Issue link: https://digital.copcomm.com/i/1504731
64 M PS E . O R G used for background passing cars. It was challenging to capture good sound effects of vintage cars chasing in the snow. EM: There's also a great scene with an electrocution machine, which sounded very rich and detailed. What went into building the sounds of this? JY: The electrocution machine was actually the work of Olivia Zhang from Mark's team. It sounds really interesting, doesn't it? It made that scene both terrifying and intriguing. EM: Absolutely! During one death scene in the film, Zhou Yi reaches into Chu Liang's mouth and searches for the poison pill. It sounds very gory and painful. What were your goals for this scene? JY: Zhou Yi is an undercover agent, and Chu Liang is his colleague. Yi doesn't want to watch Liang die, but with enemies behind them, he has to suppress his immense pain and forcefully extract the poison from Liang's mouth. I mainly added the sound of a broken tooth. Although it's not very prominent amidst the other sounds, the moment I placed that sound, I truly felt a sense of pain. I wanted to convey that pain to the audience. It's the pain that Yi, Liang, and the audience should feel in that moment as well. EM: The Foley in this film is so intricate, especially all of the footsteps and movement in the snow. What was your team's approach to covering all of this? NZ: The entire film was set in snowy conditions, and it's challenging to Sound mixer Nan Zhao, with boom op and utility person Ma Limin, on the set of Cliff Walkers. Nan Zhao and Jiang Yang on the set of Cliff Walkers. Nan Zhao and Jiang Yang recording wild snow Foley on the set of Cliff Walkers.