MPSE Wavelength

M OT I O N P I CTU R E S O U N D E D I TO R S I 41 in-game experience as much as possible. This starts with matching the Foley recordings and design elements with the recordings for the in-game material. Sometimes those elements are shot months or even a year before we begin cinematic work so staying organized and having your libraries documented and accessible is a must, along with documenting how you recorded certain props and surfaces making sure to have detailed notes about mic placement and plugins. Why are the MPSE Awards important to you? SHANNON: It's important to be recognized amongst your peers. Working at this level, there is so much great content being made so it's really about celebrating the craft. Was there anything specifi c within the story that infl uenced your decision to take on this project? SHANNON: Nope, the decision was very simple. Our entire team was excited to continue the story and play with our old friends. That is what makes the franchise so special. You really care about the characters and are invested in their trajectory. How did the pandemic change the way you and your team worked on this project? SHANNON: Thankfully, our team was touched by the pandemic only briefl y at the very end. There was defi nitely an urgency to complete a few of the cinematics as soon as possible because the use of our mix space was going to expire. Formosa was very lucky that we were able to complete the last couple of cinematics before the building was closed, but it would have been nice to not have that looming in the fi nal few weeks of cinematic production. I think it was defi nitely more diffi cult for the Naughty Dog team to fi nalize the mix for the entire game. Was your vision seen through from initial spot to fi nal mix or did any interesting new perspectives arise along the way? SHANNON: This is a highly collaborative process where we try to carry out the vision of our partners at Naughty Dog. Plenty of pre- production happens before we begin production and it also helps that we have inhabited this world before. The ideas always morph with weigh- in coming from the director, Nell Druckmann, and the audio director, Rob Krekel. I would say the collective vision is carried out in the end with great ideas emerging along the way. Outstanding Achievement in Sound Editing Computer Interactive Game Play THE LAST OF US PART II Sony Interactive Entertainment Audio Director: ROBERT KREKEL Supervising Sound Editor: SHANNON POTTER Supervising Dialogue Editor: MAGED KHALIL RAGAB Supervising Music Editors: ROB GOODSON SCOTT SHOEMAKER Sound Designers: NEIL UCHITEL BEAU JIMENEZ JUSTIN MULLENS JESSE GARCIA MPSE MICHAEL MARCHISOTTO DEREK BROWN CESAR MARENCO Foley Editor: EOLYNE ARNOLD MPSE Sound E• ects Editors: PATRICK GINN MICHAEL FINLEY KYLE BAILEY Music Editors: ANTHONY CARUSO TYLER CROWDER TAO -PING CHEN SONIA CORONADO ADAM KALLIBJIAN SAMUEL MARSHALL JAMES ZOLYAK TED KOCHER SCOTT BERGSTROM Foley Artists: DAWN FINTOR ALICIA STEVENSON What was the biggest challenge you and your team faced?

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