SoundWorks Collection

The sound of F1 is built to place the audience directly inside the speed and precision of Formula One racing—where every gear shift, tire scrub, and engine note carries narrative weight. At the heart of this approach is supervising sound editor and sound designer Al Nelson, alongside supervising sound editor Gwendolyn Yates Whittle, who shaped a sonic language that feels both technically authentic and emotionally immersive.
One of the film’s biggest challenges was that the cars photographed on set were Formula 2 machines, not modern hybrid F1 cars. That meant nearly all engine material had to be rebuilt from the ground up. The team meticulously replaced every pass, acceleration, and downshift with correct Formula One recordings—matching gear, speed, and cornering behavior turn by turn—creating what the filmmakers described as an intense act of “sonic stitchery,” where sound had to feel seamless even when the visuals were assembled from multiple sources.
Capturing clean F1 sound is notoriously difficult. Real Grand Prix weekends are flooded with helicopters, crowds, radios, and ambient noise. To solve this, the team recorded during private tire-testing days, where single cars could be isolated on track. These sessions provided rare, pure engine and drivetrain recordings that form the backbone of the film’s realism, giving each team and engine configuration a subtly distinct sonic identity.
On the mix stage, re-recording mixers Juan Peralta and Gary Rizzo pushed the experience into fully immersive territory. The races are designed not just to be loud, but dimensional—cars tearing across the floor of the soundstage, crowds swelling around the listener, and music lifting overhead. Mixed for Dolby Atmos, the film uses height and movement to recreate the chaos and exhilaration of standing trackside at a Grand Prix, making the theatrical experience feel massive and physical.
Grounding all of this spectacle is production sound mixer Gareth John, whose work ensured that dialogue, performance moments, and on-set texture remained believable and connected to the physical world. Together, the sound team crafted an experience meant to be felt as much as heard—an F1 film designed for the biggest screens and loudest rooms, where sound becomes the engine driving the story forward.

Go behind the scenes of "Springsteen: Deliver Me From Nowhere", the new film from Director Scott Cooper. We are joined today by production sound mixer Todd Maitland, composer Jeremiah Frates, Re-recording Mixer and Supervising Sound Editor David Giammarco, and Supervising Sound Editor Eric Norris.We discuss shaping the film’s sonic identity — from capturing live vocals on set, recreating Springsteen’s iconic studio environments, and blending Jeremy Allen White’s performances with Bruce’s original recordings, to using silence, heartbeat motifs, and era-specific gear like the Echoplex and the TEAC 114 tape recorder.Hear firsthand stories about filming at The Stone Pony, recording in the legendary Power Station, navigating the emotional father–son finale, and exploring Springsteen’s creative process through sound.

Step inside the sound design and mix of Paul Thomas Anderson’s newest film, One Battle After Another, with this in-depth look at the work of the sound team. Featuring Re-recording mixer, supervising sound editor, sound designer Chris Scarabosio, Re-recording mixer Tony Villaflor and Production Sound Mixer José Antonio García.
We explore how immersive soundscapes were built, how tension was sculpted through long, slow-burn car chases, and how the mix strikes a nuanced balance between grit, realism, and cinematic scale. From chaotic riot sequences to the atmospheric “River of Hills” chase, the team breaks down how rumbles, rattles, wind, and road textures evolve into characters within the story.
We also discuss what makes collaborating with Paul Thomas Anderson so distinct—his clear vision, his creative passion, and his fully hands-on approach to shaping every moment on screen.

Sara Bareilles’ song “Salt Then Sour Then Sweet”—written in collaboration with Andrea Gibson and Brandi Carlile for the documentary "Come See Me in the Good Light" directed by Ryan White —is a tender, emotionally charged meditation on healing and self-acceptance. The track carries Bareilles’ signature warmth and lyrical clarity, layered with Gibson’s poetic sensitivity and Carlile’s soulful, roots-driven intuition.The song moves like a journey through the textures of being human: the salt of old wounds, the sour of self-doubt and difficult truth, and ultimately the sweet arrival at compassion, resilience, and renewed connection. Its lyrics feel both intimate and universal, echoing the documentary’s themes of looking at oneself—really seeing oneself—in a softer, more generous light.“Salt Then Sour Then Sweet” stands as an anthem for anyone navigating their own evolution: a reminder that transformation is rarely linear, often messy, and always worth stepping into with courage. It’s a piece of music that honors vulnerability and celebrates the moments in life when clarity breaks through, turning pain into something beautifully human.Now Streaming on Apple TV:https://tv.apple.com/us/movie/come-see-me-in-the-good-light/umc.cmc.27uh51l7oh3ghql2gxb6xvb1sSUBSCRIBE ON YOUTUBE:http://bit.ly/SubscribeSoundWorksCollectionAUDIO PODCAST:https://linktr.ee/soundworkscollectionINSTAGRAM: https://www.instagram.com/soundworkscollection/TIKTOK:https://www.tiktok.com/@soundworkscollectionVIDEOS AND INDUSTRY NEWS:https://www.SoundWorksCollection.com

Go behind the scenes of SINNERS in this exclusive SoundWorks Collection featurette, which explores the creative collaboration that brought the film’s music and sound to life. The sound and music team dive into the ambitious process of crafting a 1930s Southern period piece centered around several groundbreaking musical performances.

We explore the rarity and significance of music-driven storytelling, and the challenges of recording live on set—from hiding microphones in cars to navigating gravel roads at high speed. They detail how an empty mill was transformed into a vibrant juke joint filled with layered Foley, dancing, and dynamic sound, and how a complex one-take musical montage was developed through pre-visualization, choreography, rehearsals, and meticulous timing.

Featuring Composer Ludwig Göransson, Executive Music Producer Serena Göransson, Supervising Sound Editor Benny Burtt, Re-recording Mixer Brandon Proctor, Re-recording Mixer & Sound Designer Steve Boeddeker, Production Sound Mixer Chris Welcker, Supervising Dialogue & ADR Editor David Butler and Music Editor Felipe Pacheco.