Issue link: https://digital.copcomm.com/i/1448505
76 I M PS E . O R G "We had to invent most of the sounds during the post-production. Beyond the boundaries of visibility, the machines were not working, the vehicles were not moving, so they had no sound. Some characters did not speak the languages or had a recognizably bad accent." of the river crossing that had no usable production sound. At the beginning of October, my colleague Tamás Székely and I went out on an abandoned riverbank by the Danube. We recorded the wet sounds of the scene in sync with an iPad, a TC recorder, and boom mic. I was the water artist in the river; Thomas was the dry recordist on the bank. The water was very cold and the dog walkers looked at us strangely but quietly. The sound development of the scene was then continued in the studio, we recorded personal sounds with protagonist Géza Röhrig, I picked up some more great water splashes and squirting in the bathtub at my home. Of course, I could have mentioned the warrior, a liberation scene full of different shots and brawls, where we also recorded sounds in many layers, but that is a completely different kind of sound design task. CM: What work have you been engaged in since Son of Saul, and has the COVID experience affected your work process? TZ: COVID, like for everyone else, has caused us a lot of problems. It would be difficult to talk about it briefly here, both in family and in studio maintenance. Fortunately, since Son of Saul, I was able to take part in some Hungarian fictions, including László Nemes's secnd film (Sunset). My most recent work is Erasing Frank, which also received two awards at this year's Venice Festival. This is a harsh tone black- and-white film about a Budapest rock musician rebelling against the communist dictatorship of the '80s, who is eventually locked up in a closed department of psychiatry. As part of the sound design here, e.g., I recorded a lot of long electric guitar feedback with my own guitar. It was interesting, I've never done this before, but be careful if you try this, because it can only be executed for so long of time and well at high volume and our hearing may then be in grave danger. In the coming weeks, we created in November the final mix the low-budget film by György Pálfi 'Mindörökké' (Forever). This post-apocalyptic dystopia launched with an award of the 25th Tallinn Black Nights Film Festival, it received a special award for the visual world of the movie.. CM: The MPSE wishes you much success in your current and future work Tamás, and we greatly appreciate hearing about your experiences in both the sound design of Son of Saul and your current work! Tamás premixing Son of Saul.