Issue link: https://digital.copcomm.com/i/1504731
66 M PS E . O R G changes. It was impressive that he could predict how sound would play with VFX that weren't in the cut yet! EM: The backgrounds are so important in detailing the incredible locations of this film. So many scenes take place outside in the snow, including in the woods. What did you aim to bring to these scenes to help support the dialogue? JY: Background sound is important in a movie. Most of the time, it may not be a prominent presence, but it plays a significant role in shaping characters and advancing the plot. Sometimes I even consider the environmental sound as a character in the film. In the outdoor scenes set in mountains and forests, I experimented with adding the sound of sea waves to evoke a certain emotional tone. When combined with the sound of rustling pine trees, it created a relaxed and nuanced atmosphere that served the film well. I believe that background editing should focus more on creating a specific feeling. Sometimes it can be intriguing to swap sounds and see how they enhance the overall experience. EM: There are some great long scenes involving trains in this film. Some are quiet scenes inside the train, and others include more active sounds like horns or trains passing by us. What were some of your biggest challenges in getting these all to work well in the context of the film? JY: The train scenes did pose some challenges, but it's part of what I enjoy about mixing. It's mostly about control and balance. In the relatively quieter train interiors, I tried to incorporate the train sounds as part of the music. The sounds of wooden seats creaking or the tracks outside clicking became integrated into the music, providing a rhythm and preparing for louder scenes. In scenes with loud noises, like the train arriving or when the train quickly passes by outside the window, it can be tricky to ensure the actors' whispered lines are still audible. I primarily adjust the volume and frequencies to address this issue. EM: There are fight scenes on the train where we cut back-and-forth to outside of the train, and wind is whipping by the characters. How did you approach the perspective shifts here, especially during scenes with loud music and dialogue playing? JY: In the fight scenes, the editing is fast-paced with constant cuts between interior and exterior shots. I like to make the transitions Supervising sound editors Nan Zhao and Jiang Yang celebrating their award nomination for Shadow at the 55th Golden Horse Awards. Jiang Yang at the 67th MPSE Golden Reel Awards in 2020. Photo by Chris Schmitt Photography.