MPSE Wavelength

38 I M PS E . O R G series had an abundance of gore and bloodshed which can get particular during each fi ght. Our crew went to great lengths creating an unnerving, visceral listening experience. We used an incredible amount of processed breaking sounds to make snapping bones and crushed joints feel earth shattering. There was even emphasis on custom Foley blood and squishes mixed with splattering water and thick mud to ooze savagery. Why are the MPSE Awards important to you? ROB: While the joy of receiving an award always comes second to our honor in being part of this creative process, the Golden Reel serves to validate our team's dedication to the craft and to the production. We are humbled to be considered among all the other amazing titles in our category, as well as considered for our work on a property with rich history. For that reason, we are beyond grateful for the spotlight the award provides on weeks of intense problem solving and SFX work our crew endured. Was there anything specifi c within the story that infl uenced your decision to take on this project? ROB: Ironically, it would be a much smaller list if we covered why we wouldn't want to take on this project. As a quick summation of why we were honored for Mortal Kombat: the entire team loves the game series and all the iconic fi ghting moves would pose a challenge to our editors. There's even a specifi c opening for the fi lm regarding Scorpion's origin that's emotionally raw and devastatingly brutal. It plays out like a musical piece that got us hooked the moment we saw it. We instantly decided that scene and each fi ght after should have musicality to the SFX. Each punch, kick and body hit was selected to work in musical rhythm with the one before and after. With the added explosive sweeteners to each hit, the end product was just as much concussive as it was cadenced. How did the pandemic change the way you and your team worked on this project? ROB: Fortunately, we had the pleasure of completing the project in 2019 before the pandemic began. Our workfl ow remained unchanged throughout the process. However, the fi lm was released in April 2020. Screenings or wrap parties were canceled as a result. It would have been a delight to celebrate everyone working on it, but knowing we delivered a stellar design and fi nal mix will have to be a consolation in its own right. Was your vision seen through from initial spot to fi nal mix or did any interesting new perspectives arise along the way? ROB: Our team set out to create a sound palette in hopes of maintaining the core of Mortal Kombat, staying true to what fans of the series like ourselves love. We knew what we had to do, our worry was a matter of whether we could pull it off given the project's immense legacy. However, as mentioned in the answer about story infl uencing our creative decisions, the fi lm's opening sequence offered us a new perspective in thinking how each fi ght can conduct in rhythm and progress emotionally. It changed how we thought of the entire palette down to each body movement, footstep, punch, break, or blood splatter. After some back-and- forth with the director, we wanted to honor that creative direction and add another layer of depth to the beloved franchise. Outstanding Achievement in Sound Editing Feature Animation SOUL Disney Supervising Sound Editor: COYA ELLIOTT Sound E• ects Editors: KIMBERLY PATRICK STEVE ORLANDO JONATHAN STEVENS Supervising Dialogue Editor: CHERYL NARDI Sound Designer: REN KLYCE Foley Editor: THOM BRENNAN Foley Artists: JOHN ROESCH MPSE SHELLEY RODEN MPSE DEE SELBY What was the biggest challenge you and your team faced? COYA ELLIOTT, SUPERVISING SOUND EDITOR: COVID-19. Why are the MPSE Awards important to you?

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