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.

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 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.

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.

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.

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.

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.

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.

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.

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.