Meet the Sound Team of Apple TV+'s "Manhunt" on Filmmaker U

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Join us this episode for a conversation with the Sound team of "Manhunt." in this chat we speak with Sound Supervisor Lauren Stephens, Re-Recording Mixer Adam Jenkins and Re-Recording Mixer Joe Barnett as they go through the intricate sound design of the mid 1800's and the creative process they went through to bring it back to life in the series. Tune in!


Friday, April 26th, 2024 | 2:00PM ET/ 11:00AM PT

Sound Supervisor Lauren Stephens is a sound supervisor known for her work on acclaimed projects including Marvel’s "Daredevil," "Nos4a2," "Y the Last Man" and "Colin in Black and White." After graduating with an English degree from Clark University, she started her sound career as an apprentice at a small post-production studio where she began learning her craft and eventually working her way up. She spent three years as a sound supervisor at Sony before she was asked to join Technicolor in 2014 to supervise sound on Marvel’s "Daredevil," "Luke Cage," "Punisher" and "Iron Fist," as well as many other notable projects. Lauren has been nominated for two Emmys for her work on the first and second seasons of "Daredevil" and has received multiple MPSE Golden Reel nominations for "Daredevil," "Punisher," "The Bourne Identity" "Gladiator", and "For the Love of the Game."

Re-Recording Mixer Joe Barnett is known for his sound work on TV shows such as "Stranger Things" (2016) and "Avatar: The Last Airbender" (2024), and films such as "Chronicle" (2012) and "End of Watch" (2012). Hist most recent work is on Apple TV+'s "Manhunt."

Re-Recording Mixer Adam Jenkins began his career in sound post-production at Todd AO in 1981 working in a variety of positions including janitor, film loader and recordist before beginning mixing in 1989. Since then, he has worked as the sound effects mixer on well over 100 films.

In August 2012, Adam joined Technicolor. Adam's love for mixing stems from the opportunity to work in a number of genres with a wide range of sonic landscapes. He explains, "making a completely manufactured sound effects job feel like an organic, natural part of the film - be it in a romantic comedy, science fiction, or a shoot 'em up - is always a challenge that I welcome."
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