Sound Design at Edinburgh Napier University

Category: Film

  • Dubbed to Perfection: Graham Hartstone’s Guide to Enhancing Storytelling Through Sound

    Graham Hartstone, a highly respected dubbing mixer and former head of post-production at Pinewood Studios, shared his expertise in an online guest lecture. Drawing on his extensive career in film sound, which spans decades and includes work on major productions, he offered a wealth of insights into the art and technical precision of rerecording sound for film.

    Graham Hartstone

    The Evolution of Sound and Its Role in Storytelling

    Hartstone’s career began in 1961 as a cable operator, progressing through various roles in sound before ultimately leading the dubbing team at Pinewood. His experience includes working on iconic films such as the James Bond series and collaborations with directors like Stanley Kubrick and Ridley Scott. He reflected on the shift from analogue mixing techniques to the expansive digital tools available today, discussing how technological advancements have changed the sound mixing process.

    Throughout his career, Hartstone emphasised that sound must serve the narrative, with careful attention to dialogue clarity, atmospheric cohesion, and the interplay between sound effects and music. He discussed the importance of premixing, highlighting how dialogue, effects, and Foley must be balanced to create a seamless final mix. Foley, he stressed, should blend naturally rather than draw attention to itself. Using Aliens as an example, he described how even background movements were carefully crafted to maintain immersion without overwhelming the primary action.

    Collaborations, Challenges, and International Versions

    Hartstone shared experiences working with directors who had strong opinions on sound, such as James Cameron and Stanley Kubrick. Kubrick was known for personally directing foreign language dubs to maintain creative control, often insisting that his own team handle translations to ensure consistency across different languages. Hartstone recalled how Kubrick’s meticulous nature extended to every aspect of post-production, with dialogue edits often requiring multiple iterations to match the director’s high standards. Kubrick even insisted on making foreign dubs sound as close to the original English version as possible, ensuring that voice tone and performance retained the same impact.

    James Cameron was similarly demanding, particularly about technical precision in sound. Hartstone shared an example from Aliens, where Cameron required the sound of motion trackers to be carefully crafted to enhance suspense. He recalled how Cameron would repeatedly review sound effects, adjusting subtle details to make sure they perfectly complemented the tension of each scene. This attention to detail extended to mixing explosions and gunfire, where Cameron wanted the audience to feel every impact without overwhelming the dialogue.

    The challenges of working on large-scale productions also included meeting tight deadlines and working with evolving edits. Hartstone noted that in films like Blade Runner, changes were often made up to the last minute. He shared how the iconic ambient soundscape of Los Angeles in Blade Runner was built from unused Alien sound elements, giving the city a layered, futuristic atmosphere. He also recounted how Ridley Scott requested late-stage changes to music and sound effects after test screenings, requiring the mixing team to make quick adjustments to balance the soundtrack effectively.

    For international versions, Hartstone explained that dialogue premixes had to be prepared well in advance of final mixes to allow time for translation and dubbing. On GoldenEye, special care was taken to ensure the foreign dubs matched the English version’s intensity, particularly during action sequences. His team provided detailed mixing notes, ensuring that foreign versions retained the same dynamic range and impact. He also explained the additional complexities of preparing mixes for different distribution formats, including airline and television edits, which required removing or replacing strong language while maintaining natural speech flow.

    Practical Techniques for Mixing

    Hartstone provided a wealth of practical advice for sound mixers, focusing on achieving clarity, balance, and impact.

    Dialogue Mixing and Clarity

    He advised using high-pass and low-pass filters to enhance dialogue clarity, suggesting a high-pass filter at around 80Hz to eliminate unwanted low-end rumble and a low-pass filter at around 9kHz to reduce sibilance. He explained that dialogue should be prioritised in the mix, ensuring that off-screen lines remain intelligible by adjusting levels and adding subtle reverb to match distance perception.

    Hartstone also discussed the importance of perspective in dialogue mixing. He emphasised that the audio should match the framing of the shot—voices should not shift unnaturally in relation to the camera’s viewpoint. For example, close-up dialogue should be crisp and intimate, while wide shots should have a more open sound, reflecting the environment. When working with ADR (Automated Dialogue Replacement), he recommended blending it with the original production sound by matching room acoustics and microphone placement to avoid inconsistencies.

    Balancing Sound Elements and Surround Mixing

    Hartstone stressed the importance of dynamic balance between different sound elements. He warned against overusing compression, explaining that while it can help smooth out levels, excessive compression can make a mix sound unnatural. Instead, he recommended using automation and manual level adjustments to retain natural dynamics, especially for dialogue-driven scenes.

    For surround mixing, Hartstone advised positioning ambient sounds carefully to avoid distracting the audience. Dialogue and primary sound effects should remain anchored in the front channels, while environmental sounds and subtle atmospheric elements should be spread across the surround channels. He suggested that surround effects should be used sparingly in dialogue-heavy scenes but can be more pronounced in action sequences to enhance immersion.

    Layering Explosions and Action Sequences

    Hartstone shared techniques for mixing action-heavy films, particularly regarding explosions and gunfire. He explained that layering sound elements helps create depth and realism. For an explosion, he suggested layering three key components: a bass-heavy thump for impact, a mid-range crack for texture, and high-end debris for detail. He recommended ensuring that these layers are carefully mixed so that the low end does not overpower dialogue and other important sounds.

    He also discussed the importance of spatial placement for action scenes. For instance, gunfire should have directional placement in the mix to match the on-screen perspective. He recalled how, on James Bond films, the team carefully panned gunfire and bullet ricochets to follow the action, adding realism and depth to chase and fight sequences.

    Checking Mixes Across Different Playback Systems

    To ensure consistency, Hartstone recommended testing mixes on multiple playback systems, from large cinema screens to nearfield monitors. He suggested switching between full surround and stereo playback to detect phase issues or missing elements. He also noted that checking the mix at lower volumes can help identify problems with clarity, as important dialogue or sound effects may get lost when played at lower levels.

    Additionally, he highlighted the importance of attending final screenings to verify the mix in the intended playback environment. He recalled how, during a Blade Runner premiere screening, last-minute mix adjustments were needed to correct sound balance issues, reinforcing the importance of checking the final product under real-world conditions.

    Final Thoughts

    Graham Hartstone’s lecture provided a detailed exploration of film sound design, offering valuable lessons for professionals and enthusiasts alike. His expertise underscored how vital a well-crafted soundtrack is in shaping the audience’s experience, blending technical precision with creative storytelling.

  • Sound Advice: John Rodda’s Insights into Production Mixing

    John Rodda’s online guest lecture offered an engaging and in-depth exploration of the world of production sound mixing, drawing from his extensive experience across film and television. With a career spanning 35 years and work in over 40 countries, John has established himself as a leading figure in the industry, contributing to productions ranging from documentaries and dramas to major feature films. His lecture provided a rare glimpse into the craft, techniques, and challenges of capturing high-quality audio on set.

    John Rodda

    A Journey Through Sound

    John began by sharing his journey into sound mixing, highlighting how his background in theatre and electronics laid the foundation for his work in film and television. His early experiences included building computers in the late 1970s and working on corporate films and news coverage before transitioning into drama and feature films. He detailed how he navigated the industry at a time when union regulations created significant barriers for newcomers, requiring perseverance and adaptability to succeed.

    Key Roles in Production Sound

    John emphasised the collaborative nature of sound production, highlighting the distinct but interdependent roles within the department:

    • Production Sound Mixer: Oversees all aspects of sound recording on set, ensuring high-quality dialogue capture. They operate the primary recording equipment, balance microphone levels, and collaborate with the director to maintain the intended audio aesthetic. Additionally, they liaise with post-production teams by providing properly labelled sound files and detailed reports.
    • Boom Operator: Responsible for positioning the boom microphone to capture dialogue while staying out of the frame. They must anticipate actor movements, adjust positioning accordingly, and minimise unwanted noise. Boom operators often work in challenging conditions, ensuring optimal sound capture in dynamic filming environments.
    • Sound Assistant: Supports both the mixer and boom operator by setting up equipment, managing cables, placing wireless microphones on actors, and troubleshooting technical issues. They also help maintain sound logs and ensure the smooth operation of the sound department throughout filming.

    Each of these roles contributes to delivering clear, high-quality audio, ultimately enhancing the storytelling experience.

    Adapting to Industry Changes

    John reflected on the evolution of sound recording technology, from mono Nagra tape recorders to sophisticated multi-track digital systems. He discussed how advancements such as wireless microphones and timecode synchronisation have improved sound recording flexibility while accommodating modern filmmaking techniques, including multi-camera setups and wide-and-tight shot combinations. Current industry hardware has significantly improved efficiency and reliability, with modern digital recorders offering multi-track recording, high-resolution audio, integrated timecode systems, and advanced metadata management, enabling seamless file transfers to post-production. Wireless microphone systems now feature extended range, improved RF stability, and digital encryption, enhancing dialogue capture even in challenging environments. Additionally, timecode synchronisation tools ensure frame-accurate alignment between cameras and audio recorders, streamlining workflows and making location sound recording more adaptable for complex setups.

    Challenges and Solutions in Sound Mixing

    John provided practical examples of overcoming sound challenges on set. While working on Downton Abbey, he had to radio mic every actor to meet the director’s preference for unrestricted camera movement. The historical costumes posed additional difficulties in concealing microphones without compromising sound quality. To mitigate these issues, he collaborated with the wardrobe team and developed discreet mic placements that preserved clarity while remaining hidden.

    Another notable example involved a dinner scene, where the clinking of silverware risked overpowering dialogue. John strategically positioned boom microphones and used lavalier mics hidden within costumes to isolate voices while maintaining natural ambiance.

    Similarly, while working on Shackleton, extreme cold conditions threatened equipment functionality. He employed insulated batteries and performed regular system checks to ensure uninterrupted recording.

    For Airport, John devised a wireless timecode system that allowed independent sound recording, enabling him to position himself optimally while the camera moved freely in a busy airport setting.

    Memorable Projects and Industry Recognition

    John shared stories from notable projects, including The Fifth Estate, Longitude, and Shackleton. Longitude, a historical drama, posed unique challenges in capturing the sound of intricate mechanical clockwork, which was integral to the story. In The Fifth Estate, which dealt with the WikiLeaks controversy, he had to navigate fast-paced newsroom settings and international locations, ensuring clear dialogue in constantly shifting environments. His ability to adapt to different genres and production styles has earned him industry recognition, including a BAFTA for Airport and a nomination for Paddington Green. John also spoke about his time on 24: Live Another Day, where he balanced complex action sequences with high-pressure recording environments, demonstrating how experience and quick thinking are essential for a sound mixer.

    Advice for Aspiring Sound Professionals

    John advised aspiring professionals to develop technical skills, gain hands-on experience, and build strong working relationships within the industry. He stressed that attention to detail is key, as minor sound issues can become major post-production problems. He recommended learning about different recording techniques, experimenting with mic placement, and understanding the physics of sound to become a well-rounded professional.

    He also highlighted the importance of being adaptable and proactive. On sets where unexpected technical issues arise, being able to think on one’s feet and offer quick solutions is invaluable. He recalled an instance on 24 when a hidden microphone placement failed during a take, requiring an immediate, seamless backup solution to avoid disrupting the shoot.

    Additionally, he encouraged those entering the field to shadow experienced professionals, seek mentorship opportunities, and remain up to date with industry advancements. Sound recording techniques and equipment continue to evolve, and staying informed about the latest innovations ensures ongoing career growth.

    Conclusion

    John Rodda’s lecture provided invaluable insights into the world of production sound mixing. His extensive experience and practical knowledge underscored the critical role of sound in storytelling. As technology continues to evolve, his insights serve as a testament to the enduring importance of high-quality sound in film and television. For those looking to enter the field, his expertise offered both inspiration and guidance, reinforcing the idea that persistence, adaptability, and a strong technical foundation are crucial to success.

     

  • There and Back Again: The Foley Journey of John Simpson

    The magic of cinema extends far beyond what appears on screen. The immersive power of film owes much to sound, particularly the subtle, often unnoticed details that breathe life into scenes. At the heart of this auditory craft is Foley, a specialised discipline within sound design that recreates everyday sounds to enhance the cinematic experience. From the rustling of fabric to the crunch of footsteps on gravel, Foley artists bring a level of realism and texture that elevates storytelling.

    John Simpson

    John Simpson’s Path into Foley

    A distinguished Foley artist, John Simpson, shared insights into the evolving landscape of the craft. With a career spanning decades, his journey into Foley was, like many others, serendipitous. Initially a Foley recordist, his early work took place in an era when Foley was far less complex than it is today. At that time, Foley was not a comprehensive soundscape but rather a tool for editors to fill in the gaps left by automated dialogue replacement (ADR). Soundtracks were often constructed from a limited number of layers, with minimal dedicated Foley elements. However, as film audio technology advanced and stereo soundtracks became standard, Foley took on a more significant role in shaping cinematic experiences.

    Bringing Iconic Films to Life

    John Simpson’s extensive film credits include work on major productions such as Mad Max: Fury Road, The Adventures of Tintin, Happy Feet, King Kong, The Lego Movie, and The Hobbit trilogy. His expertise has contributed to some of the most visually and sonically compelling films of recent times, adding depth and authenticity to their soundscapes. His ability to craft distinctive auditory textures has made him a highly sought-after Foley artist in the industry.

    The Art of Sound Creation

    Simpson detailed some of the unique approaches he has taken in his work. For The Adventures of Tintin, he described the challenge of creating exaggerated yet believable sounds for animation, including the intricate layers needed for the dog Snowy’s movements. He also explained how he and his team created the sound of ship sequences by recording inside a Foley room, using a specially built box to enclose a microphone and simulate the enclosed resonance of a ship’s interior.

    In Happy Feet, Simpson recalled working extensively on the penguin characters’ movements. To replicate the sound of their feet sliding on ice, he used his fingers on different textured gloves and employed frozen fish to achieve realistic wet movements. The Foley team also created unique water effects by stomping around in a bathtub. Additionally, for the character’s dance sequences, he used wooden boards and various shoe types to capture the different weights and styles of tap dancing.

    Crafting the Sounds of Middle-earth

    For The Hobbit films, he described the meticulous work involved in bringing the sounds of Middle-earth to life. One of the most memorable tasks was recreating the sound of Bilbo running through Smaug’s treasure hoard. This involved pouring and shifting buckets of metal coins across the floor and layering multiple elements, including washers, chains, and lightweight metal pieces, to achieve depth and variation. In addition, he highlighted the use of cloth and military-style rustling to enhance battle sequences. He also mentioned that much of the squishy, organic sounds of creatures in The Hobbit were recorded long before the film, creating a library of textures used in later productions. For dragon movements, he described using leather straps, adding weight by dragging them across various surfaces.

    Experimentation and Innovation

    Experimentation remains at the core of Foley. Simpson recalled a scene in King Kong that required simulating the movement of Kong’s enormous hands gripping the Empire State Building. Instead of relying solely on standard props, he used a large copper pot with padding inside to mimic the deep resonance of Kong’s fingers moving across the structure. He also shared how sounds for the ship sequences in King Kong were recorded by stomping around in different types of boots and walking across various wooden surfaces.

    For The Lego Movie, he described how the character MetalBeard’s mechanical movements were enhanced with retractable vacuum cords, chains, and various metallic elements to create an organic yet plastic sound. He also explained how he carefully mixed different Lego brick sounds at various angles and pressures to ensure authenticity while keeping the movements dynamic and engaging. He mentioned how he used garage sales and second-hand stores to find items that could be creatively repurposed for unique sounds.

    For Walking with Dinosaurs, Simpson shared how he approached the challenge of creating dinosaur footsteps. Boxing gloves were used to strike damp sand, providing a weighty, natural sound. To add layers of movement, leather straps and thick ropes were manipulated to simulate the shifting of large creatures. Additionally, he recorded various cloth and harness movements to replicate the creaking of dinosaur skin and muscle shifts. The roaring of creatures was sometimes constructed using unconventional means, such as dragging large, heavy objects across surfaces to create deep, guttural tones.

    Recording Techniques and Unique Methods

    Simpson also experimented with microphone placement to capture unique sounds. For heavy, weighty footsteps, he buried microphones underground and recorded stomping overhead. To simulate the distant echo of footsteps in deep caves, he used long metal pipes and recorded sounds reverberating through them. Additionally, he used hydrophones to capture underwater movements, such as recording splashing and bubbling sounds for ocean-based scenes.

    The Future of Foley

    Beyond feature films, Foley plays a crucial role in television, video games, and even virtual reality experiences. The craft continues to adapt alongside technological advancements, ensuring that sound remains an integral part of storytelling, no matter the medium. While Foley often goes unnoticed by audiences, its absence would be keenly felt, as it provides the subtle authenticity that draws viewers into the worlds they see on screen.

    This lecture highlighted the dedication and ingenuity required in the field of Foley. The work of Foley artists, often overlooked, remains a cornerstone of cinematic storytelling. As long as there are stories to be told, Foley will continue to shape the way audiences experience them, adding depth, realism, and emotional resonance to every scene.

     

  • Exploring Sound Design for Animation with Dr Damian Candusso

    We had the privilege of hosting an insightful online guest lecture with award-winning sound designer Dr Damian Candusso. Renowned for his work on films such as The Lego Movie, Happy Feet, and Legend of the Guardians, Dr Candusso shared his experiences in crafting immersive auditory landscapes for animation.

    Dr Damian Candusso

    The Journey into Sound for Animation

    Dr Candusso began by discussing his career trajectory, highlighting his early experiences working on hand-drawn 2D animation. He explained how his role encompassed the entire sound production process—from dialogue recording to Foley, sound effects design, and final mixing. His career then progressed into 3D animation, CGI, and stop-motion, each presenting its own unique challenges in sound design.

    The Art of Bringing Animation to Life

    Unlike live-action films, animation lacks any natural location sound, making it the sound designer’s responsibility to construct an entire sonic world from scratch. Dr Candusso described this as an opportunity to ‘play God,’ using sound to bring animated characters and environments to life. He shared insights into creating organic and believable soundscapes, even when working with fantastical or otherworldly settings.

    A key takeaway from the session was Dr Candusso’s emphasis on originality. While sound libraries can be useful, he strives to record and manipulate his own material to create distinctive sound effects. He noted how audiences quickly recognise overused stock sounds, which can detract from immersion.

    A Deep Dive into Major Film Projects

    Dr Candusso provided fascinating behind-the-scenes insights into some of his most well-known projects:

    • Happy Feet: This Oscar-winning animated film required a vast library of sound effects to recreate the icy Antarctic environment. Dr Candusso and his team recorded actual ice-breaking sounds using liquid nitrogen, as well as penguin crowd noises sourced from scientists in Antarctica. Foley work played a crucial role in achieving authenticity, particularly in the movement of feathers and flippers.
    • Legend of the Guardians: As Australia’s first stereoscopic 3D animated feature, Legend of the Guardians posed unique challenges in sound spatialisation. Dr Candusso discussed the difficulty of designing sound for slow-motion action sequences, particularly in conveying the movement of objects through a 3D space. His work on this project sparked his research into sound perception in stereoscopic films.
    • The Lego Movie: The film’s sound design was a balance between realism and maintaining the distinct plastic nature of Lego bricks. Dr Candusso experimented with actual Lego sounds but recognised that excessive plastic clicks could become irritating. By blending realistic mechanical sounds with carefully selected Lego noises, he crafted a dynamic yet authentic soundscape. Notably, he used a child’s broken toy car to create the distinctive sound of Lord Business’s mechanical limbs.

    The Role of Technology and Remote Collaboration

    Advancements in broadband technology have enabled remote collaboration, which has significantly changed the sound production workflow. Dr Candusso highlighted how, despite being based hundreds of kilometres from Sydney, he seamlessly collaborates with sound teams worldwide. He also discussed his custom-built microphones and recording techniques, demonstrating how innovation plays a vital role in his creative process.

    Practical Sound Design Techniques

    Dr Candusso shared several hands-on sound design techniques during his lecture, explaining how to create unique and immersive sounds using everyday materials. Here are some standout examples:

    • Penguin Flippers (Happy Feet) – To recreate the sound of penguin wings flapping, Dr Candusso used exotic bird feathers from costume stores. Different colours and sizes were chosen to vary the weight and movement sounds.
    • Ice Cracking (Happy Feet) – Large pieces of wood were frozen with liquid nitrogen and then shattered with a hammer to mimic the sound of icebergs breaking apart.
    • Mechanical Transformations (The Lego Movie) – The extension sounds for Lord Business’s mechanical legs were recorded using a broken toy car, where the exposed gears grinding created a realistic mechanical movement effect.
    • Magnetism (Legend of the Guardians) – To create the ‘flick field’ sound, Dr Candusso combined recordings of resonating bells, glass vibrations, and metallic objects manipulated with electromagnets, then processed them for an ethereal effect.
    • Underwater Ambience (Happy Feet Two) – To recreate realistic underwater sounds, Dr Candusso used hydrophones in a swimming pool and manipulated the recordings to simulate the acoustics of deep-sea environments.
    • Sword Swings (Legend of the Guardians) – For the film’s dramatic battle sequences, Dr Candusso combined recordings of metal rods swooshing through the air with high-pitched bell sounds to create the sharp, resonant swipes of the owls’ weapons.

    For aspiring sound designers, experimenting with found objects and layering multiple recordings with subtle processing can yield unique and captivating results.

    Key Lessons for Aspiring Sound Designers

    Throughout the lecture, Dr Candusso shared invaluable advice for students and professionals alike:

    1. Performance Over Perfection – A sound’s emotional impact often outweighs technical perfection.
    2. Experimentation is Key – Unique sounds often come from unexpected sources. Dr Candusso recounted how he recorded a moth’s fluttering, which, when processed, resembled a mechanical engine.
    3. Storytelling Through Sound – Every sound should serve the narrative and contribute to the overall experience.
    4. Adaptability is Crucial – Working in animation means constantly adapting as visuals evolve throughout production.

    Closing Reflections

    Dr Candusso’s lecture provided a comprehensive look into the intricacies of sound design for animation. His passion for crafting immersive soundscapes was evident, and his insights offered both inspiration and practical knowledge for anyone interested in film sound. He highlighted the ever-evolving nature of sound design, emphasising the importance of staying innovative and adaptable. Additionally, he encouraged aspiring sound designers to explore unconventional sources of inspiration and experiment with emerging technologies to push creative boundaries.

     

     

  • Beasts, Bots & Booms: Scott Gershin on the Sonic World of Pacific Rim

    Few films delivered the sheer auditory spectacle of Pacific Rim. From the ground-shaking footfalls of colossal Jaegers to the guttural roars of Kaiju, the film’s soundscape was nothing short of a masterpiece. Behind this sonic brilliance was Scott Gershin, a veteran sound designer whose passion for storytelling through sound was evident in every project he touched. In a Q&A, Gershin delved into his process, challenges, and the artistry behind creating the soundscape for Pacific Rim.

    Scott Gershin

    Bringing Kaiju and Jaegers to Life

    One of the most exciting aspects of designing sound for Pacific Rim was crafting distinct voices for the Kaiju. Unlike other monster movies, where creatures might share similar sonic qualities, each Kaiju in Pacific Rim had a unique identity. Gershin described the process as akin to composing music—some creatures required deep, resonant tones, while others needed higher-pitched, aggressive shrieks.

    To achieve this, he recorded a range of animal sounds, including elephants, tigers, lions, and even raccoons. However, real-world recordings weren’t always enough. Some sounds needed to be exaggerated or transformed using digital tools. “I wanted to avoid using my usual sound library and do something unique,” Gershin explained. “So, we went out and recorded all sorts of things—animals, industrial machines, and even dropping massive cargo containers in Long Beach just to get the right impact.”

    Similarly, the Jaegers posed a challenge. These massive machines needed to sound heavy yet functional, avoiding the overly sleek, high-tech sounds associated with films like Transformers. Gershin and his team opted for more mechanical, industrial noises inspired by aircraft carriers and military destroyers. “Guillermo [del Toro] didn’t want them to sound too sci-fi. He wanted them to feel grounded,” he noted.

    The Process: From Pitch to Final Mix

    Gershin’s involvement with Pacific Rim spanned nearly two years, beginning before the film was even greenlit. “Guillermo came to me early on and said, ‘I have this idea. Can you help me with the pitch?’” From there, he became deeply embedded in the film’s development, helping to shape its sonic language from the ground up.

    The sound design process followed a natural progression, starting with broad strokes and gradually refining details as the film took shape. In the early stages, when animation was incomplete, the team used storyboards and animatics to guide their sound experiments. “For a long time, it looked like a giant South Park movie,” Gershin joked. “But as the visuals evolved, so did our approach to sound.”

    One of the most crucial aspects of the process was ensuring scale. When dealing with towering, 25-story-tall robots, sound design had to reflect their massive weight and power. “We spent a lot of time making sure every punch, stomp, and roar felt enormous but also had clarity,” he said.

    Challenges and Creative Problem-Solving

    Sound design was as much about problem-solving as it was about creativity. Gershin recalled an early challenge with one of the film’s Kaiju, Otachi. Initially, the sound team assumed the creature would primarily roar, but as the animation developed, they realized Otachi had a far more dynamic range of movements. “For the longest time, every storyboard had its mouth open, so it was constantly screaming. But when we saw the final animation, we knew we needed to rework its sounds to reflect its personality.”

    Another unexpected challenge came from attempting to record mining equipment, which seemed like a great idea conceptually but turned out to produce little more than diesel engine noise. “Sometimes, you think something will sound amazing, and then you get there and realize it doesn’t work at all,” Gershin laughed. “You just have to adapt and keep experimenting.”

    Collaboration and the Art of Mixing

    Despite his extensive hands-on approach, Gershin credited much of the film’s success to the collaborative nature of the project. His team included talented sound designers like Charlie Campagna and Peter Zinda, who helped build a rich and layered sonic environment. “It’s like being in a band. Everyone brings something unique to the table,” he said.

    Mixing the final soundscape was another crucial stage. With over 2,000 sound tracks in play, balancing dialogue, music, and effects required meticulous attention. “At any given moment, someone had to take the lead—sometimes it was the music, sometimes the effects, sometimes silence,” he explained. “Silence, if used correctly, is the most powerful sound we have.”

    Sound Design Tips from Scott Gershin

    Throughout the Q&A, Gershin shared valuable insights for aspiring sound designers.

    • Use Negative Space: Silence can be one of the most powerful tools in sound design. In Pacific Rim, Gershin emphasized that the real challenge wasn’t deciding where to be loud but rather where to go quiet to give the audience a break.
    • Experiment Relentlessly: Gershin and his team spent months recording unique sounds, including unconventional objects like giant cargo containers and mining equipment. However, not every idea worked, highlighting the importance of trial and error.
    • Think Like a Musician: Gershin compared sound design to composing music, where different elements contribute to a larger composition. This approach helped maintain clarity and balance within the complex soundscape of Pacific Rim.
    • Collaborate Effectively: Sound design is rarely a solo effort. Gershin relied on a team of experts to bring the film’s world to life, likening the process to being in a band where each member contributes something unique.
    • Prioritise Realism When Needed: While Pacific Rim is a science-fiction spectacle, the sound design remained grounded in real-world physics. By basing the Jaegers’ sounds on aircraft carriers and military destroyers, Gershin ensured they felt tangible and weighty.
    • Understand the Emotional Beats: Sound isn’t just about effects—it’s about storytelling. Gershin and his team carefully adjusted the mix to highlight the film’s emotional moments, pulling back sound effects when music or dialogue needed to take center stage.
    • Build a Personal Sound Library: Gershin recommended that sound designers record their own unique sounds whenever possible. Having a personal collection of recordings allows for more original, distinctive work rather than relying on stock libraries.
    • Listen to Your Environment: He emphasized the importance of listening to real-world sounds for inspiration. Whether recording the streets of Los Angeles or capturing the ambiance of London, immersing oneself in different soundscapes provides a greater understanding of sonic textures.

    Final Thoughts

    Reflecting on Pacific Rim, Gershin saw it as one of the most rewarding projects of his career. The blend of industrial realism, creature vocalisation, and orchestral collaboration made it a unique challenge, but one he embraced wholeheartedly. “Every film is its own creature. You have to let it tell you what it wants to be,” he said.

    For aspiring sound designers, he offered simple advice: “Care. Want it. Want it badly. If you love what you do and are willing to work hard, you get paid to play. And that’s the best job in the world.”

    Scott Gershin’s work continues to inspire sound designers and filmmakers alike. Whether it was the colossal battles of Pacific Rim or the subtle sonic storytelling of American Beauty, his passion for sound was unmistakable. This Q&A provided an insightful look into the world of film sound design, offering valuable lessons for those looking to follow in his footsteps.

     

  • The Sonic Buzz of The Ant Bully: Insights from Bruce Tanis

    Sound design plays an important role in filmmaking, adding depth, texture, and emotional weight to every scene. In his lecture on the sound design of The Ant Bully, veteran sound editor Bruce Tanis provided a detailed look at how sound was crafted to enhance the film’s unique world.

    Bruce Tanis

    The Challenge of Shifting Scale

    The Ant Bully tells the story of Lucas, a young boy who is shrunk down to the size of an ant and learns valuable lessons about bullying and empathy. The film constantly shifts between Lucas’s normal human-sized world and the micro world of the ants. This presented a challenge for the sound team—how do you create an auditory experience that convincingly sells the massive shift in scale?

    Tanis explained that the approach involved taking everyday sounds and dramatically altering their textures and intensity.

    For example, jelly beans, which to an ant appear as large as a Volkswagen bus, needed to sound appropriately massive. Rather than using simple candy sounds, Tanis layered effects like rocks tumbling and logs rolling to give the jelly beans a substantial, weighty presence.

    Similarly, ant footsteps were created using the tapping of fingernails on various surfaces to mimic the delicate but distinct movement of tiny creatures. Additionally, the scurrying of multiple ants was created by rubbing together clusters of pipe cleaners, giving the impression of multiple legs moving in unison.

    To further sell the small-scale perspective, wings of flying insects were simulated by rapidly waving thin sheets of plastic near a microphone, while the rustling of tiny ant tunnels was achieved by crumbling dry leaves close to the mic.

    Bringing Inanimate Objects to Life

    A particularly innovative sequence involved Lucas trying to use a telephone while shrunken. To him, the device was enormous, and every interaction had to sound exaggerated.

    The challenge was to make the phone feel as massive as it appeared on screen. Tanis used a combination of creaking wood and mechanical groans to simulate the exaggerated movements of the buttons.

    Even something as simple as bouncing across the number pad required extensive sound layering, incorporating elements like trampoline noises to create a sense of scale and playfulness.

    The clicking and pressing of the giant buttons were enhanced by layering metallic creaks and soft drum hits to give them an exaggerated, yet comedic, effect. To emphasize the impact of Lucas’ tiny frame interacting with such a massive device, rubber mallets hitting different surfaces were used, adding a bouncy yet weighty feel to the movements.

    The interior of the phone was given a cavernous reverb effect, achieved by recording inside a large metal container and layering subtle electronic hums to give it a sense of being an otherworldly space.

    The Frog Scene: A Sound Designer’s Playground

    One of the most dynamic sequences in the film involved a giant frog attacking the ant colony.

    Every aspect of the frog’s movement—its powerful hops, the slapping of its tongue, the deep resonance of its croaks—had to be carefully designed.

    Rather than using a clichéd whip-crack for the tongue snap, Tanis combined a retracting metal tape measure with slurping and rubbery elements to create a more organic, fluid sound.

    Additionally, to make the frog’s croaks feel appropriately large, he mixed in alligator sounds and other guttural animal noises, giving the character a sense of weight and menace.

    The stomach noises when Lucas gets swallowed were made by recording gurgling water and layering in slow, reversed squelching sounds from a wet sponge to create the sensation of a living, breathing digestive system.

    Further texture was added by recording bubbling mud and low, resonant groans from stretched rubber to give the impression of internal pressure and digestion. The sounds were then processed with reverb and pitch-shifting to make them seem cavernous and otherworldly.

    For the sound of the ants communicating, a combination of manipulated insect recordings and synthesized clicking noises were used, creating a distinct and otherworldly effect.

    An Unconventional Work Environment

    Tanis revealed that the film’s sound design was primarily completed outside of a traditional studio setting. The supervising sound editor set up multiple editing stations inside his home, and the team worked from there rather than a studio lot. This environment, though unusual, allowed for a more collaborative process, with frequent back-and-forth discussions between Tanis and the supervising editor to refine sounds in real-time.

    The Process of Sound Design

    One of the key takeaways from Tanis’ lecture was how sound design is as much about imagination as it is about technical skill. Many of the sounds in The Ant Bully came from heavily modified real-world recordings. The team wasn’t simply capturing existing sounds—they were sculpting, layering, and manipulating them to build a sonic world that felt believable within the film’s setting.

    Moreover, the film’s animation process meant that the sound had to constantly adapt to evolving visuals. Tanis explained that animation updates required frequent revisions to ensure the sound remained in sync with new scenes or altered sequences. This iterative process added complexity but also allowed for greater creativity in crafting the film’s unique auditory landscape.

    Bruce Tanis’ Work Beyond The Ant Bully

    Bruce Tanis has worked on an impressive range of films and TV shows, demonstrating his versatility in sound editing. His credits include Barbie, Tenet, Inception, Watchmen, Spider-Man: Across the Spider-Verse, and Snakes on a Plane. His extensive experience in both animation and live-action projects has allowed him to develop a deep understanding of how sound can enhance storytelling.

    Final Thoughts

    Bruce Tanis’ work on The Ant Bully highlights the creativity involved in sound design. Through careful layering, pitch manipulation, and innovative use of real-world effects, he helped shape a vibrant and immersive soundscape that brought the film’s tiny world to life. His insights serve as a valuable resource for aspiring sound designers, demonstrating how attention to detail and a willingness to experiment can enhance a film’s overall impact.

    For anyone interested in sound design, The Ant Bully is a great case study in how auditory elements can transform a story. Tanis’ lecture offers a reminder that in filmmaking, sound isn’t just something you hear—it’s something you feel.

  • The Sound Design of Oz the Great and Powerful – A Lecture by Steve Tushar

    The world of sound design plays a key role in film production, shaping the auditory experiences that transport audiences into different settings. Steve Tushar, an experienced sound designer, provided an insightful look into his process during a lecture on his work for Oz the Great and Powerful. His talk covered the techniques, challenges, and decisions involved in developing the sound for the film.

    Steve Tushar

    Creating the Sounds of Oz

    One of the standout aspects of Oz the Great and Powerful is its creatures, particularly the winged monkeys. Tushar was brought onto the project for his expertise in designing creature and monster sounds. His approach involved both traditional and experimental methods, including recording his own vocalisations, layering different effects, and manipulating sounds using digital tools.

    To create the winged monkeys’ sounds, Tushar and a collaborator spent hours making screeches, growls, and other animalistic noises into a microphone. They experimented with techniques such as cupping their hands around their mouths to alter resonance and using tubes for unique distortions. A key tool in his process was a plugin called Lowender, which allowed him to add deep, resonant bass to his sounds, making the monkeys feel larger and more intense.

    Another sound Tushar designed was for the evil witch’s broom. Rather than relying solely on pre-existing sound effects, he used his own voice to create the broom’s eerie, whooshing sound as it moved through the air. By layering different vocal performances and applying various effects, he was able to craft a sound that felt supernatural and dynamic, enhancing the witch’s ominous presence on screen.

    Tushar also worked on the sound of the tornado that transports Oz to the fantastical land. To achieve a swirling, immersive effect, he layered recordings of strong wind gusts with slowed-down animal roars and subtle metallic scrapes. These elements combined to give the tornado a chaotic and unpredictable presence, making it feel more powerful and unsettling.

    The Challenges of Synchronisation

    One of the most difficult aspects of sound design in big-budget films is keeping up with the ever-changing visual effects. Tushar highlighted how the animation of the monkeys’ wings changed repeatedly throughout production, requiring him to painstakingly resynchronise the wing-flapping sounds for every revision. He described this process as one of the most tedious parts of the job, where creativity takes a back seat to meticulous attention to detail.

    Organic vs. Digital Sound Design

    Tushar prefers organic sound creation over purely digital synthesis. He believes that capturing real-world sounds—whether it be vocalisations, leather jackets flapping for wing effects, or manipulated animal noises—creates a more immersive and believable result. While digital tools are invaluable, he sees them as enhancements rather than substitutes for recorded sound.

    Layering and Mixing for a Cohesive Experience

    The lecture also covered how different sound elements come together in a final mix. Tushar explained how the sound design team structured their work in layers:

    • Background Ambience (e.g., winds, birds, and environmental tones for Oz’s setting)
    • Creature Vocals (raw performances enhanced with processing)
    • Foley Effects (footsteps, rustling, and object interactions)
    • Hard Effects (carriages, explosions, and mechanical elements)

    By keeping these elements distinct, they could be fine-tuned during the final mix to ensure clarity and impact.

    Advice for Aspiring Sound Designers

    Tushar offered practical advice for those looking to enter the sound design industry. He emphasised the importance of:

    1. Developing a Unique Skill Set – Specialise in a particular area, whether it’s creatures, mechanical sounds, or environmental ambiences.
    2. Hands-On Experimentation – Don’t rely solely on pre-recorded libraries; record your own sounds and manipulate them creatively.
    3. Networking and Professionalism – The film industry is heavily relationship-driven, and making a good impression can lead to opportunities.
    4. Organisational Skills – Large-scale sound design involves working with hundreds of audio tracks. Keeping files well-labeled and sessions structured is crucial.

    Conclusion

    The lecture provided a detailed look at the technical process behind Oz the Great and Powerful. Tushar’s mix of technical expertise and problem-solving showcased the depth of work involved in making a film sound as intended. His insights provide sound design students with practical knowledge on industry techniques, workflow management, and creative problem-solving essential for their careers.

     

  • Exploring Field Recording: Insights from Paul Virostek’s Guest Lecture

    Field recording is an intricate blend of technical expertise, creativity, and craft. In a fascinating online guest lecture, Paul Virostek, an experienced field recordist, shared his journey, insights, and the deeper meaning behind capturing sound outside the studio. Virostek’s extensive experience in recording for film, television, and personal sound libraries provided a compelling exploration into the world of sound effects and their broader impact on creative projects.

    Paul Virostek

    The Journey into Field Recording

    Virostek’s journey into field recording was far from conventional. Originally studying writing and book publishing, he found himself drawn to sound while working as a sound effects assistant. This hands-on experience, coupled with mentorship from seasoned professionals, led him to discover his passion for capturing sound outside controlled environments.

    One of the key takeaways from his lecture was that field recording lacks a traditional apprenticeship structure. Unlike sound editors or mixers, field recordists often rely on self-teaching, experimentation, and real-world experience to develop their craft. Virostek highlighted that this process of discovery is one of the most rewarding aspects of the profession.

    More Than Just Gear: The Human Element of Field Recording

    While technical knowledge, equipment, and recording techniques are essential, Virostek stressed that the best sound effects do not come from gear alone—they come from the recordist. Every field recording is a reflection of the recordist’s perspective, creativity, and interpretation of sound.

    He identified seven key aspects of field recording:

    1. Sound Theory: Understanding the fundamental properties of sound, such as frequency, amplitude, and acoustics, helps recordists make informed decisions about mic placement and environmental factors.
    2. Equipment: – Knowing how to select, use, and maintain recording gear, including microphones, recorders, and wind protection, is essential for capturing high-quality sounds.
    3. Technique: This involves the practical skills required to operate recording equipment effectively, such as adjusting gain levels, using different mic patterns, and managing environmental noise.
    4. Creativity: A recordist’s personal approach to finding and capturing unique sounds that evoke emotion or tell a story plays a significant role in shaping the final audio.
    5. Sound Libraries: Organising and cataloguing recorded sounds for easy retrieval and reuse in future projects enhances efficiency and workflow.
    6. Mastering and Curation: Processing, editing, and refining raw recordings ensure they are polished and suitable for various applications, from film to game audio.
    7. Sharing and Community: Sound is meant to be shared. Engaging with other audio professionals, contributing to sound libraries, and participating in online communities help elevate the field as a whole.

    Many field recordists focus primarily on the first three—sound theory, equipment, and technique. However, Virostek encouraged listeners to go deeper, emphasising creativity, curation, and the importance of sharing sound within a community.

    Capturing Emotion Through Sound

    One of the most compelling aspects of the lecture was the idea that sound effects can evoke emotion and meaning beyond their technical accuracy. Virostek recounted a project on New Waterford Girl, a Canadian film set in Nova Scotia. He insisted on recording authentic environmental sounds rather than relying on standard sound libraries. By immersing himself in the atmosphere and capturing the region’s unique sonic identity, he was able to add depth and authenticity to the film’s audio landscape.

    This experience reinforced the idea that field recording is more than just collecting sounds—it’s about storytelling, immersion, and emotional resonance.

    Different Approaches to Field Recording

    Virostek described four primary methods of field recording:

    • Controlled Recording: The recordist has full control over the environment, ensuring precision in capturing specific sounds.
    • Investigative Recording: Exploring and capturing sound without a predetermined outcome, similar to investigative journalism.
    • Stealth Recording: Discreetly capturing sounds in natural environments without interfering with the scene.
    • Guerrilla Recording: Fast-paced, on-the-move recording, often in unpredictable or uncontrolled situations.

    Each of these methods offers unique opportunities and challenges, and Virostek encouraged recordists to explore different techniques to find what resonates with them.

    The Value of Foundational Sound Effects

    While many aspiring field recordists aim for spectacular soundscapes like race cars or gunshots, Virostek highlighted the importance of capturing foundational sound effects—everyday sounds such as doors, coffee makers, and street ambiences. These may seem mundane, but they form the backbone of many sound design projects and provide an excellent training ground for developing technical skills and creative instincts.

    Foundational sounds are the common and recognisable noises present in daily life. These include environmental sounds such as rustling leaves, footsteps, or urban traffic, as well as functional noises like doors closing, clocks ticking, and light switches flipping. Since they appear frequently in film, television, and games, they are crucial to creating immersive audio landscapes. By starting with foundational sounds, recordists can learn microphone placement, sound clarity, and environmental control, building confidence before moving on to more complex recordings.

    Signature Sound Effects: Finding Your Unique Voice

    As recordists gain experience, they develop their signature sound effects—recordings that reflect their unique perspective and expertise. Virostek’s own work in capturing the sonic identity of different cities for the World Series sound library showcased this concept. By focusing on the emotional and cultural significance of sound, he aimed to create recordings that resonated deeply with listeners, evoking memories and connections to specific places.

    Building a Community Through Sound

    Beyond personal expression, Virostek emphasised the importance of sharing sound. As a consultant and sound library curator, he has helped numerous projects by organising and distributing high-quality recordings. Metadata, mastering, and categorisation are just as crucial as the recording process itself, ensuring that sound effects are accessible and usable for a wider audience.

    Conclusion: The Power of Sound Recording

    Paul Virostek’s lecture provided an insightful look at field recording, moving beyond gear and technique to explore the deeper impact of sound. His experiences illustrated that field recording is an evolving journey—one of discovery, storytelling, and emotional resonance.

    For aspiring field recordists, the key takeaway is simple: get out there and start recording. Begin with foundational sounds, experiment with different techniques, and find what resonates with you. The best sound effects are not just technically accurate—they tell a story, convey emotion, and inspire creativity in others.

    For more insights from Paul Virostek, visit Creative Field Recording.

     

  • Reflecting on John Purcell’s Lecture: Time Management for Dialogue Editors

    John Purcell, an accomplished dialogue editor, has significantly influenced the field of film sound editing. His notable works include Dangerous Acts (1998), The Ref (1994), and Year Zero (2004). Beyond his editing contributions, Purcell is the author of Dialogue Editing for Motion Pictures: A Guide to the Invisible Art, a comprehensive textbook that delves into the intricacies of dialogue editing. In his insightful lecture on time management for dialogue editors, Purcell shared strategies to balance artistic excellence and practical efficiency. Delivered with clarity and depth, his session remains a valuable resource for professionals striving to meet deadlines, maintain quality, and preserve their well-being. This post revisits his core ideas and expands on how they continue to resonate in today’s editing landscape.

    John Purcell

    The Takeaway: Completion Matters More Than Perfection

    One of Purcell’s key points was the importance of finishing strong. He began with a vivid example: imagine editing five reels of a six-reel film to near perfection but failing to complete the last reel. The incomplete work overshadows all prior accomplishments, damaging your reputation and the project itself. This lesson remains a fundamental principle for dialogue editors. Success isn’t just about producing exceptional work—it’s about delivering a complete, cohesive project.

    The Layered Workflow: A Flexible Strategy

    During the lecture, Purcell introduced the idea of working in layers rather than attempting a perfect pass from start to finish. He advocated breaking the editing process into multiple stages, each building upon the previous one:

    • Pass 1: Laying the Groundwork
      •  Handle the most substantial tasks, such as initial edits, cleaning major noise issues, and spotting ADR.
      • Create a preliminary version that allows other departments to begin their work.
    • Pass 2: Refining and Resolving
      • Address unresolved problems from the first pass and refine transitions.
      • Collaborate with the director to finalise ADR spotting.
    • Pass 3: Integrating and Finalising
      • Cut ADR recordings, resolve outstanding issues, and prepare the project for the premix.

    This layered approach, emphasised in Purcell’s lecture, provides flexibility to adapt to changes, ensuring the final product is both polished and delivered on time.

    Preparation: The Unsung Hero of Editing

    A major theme of the lecture was the significance of preparation. Purcell stressed that setting up your workspace, clearing disk space, and organising materials before beginning the editing process is critical. This foundational work eliminates distractions during the actual editing, enabling editors to focus entirely on creative and technical tasks.

    Pacing: Sustaining Momentum

    Purcell drew a parallel between editing and running a race. Overexerting early can lead to burnout, while mismanaging energy can result in rushed work towards the end. He advised editors to pace themselves by setting measurable daily goals. For instance:

    • In the first pass, aim to edit a specific number of minutes of film per day.
    • During subsequent passes, adjust goals to reflect the reduced workload.

    These practical metrics, shared in his lecture, remain invaluable for managing time effectively across all stages of a project.

    Contingency Planning: Expecting the Unexpected

    Purcell also highlighted the importance of planning for the unforeseen. From technical failures to last-minute changes from the director, editing projects are rife with potential disruptions. By allocating a contingency buffer within the schedule, editors can handle these surprises without derailing their workflow or exceeding deadlines.

    Letting Go of Perfectionism

    In his lecture, Purcell tackled a common challenge for editors: the pursuit of perfection. While striving for quality is important, it’s equally vital to recognise when additional refinements aren’t worth the time. This pragmatic mindset ensures resources are allocated wisely and deadlines are met.

    Collaboration and Team Dynamics

    The lecture underscored the collaborative nature of film editing. Sharing progress with other departments—like sound design, Foley, and music—ensures the film’s various elements develop in harmony. By working in layers and providing regular updates, editors can foster better communication and alignment across the production team.

    Tracking Progress with Clear Metrics

    One of the standout elements of Purcell’s lecture was his emphasis on tracking progress through measurable metrics. He provided examples of how to break down tasks and allocate time effectively. For instance, if the first pass has a 120-hour budget and the film is 110 minutes long, an editor should aim to complete seven minutes of film each day. These metrics offer a clear framework for monitoring progress and staying on schedule.

    Adapting the Process to Your Style

    While Purcell shared his personal workflow, he encouraged editors to adapt his principles to suit their preferences and circumstances. Whether you prefer two passes, five passes, or a different order of tasks, the principles of preparation, pacing, and progress tracking are universally applicable.

    Closing Thoughts: Lessons That Endure

    Time management in dialogue editing is as much about strategic planning as it is about artistic precision. By adopting Purcell’s layered approach, measurable metrics, and emphasis on preparation, editors can achieve consistency, meet deadlines, and maintain their well-being. As Purcell noted in his lecture, “You don’t have to die for the job. You really can control your time and, to a certain extent, your life while working on a film.” His words continue to inspire a balance between professional excellence and personal sustainability—an essential lesson for every editor.

  • Unlocking the Secrets of Sci-Fi Sound Design: Kris Fenske’s Guest Lecture

    Sound design is more than just creating sounds; it’s about storytelling, emotion, and immersion. In an insightful guest lecture, seasoned sound designer Kris Fenske shared his expertise on crafting iconic soundscapes for science fiction and beyond. With years of experience on films like The Hunger Games and numerous horror projects, Kris offered a behind-the-scenes look at the meticulous art of sound design.

    Kris Fenske

    The Magic Behind the Mockingjay

    Kris opened by recounting the creative process behind the Mockingjay calls in The Hunger Games. Despite the fantastical nature of the sound, Kris rooted it in reality, blending recordings of real birds with a whistled melody. Using software to fine-tune the notes, he created a sound that was not only believable but also iconic. His approach exemplifies his philosophy: simplicity and authenticity often produce the most memorable sounds.

    Sci-Fi Soundscapes: Balancing Futurism and Realism

    One of the most insightful parts of the lecture was Kris’s exploration of sound design for science fiction films. He discussed how the aesthetic of a film—whether sleek and sterile like 2001: A Space Odyssey or gritty and industrial like Alien—informs the sound choices. In The Hunger Games, for example, hovercrafts were given a hauntingly organic tone by incorporating recordings of a street cleaner echoing through urban canyons.

    Kris highlighted the importance of creating sounds that feel plausible yet futuristic, often using unexpected methods. His description of experimenting with everyday objects—like a fishbowl and a computer fan to simulate an astronaut’s helmet—showed just how inventive sound design can be.

    Horror: A Playground for Sound Designers

    For Kris, horror films were a particular favourite because of their reliance on sound to create atmosphere. He recounted how subtle design choices, like amplifying the creak of a door or crafting unsettling ambient tones, could transform a scene into something truly terrifying. He also shared his more unorthodox methods, including using butchered meat to replicate the sound of tearing flesh—a detail that left the audience both fascinated and slightly squeamish.

    Advice for Aspiring Designers

    Kris offered plenty of practical advice for students and professionals eager to break into the field. He stressed the importance of developing a personal sound library, constantly recording unique sounds, and always being curious about how things work. “Don’t underestimate the power of a handheld recorder and a bit of curiosity,” he said, encouraging attendees to explore their environments for inspiration.

    Another key takeaway was his emphasis on collaboration. He explained how sound design is inherently a team effort, requiring clear communication with directors, editors, and other creatives to ensure the sounds enhance the story’s emotional impact.

    A Career Rooted in Passion

    Kris wrapped up his session with a reminder of the joys and challenges of the industry. He talked about the satisfaction of creating something new and the camaraderie among sound designers. For Kris, sound design wasn’t just a job—it was a craft, a passion, and an opportunity to tell stories in ways that transcend words and visuals.

    Kris Fenske was an accomplished sound designer with nearly two decades of experience in the film industry, renowned for his innovative approach to crafting immersive soundscapes. His work spanned a variety of genres, from the futuristic tones of The Hunger Games and Riddick to the visceral horror of The Call, Texas Chainsaw 3D, and Apollo 18. He also contributed to films like It, It: Chapter 2, and The Starving Games, using a mix of real-world recordings, creative experimentation, and advanced techniques to bring stories to life. Based in Hollywood, Kris collaborated with top production houses and filmmakers, leaving a lasting legacy in sound design.