ABOUT MARK ULANO, CAS, AMPS

Mark Ulano has been recording sound for film professionally since 1976 and has mixed over 150 film and television projects. He is a four times Oscar nominee, most recently for ONCE UPON A TIME IN HOLLYWOOD, AD ASTRA and INGLORIOUS BASTERDS. His work on TITANIC won him an Academy Award for Sound Mixing as well as the Cinema Audio Society Award for Best Sound mixing for a Feature Film. Most recently, his work can be heard on WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY and in 2023 on the new Martin Scorsese spring release: KILLERS OF THE FLOWER MOON, staring Robert DeNiro and Leonardo DiCaprio.
He has had a 28 year collaboration with Quentin Tarantino.

With many articles published, Mark is very active in the cinema mentoring world as a teacher of workshops and speaker at sound symposiums internationally; including Academy of Motion Picture Arts and Sciences Gold Program, American Film Institute, Digital Video Expo, AES and Cinema Audio Society and many others.

Mr. Ulano has long been involved in leadership within the creative film sound community. He sat 30 years as a board member for the Cinema Audio Society and served the full two terms both as President and Vice President of the CAS. He also has served five terms as president of IATSE Local 695 (the film sound union in Los Angeles) and also served nine terms on the Sound Branch Executive Committee of the Academy of Motion Pictures Arts and Sciences as well as various AMPAS subcommittees.

WORKSHOP DESCRIPTION
OVERVIEW AND OBJECTIVES-Sound for storytelling:

The tools are not the artist, they are passive instruments until played by the creative practitioner.
We do not come to the project with a preconceived ideology; We come to the project to discover, to learn, to interpret. We hope to create something new.
This workshop is conducted primarily as a conversation and is fully interactive. We use case studies to teach a solution-based creative use of sound.
Topics covered in the workshop will include:
Using the sound palette for directorial intent.

What is being transmitted to the audience at this specific moment?
Connecting the characters to the audience
Sound as a tool for emotional connection/truth/communication
Character perspective, 1st person vs 3rd person, Like lenses and frame composition but not visible.
Every shot is hand made by a team of artists
Absence of understanding of the sound process on the set and beyond can limit the reach of the director
Brief historical survey
Not the Jazz Singer, but 40 years of evolving before the late 1920’s, when dialogue and sound-scape emerge.
The creation of a film’s sound-scape begins in pre-production.
The production sound team lays the bed of performance and most often are the primary liaison or decision maker of approach from pre-production through production.
Including sound artists in the circle of trust.
The production sound team performs the essential foundation in the creation of your film’s soundtrack.
Capturing performance in collaboration with the artists in front of the camera
in tandem with those behind the camera
What is “good sound”?
What does “technical” mean on a film set?
Linking with the other departments



PROFILE OF PARTICIPANT
The workshop designed for, Sound Mixers, Sound Editors, Music Editors, Boom operators, ADR Editors, Directors, Film Students, or filmmakers serious about a career in the Film Industry in the area of Sound.

LOCATION OF THE WORKSHOP
London, UK


Duration: 2 days
10:00 - 18:00
Dates: 7th - 8th of February 2026
Location: London, UK
Price: 599GBP (379GBP Until the 14th of October)
Maximum number of participants: 25
By registering to the workshop you agree with FFL terms and Conditions

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