Issue link: https://digital.copcomm.com/i/1504940
C A S Q U A R T E R L Y I FA L L 2 0 2 3 43 played the orchestral piece. Knowing we could achieve this, we coordinated with the post sound team to send two SFX recordists for these scenes. The SFX recordists jumped into the crowds of extras in the battle to add to the ambient options. When you watch this sequence, it sounds authentic and immersive, which was achieved in large part by being able to use my favorite tool (earwigs) creatively. Fun fact: The film's composer, Justin Hurwitz, leads the orchestra as the conductor in the movie for this scene. After finishing up Babylon, we were fortunate to be a part of a few more films that used musical elements in continually more exciting ways. With everything from live singing to specific and gentle off-camera cues, my handy pack of earwigs helped my team and I create a solution for each new request. While finding a replacement for our tried-and- true favorites proved challenging, I'm grateful to have found the newer technology finally feeling like a good bet. The technical challenges and track counts have continued to increase. And while the 35 earwigs felt like more than I'd ever need again, as of this article, I now own 42! Following Babylon, we went on to The Color Purple, based on the musical Maestro, a music-heavy film about legendary composer Leonard Bernstein, and Joker 2, a fun take on a comic musical. Babylon is now available on Blu-ray and digital. If you've watched it, I'd love to hear your thoughts on the scenes or share more tips and tricks that I have used and love about earwigs that you may find informative. Send a message or find me at the next Mixer's Mixer as I'd love to hear about the ways that you use earwigs in your work, too. Babylon (2022) Babylon (2022)