Issue link: https://digital.copcomm.com/i/1524736
reverb, and distortion to indicate where the characters exist mentally or emotionally. The strongest use of sound to enhance character development will, of course, originate in the script. A Quiet Place was so revolutionary because sound was the plot. Knowing even the smallest creak could end in death, I found it impossible to not be totally engaged. In Sound of Metal, the sound mix is not just a background element, but a crucial narrative device that conveys the protagonist's journey through hearing loss and adaptation to a new way of experiencing the world. But what do the experts say? Director of Sound Design at Skywalker Sound, Randy Thom CAS, production sound mixer and re-recording mixer Stephen Tibbo CAS, re-recording mixer and supervising sound editor Joel D. Catalan CAS, and production sound mixer Johnpaul Golaski CAS, were kind enough to offer their thoughts on the subject. When starting work on a new film, do you try to have a solid grasp of the overall story first, or do you find that your understanding of the story evolves over time as you work on the film? Johnpaul Golaski CAS: I try to imagine what they are thinking, but if it's a director I don't know, then their vision may be something I wouldn't expect. Some of that is me anticipating how the scenes will be shot from a technical standpoint, and what we will need to deal with as the sound department. Stephen Tibbo CAS: When I start on a film or TV show, I think understanding the story allows me to make better mixing decisions. Randy Thom CAS: I try to find out as much as I can about the overall story before I start designing, but my understanding of the story always grows as I do the work. Joel D. Catalan CAS: I want to be involved as early as possible. When I've supervised, I get to be part of the conversations that shape our sonic direction. When I only mix, this doesn't allow for as much familiarity, so the story evolves for me in real time. What techniques or opportunities do you think are underused or especially effective that people should spend more time utilizing? JC: Sometimes we can let the backgrounds just sit there, and that's not very exciting. Volume automation and pan automation bring life to your tracks. Use those surrounds, be strategic about what you put in your objects. Creating movement can take your mix to another level. JG: I would love to see dual booms for capturing dialogue. Wireless mics have come a long way, but the booms are still the booms, and having two would be great. RT: Recording sounds in the field is always beneficial in several ways. You acquire fresh material, you get yourself out of the studio which helps you think, and you always discover sounds you don't anticipate. Often, those are the most useful sounds you collect. Johnpaul Golaski CAS Stephen Tibbo CAS Randy Thom CAS Joel D. Catalan CAS