MPSE Wavelength

Spring 2020

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M OT I O N P I CTU R E S O U N D E D I TO R S I 37 lead for Immersive and Interactive Entertainment, and their sound editorial team at Skywalker Sound. Bill Rudolph, audio designer at Skywalker, lays out the bottom line. "When people come into [Vader Immortal], they expect it to sound like the Star Wars movies that they've seen, they expect it to sound like the Star Wars video games that they've played, and they expect it to sound real because they're in VR." When Bolen and Stoughton went to crew up for the title, they chose veteran sound editors, designers, and Foley artists at Skywalker. "With people who are not used to VR workflows," Bolen explains, "the goal was to continue to leverage their skills and expertise, we don't need to throw out everything we've learned in film and game sound." The sound editorial team consisted of supervising ADR editors Gary Rydstrom and Steve Slanec, dialogue editors Christopher Barnett MPSE, Benjamin A. Burtt MPSE, and Anthony DeFrancesco, Foley artists Shelley Roden MPSE and Jana Vance, and sound designer Andy Martin. While Stoughton, Martin, and Bolen bring a game audio background to the table, the remaining crew are certainly no strangers to immersive sound. "The concept of object-based audio has been a huge blessing of breaking us out of working in a traditional, channel-based environment into thinking of things as a sound field," explains Bolen. "At Skywalker, we really got to utilize the immersive sound formats for cinema in a way that helped us make it feel as if there was an entire world that was happening that wasn't on the screen. We always had to be careful to sort of rein it in. To not distract from the amazing visual effects and from the director's vision. But some films were actually starting to be written and designed in such a way that the audience is actually sort of inside the movie or a scene, which was very different from the audience

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