![]() Supervising sound editor Al Nelson notes this involved recording in multiple locations, including a naval base in Fallon, Nevada, and spending a week on an aircraft carrier in the Atlantic. Courtesy of Warner Bros.įor Top Gun: Maverick, the aim was to create the feeling of flying with the pilots. Robert Pattinson in Warner Bros.’ The Batman. He tried this approach, and it worked to create a new, longer version of the original source but still kept “that sort of shrieky, rippy sound.” “Someone had taken a Justin Bieber song and run it through software that slowed it down by 800 percent, and it turned this pop song into what sounded like this crazy, ambient soundscape,” he recalls. While thinking about how to resynthesize that sound and make it longer, he recalled a YouTube video he saw. “It had this really crazy, distorted sound to it, but it was a second long,” he explains. It started with a shrieky bottle rocket sound. “It had to be scary enough to make everyone stop but plausible enough to still be a machine,” he says. Will Files, supervising sound editor/designer on The Batman, wanted the Batmobile to feel almost like a banshee or an animal. “I went through and pulled out the original crowd material and where they happened within the song infrastructures.” He says extras were recorded - even directed by Baz Luhrmann - “because we knew that when we came to postproduction, pulling 500 people together during COVID was going to be near impossible.” They recorded loop group as needed for each scene, working with performers of varied ages, genders and accents. ![]() “Thematically, an enormous part of the story,” says Wayne Pashley, supervising sound editor, designer and rerecording mixer. Courtesy of Warner BrosĬrowd scenes combined archival material with new recordings. “ brought in extra microphones and additional helping hands who would, in between takes, grab a bunch of the extras and ask them to run through the mud or roll around in the dirt,” he remembers.Īustin Butler in Warner Bros.’ Elvis. The on-set sound team, therefore, aimed to “grab as many wild tracks and extra sounds that are unique to the location as you can.” While the team had to also capture clean dialogue on location, Kruse describes the scene on set as a rush. ![]() “There wasn’t even the slightest chance for us to go on set and grab extra sounds as we normally do,” says supervising sound editor Frank Kruse. ![]() You can feel the depth, depending on where you are in the story.”įor All Quiet, filming outside Prague during COVID posed plenty of challenges. The deeper into the water you go, the lower the pitch. And with water a character unto itself, “every bubble and every lap has been carefully curated and put into that film.”Īdds Yates, “We had to make the water feel believable, like real water, even though it’s zeros and ones. Howarth says that capturing production sound involved modifying microphones to enable them to be used underwater, even at a 30-foot depth. Supervising sound editor Gwendolyn Yates Whittle says that in cases where the Na’vi interact with the tulkun, “Our job was to protect the emotional validity of the human performances and then have those creatures also be able to interact with those performances in a real way.” ![]() Work on The Way of Water involved creating underwater species such as the whale-like tulkun, whose vocalizations were carefully crafted with a variety of sounds - among them, those made by whales, coyotes, owls and dolphins. ![]()
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