Issue link: https://digital.copcomm.com/i/1401019
m ot ion p ictu re s o u n d e d i to r s I 37 that are actually in that one... Raya—which we just did, Brother Bear, Jungle Book, Tangled, Sword in the Stone, Alice in Wonderland, Fantasia, Pocahontas, Princess and the Frog, Tarzan, Moana, The Little Mermaid, Lilo & Stitch ... that's a lot in just one little episode! Going to the older stuff , like Pinocchio, we couldn't get the original raw eff ects track because they were all opticals, married to music. So Shannon had to go to the libraries and create organic material, and then I mixed it in the spirit of the original also. Kind of Academy curve-ish, not to wide, you know—and kept it with the spirit of the originals. SL: But in many cases, with the more recent fi lms, such as the Frozen fi lms, Moana, or Raya and the Last Dragon, you were using existing pre-dubs or stems from the fi lms. SHANNON MILLS: That's right. For instance, for Raya, we had everything we could ever want, because we had just fi nished that project—and it was just sitting there waiting to go. But going back to some of the older fi lms, we just didn't have much at all. Either there were no sound eff ects, or the sound eff ects were combined with music. So we would have to recreate, or draw from other sources, to make that track. What we had to do in cases like that was try to recreate something of the era. Something of the time. One of the things we used to do that was the Jimmy Macdonald sound library, which has been restored and made digital at Disney Animation. That was instrumental in helping us kind of create new sounds for an old fi lm—but not stick out like we were too modern. That's also something Mr. Fluhr was able to help with in the mixing. DF: Yeah. In several of our many meetings and creative discussions, which was also half the fun of this Clockwise from top left: Series creator & editor David Bess; Steve Lee; sound designer Shannon Mills; and re-recording mixer David Fluhr. Moana © Disney