Issue link: http://digital.copcomm.com/i/832212
39 Q2 2017 / CINEMONTAGE performed effects, like leather movements and the bits in the horses' mouths. There might be 200 footsteps in a key scene that need to be in tight sync with picture, but with a realistic feel." Working frame by frame, Katona marks every point at which he will need to add an effect. "I then turn to my general library, which contains thousands of sound effects that I've built up over time, together with a separate library of effects that I use only on Game of Thrones." The custom library contains a variety of carts and wagon, "plus boats with realistic- sounding wooden creaks, ropes and water sounds," he adds. "That on-deck activity is often supplemented by Foley. I also have a collection of dogs and other animal sounds used on the show, although the gore, including bones breaking, might be added in Foley. I'll build up multiple layers to add a heightened sense of realism. I also develop background and natural ambiences, including winds, birdsong, river sounds, waterfalls, insects and crickets." The sound effects editor delivers both mono and stereo sound effects to the stage — the former for hard sync sounds and the latter, in the main, for background and ambience stems. "We might have 70 mono tracks and 16 stereo tracks per episode," Katona says. "But that number might expand dramatically on a sound-heavy sequence, with separate horns, bows and arrows, swords, staffs and so on." FOLEY RECORDING/EDITING Foley for Game of Thrones is centered on weapons and clothing. "Brett Voss has worked on similar shows and is well accomplished with episodic thrillers," says Kimmel. Special emphasis is made on cloth passes for each character, and the gear they might individually use in each scene, plus wind rustles that might be needed for some ADR tracks. Although real swords might be used for battle scenes, because they can be difficult to wield on the Foley stage, the artists often resort to crowbars and the like, plus other pieces of metal, according to Voss. "A sheet of leather being dragged across a concrete surface replicates the sound of dragon wings," he explains. The Foley mixer/editor also handles the recording of door closures, and debris hitting various objects and surfaces. "We try to achieve a perfect balance between sound effects and Foley," he adds. "We record all the cups and plates, bone scrapes on teeth during the banquet scenes and set downs, plus spilled wine and Game of Thrones. HBO Brett Voss.