MPSE Wavelength

40 I M PS E . O R G Outstanding Achievement in Sound Editing Feature Documentary THE REASON I JUMP Vulcan Productions Dialogue Editor: JAMIE MCPHEE Sound Designer: NICK RYAN Sound E• ects Editors: LAURENCE LOVE GREED ALEXEJ MUNGERSDORFF JACK WENSLEY Foley Editor: SRDJAN KURPJEL MPSE Sound Recordist: SARA LIMA What challenges did the team face and how did the sound add to the overall experience? THE REASON I JUMP: Recording 360 location sound in many different locations around the world presented a huge undertaking for sound recordist SARA Lima, as we also wanted to work with a really small crew—just sound, camera, camera assistant and director—to retain a sense of everyday intimacy. Sara worked alone, consistently running three recorders from different perspectives, capturing around 16 tracks of audio for each shot. One recorder with a 360 mic setup was placed on the camera to give the viewer a 360 perspective as a point of view. A second recorder with another 360 mic was set up on a tripod and placed on location but hidden from the shot. And on her portable recorder, Sara used a Double MS setup on the boom, personal microphones and toward the end when fi nishing fi lming on each location, she also did binaural recordings. To establish a strong connection between location sound and sound design, Sara made a sound diary for each character after fi lming, providing as much information as possible for sound post. She also recorded room tone/Atmos and sweep tone of every room we shot in, which became important for feel and helped to build the acoustics of the sound design. NICK Ryan's sound design drew on his own experiences of synaesthesia (the perceptual experience in which sounds can lead to involuntary perception of images and vice versa— which is also common to many nonverbal autistic people). Nick's approach built on his own previous work on the neuroscience of sound exploring the connections between sound, memory, images and spaces. Editor David Charap worked both with Sara's material and temp effects to create a cut that left space for sound, and in which sound often led the way sequences in the fi lm were structured. NICK was involved during production and edit, advising Sara and developing ideas from early cuts. As well as material gathered on location, original sounds were created using variety of unusual techniques, including induction microphones to capture the sound of electromagnetic radiation emitted from green junction boxes. The fi lm's sound design techniques include hyper- detailed Foley, perspective shifts, reverberation, infrasound, silence and diegetic music. Nainita Desai's score brilliantly bound together music and sound design, using location sounds both within and to inspire the music cues. The challenge was to portray an overwhelming experience without it becoming overwhelming. Overuse of the 360 would make the fi lm feel more fragmented so we focused on specifi c scenes in which the 360 could be used to its full extent, appropriate to a documentary rather than an FX led fi lm. Outstanding Achievement in Sound Editing Computer Cinematic THE LAST OF US PART II Sony Interactive Entertainment Supervising Sound Editor: SHANNON POTTER Sound E• ects Editors: PATRICK GINN KYLE BAILEY MICHAEL FINLEY CHAD BEDELL ERIC PAULSEN KEITH BILDERBECK JIM DIAZ Foley Artists: DAWN FINTOR ALICIA STEVENSON Audio Director: ROBERT KREKEL Sound Designers: JUSTIN MULLENS BEAU JIMENEZ NEIL UCHITEL JESSE GARCIA MPSE MICHAEL MARCHISOTTO Supervising Music Editors: ROB GOODSON SCOTT SHOEMAKER Music Editors: ANTHONY CARUSO TYLER CROWDER SONIA CORONADO ADAM KALLIBJIAN JAMES ZOLYAK TED KOCHER SCOTT BERGSTROM TAO -PING CHEN What was the biggest challenge you and your team faced? SHANNON POTTER, SUPERVISING SOUND EDITOR: It's always a challenge to make sure we have consistency across the entire experience. For the cinematics, we had to make sure to match the

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