Issue link: https://digital.copcomm.com/i/1512183
M OT I O N P I CTU R E S O U N D E D I TO R S 127 an overseas team for the first time in Korea and this production system was a new experience for me. In pre-production, I could see the animation of the creature and figures made of clay, and I talked about the sound concept of the creature while watching the storyboards that Bong drew himself. He told me that the creature should be making sounds with emotions depending on the situation, but the audience should not understand what kind of creature this was. PA: And how did you make the sound of the creature? RTY: I first tried using a dog sound, a mammal, as a pre-sound design for the creature, but it failed because it didn't fit well with a creature that crosses land and water like a large amphibian. I tried to design the sound of the creature based on the sound of sea lions living together on land and sea. Unable to find a zoo to record sea lion sounds in Korea, I collaborated with Rob Nokes on sea lion sound effect recordings and sound design. In addition, I built a layer of sound by designing using other animal sounds such as monkeys, pigs, elephants, etc., for the sound design of the creature, which should vary depending on the situation. In the scene where the creature sleeps while snoring, eating people and throwing up in a hideout, and in the end, the scene where the creature is burned to death, there was a limit to what could be expressed with general animal sounds, so we had to recruit Korean actor Oh Dal-soo to make the voice of the creature. It was all very exciting and challenging, and we mixed The Host in Dolby Digital SurroundEX 6.1. At the time of mixing, Bong conducted me as if conducting an orchestra to select Top, middle & bottom: Recording for ship & water sound effects.