sound, to how they made the conflicts feel distinct, sonic teamwork and creative sound design solutions. He also talks about creating the impressively-sounding final mix:

Written by Jennifer Walden, images courtesy of Disney/Marvel Studios.

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How to Train Your Dragon: The Hidden World is number one at the US box office, and Oscar-winning supervising sound editor/sound designer/re-recording mixer Randy Thom and MPSE award-winning sound designer Al Nelson were the sonic masters behind the film’s impressively evocative sound.

Here, they describe the sound of the dragon’s Hidden World, and dive into the creative details of creating sounds for new dragons, such as the Light Fury and the Death Grippers, and how they created new, more emotive sounds for Toothless. They also look back at their now-classic sound work on the Dragon films:

Written by Jennifer Walden. Images courtesy of Dreamworks.

Crafting How to Train Your Dragon: The Hidden World’s impressive sound – with Randy Thom & Al Nelson