Issue link: http://digital.copcomm.com/i/1316380
M OT I O N P I CTU R E S O U N D E D I TO R S I 75 does not prevent him from having a remarkable listening quality and a clear and sincere desire to collaborate with me on the construction of the sound of the film. As I often do on films, I give a complete sound library sorted by sequence/places/moods/ effects and sound effects in mono, atmospheres, sound design, and musical textures in stereo. We decided to work remotely on how to optimize the image editing to make Riz's sound POV clear and efficient. During the image editing, Darius was in Denmark with Mikkel but would come back to see me in Paris to work on the key scenes. Mikkel provided us several editing options each time so that we could find the best balance between a normal and a personal point of hearing. Once the film was edited, Darius joined me in Paris for the first part of the sound editing process. I took Mikkel's project and conformed his sound work from my sound library and key sequence mock-ups with the full multi-channel versions of the sounds from the movie sound library. This conformation becomes the basis of my work. As I had many wild tracks at my disposal, I could quite quickly make a naturalistic version of the film and Darius and I were able to quickly see where we would have to spend more time creating specific things that were sonically consistent. Our approach was not linear. We started with the first scenes and then moved to the sequences that responded to these key scenes and so on... We had to find a specific sound for the scenes where Ruben loses his hearing, but also for the scenes where Ruben uses his cochlear implant. For that, we started with a modeling of sound rendering via the implant, thanks to the description of post-lingual hearing loss from people who decided to fit an implant and could describe the sound. Finally, after several tests, we unveiled iRCAM TS using