Issue link: http://digital.copcomm.com/i/855478
39 Q3 2017 / CINEMONTAGE wanted that to help sell it," says Lee, who reports that she used reverb tool Altaverb as well as Avid's EQ. "Early on, the women tennis players are playing in small games, and they slowly grew in size. By the time we get to the final match, the crowds are chaotic, and that's when we used lots more of the surround, the spotted call-outs and some of the effects. I also used crowds from boxing matches; and in the mix, we played around with the perception of the size of the venue and crowd — like adding reverb to the call-outs, which gives the impression that the arena is a lot bigger." Lee received the score, composed by Nick Brittell, midway through post- production. "He did such a marvelous job," she says. "His score lifted the film to another level. So I had his demo music and worked the effects and backgrounds with it." Iatrou also credits the contributions of the small sound team for Battle of the Sexes, which, aside from the aforementioned mixers Hemphill, Pinero and Bartlett, included ADR editor Galen Goodpaster, Foley supervisor Jonathan Klein, sound effects editor Chris Diebold, dialogue editor David Butler and Foley artist Dan O'Connell. Working with editor Martin was, again, a great experience for the sound editors. "Early in her career, Pam was a dialogue editor," says Iatrou. "That really shows in her tracks. She also understands how much time is needed to prepare for a temp and makes sure we get new versions turned over in time. And during a temp, she knows what can wait for the final and what needs to be done immediately. She gets the big picture. She has a firsthand knowledge and good understanding of the sound process." Lee offers, "Pam is very involved with sound as she is cutting the picture. For the first half of the post-production sound process, my office was down the hall from the building where she, Jon and Val were cutting the picture," she says. "So I would review sounds with them, including Pam. She has a very good sense of what Jon and Val like, so if they weren't available, I could have her review some sound, get feedback and exchange ideas. It was a really good workflow." Battle of the Sexes was an interesting combination of sounds that were most definitely of the period, but within an overall modern, immersive feel, according to Iatrou, who explains, "The directors wanted the audio to be this nice, rich soundtrack — but without calling attention to itself. "If moviegoers watching the film feel that they're in the time period and are drawn into the story because of how immersive the audio is, that was our goal," she adds in conclusion. f Battle of the Sexes. Fox Searchlight Pictures