Issue link: https://digital.copcomm.com/i/1512183
130 M PS E . O R G real life. I thought a lot about Dolby Atmos' sense of direction in the vertical structure connecting the underground and the ground. PA: The way the different families had different sonic characters was so great. What were the directions you got for this and how did you work with those? RTY: For the distinction between the two families, we used the difference in space. The differences in sizes of rooms and living rooms in different spaces were designed and mixed with the volume balance and reverb effects, the reverb treatment attuned to the tone and sense of space of the Foley footsteps sounds, and the differentiation of the living noise ambience of the room tone of each space and the internal air tone from the outside. The underground space was treated with other unique dialogue reverbs and used a darker tone of room tone ambience sound. PA: I really love the sound of the rain in Parasite. It was so layered and detailed. Do you have a specific approach when working with background sounds? Do you layer or pan them in a special way? RTY: For this, I selected the type and tone of the rain sounds from my sound library and then my sound editors edited it. Basically, in editing, the different layer of the sound of rain was edited into at least six groups: front stereo (L, R), mono for center and Atmos objects, and surround stereo (Lss, Rrs, Rrs, Tls, Trs). On the mixing stage, I then used the console automation to balance the sound according to the direction I want, and sometimes I used EQ and filters. In addition, appropriate panning was performed using multiple layers to create surround and ceiling images. I added a reverb in the last step and mixed the molecules of rain that sounded like dots to made them sound more like lines and faces. PA: I see that you're usually mixing the movies you're sound designing—is that important for you and how do you go back and forth between sound editing and mixing? RTY: My mixing work is out-of-the- box mixing using the DFC console's Encore automation. My playback Pro Tools session doesn't work with any volume graphs and doesn't use plugins and Aux for any inserts. All filters, EQ's, dynamics, pannings, aux, etc., are automated in the audio console. Therefore, my sounds are most often designed in the mixing process with minimal sound editing. There are too many variables for me to decide something during the editing stage, so in the mix I can transform the sound design at any time depending on the mood of the sound of the other sound elements in the mix. PA: How do you feel your collaboration with Bong Joon-ho has developed during the years? Do you talk more or less about the sound? RTY: In the past, director Bong told me a lot about his sound ideas, but now he just tells me to do the sound the way I interpret it. Sometimes he checks a sound, but there's never any special issues. And I also ask him occasionally about something out of courtesy. I think we've worked together for too long. I think the time has come to break up with each other so that we don't fall into mannerisms. Hahaha! PA: I also wanted to talk with you about a few other movies. You did the sound design for A Tale of Two Recording sounds for Okja (2017) Okja (2017)