Issue link: https://digital.copcomm.com/i/1525212
GOOD SOUNDS: "Fallout" sound team Keith Rogers, left, Susan Cahill, Daniel Colman and Steve Bucino. Photos by Francine Orr 46 C I N E M O N T A G E F E A T U R E By Jeff Sneider T he ruthless world of "Fallout" of- fers a delicate balance of sonic bombast and the kind of haunting silence that would accompany a post-apoc- alyptic setting. Based on the bestselling video game, the Amazon Prime Video se- ries takes place in 2296, roughly 219 years after a nuclear attack destroyed Los Ange- les and changed everything. The live-action sci-fi series hails from creators/showrunners Graham Wagner and Geneva Robertson-Dworet, and notably counts "Westworld" alums Jonathan (AKA Jonah) Nolan and Lisa Joy among its exec- utive producers. While the visual scope of the series is majestic, the attention to detail within the sound mix is equally impressive. C i n e M o n t a g e s a t d o w n w i t h f o u r members of the "Fallout" sound team, all of whom work together at StudioPost at Universal Studios — supervising sound editor Susan Cahill, sound designer Daniel Colman, and re-recording mixers Keith HERE IN THE UNDERWORLD THE POST TEAM OF 'FALLOUT' GOES BACK TO THE FUTURE