Post Magazine

April 2016

Issue link:

Contents of this Issue


Page 29 of 51 28 POST APRIL 2016 28 POST APRIL 2016 n animation, just because you're not limited to the bounds of reality, that's not to say there aren't any boundaries at all. There are boundaries in all good relation- ships, including the relationship between sound and picture. Sure, on-screen, there might be a city populated by car-driving, smartphone-wielding animals (do you think that Otter's purse is vegan leather?), but that doesn't mean the sound can just run wild. Maybe it's a world where birds don't chirp, or lions shouldn't roar. Sound helps to rein- force the laws of the land on-screen. The supervising sound editors on Zootopia, Kung Fu Panda 3, Ratchet & Clank, and The Angry Birds Movie share insight on the sound-re- lated boundaries they worked within to help define these compelling animated worlds. S E T T I N G SOUND BOUNDARIES I BY JENNIFER WALDEN AUDIO PROS DEFINE THE ANIMATED WORLD ON-SCREEN

Articles in this issue

Links on this page

Archives of this issue

view archives of Post Magazine - April 2016