Issue link: https://digital.copcomm.com/i/1525212
Steve Bucino. 48 C I N E M O N T A G E F E A T U R E the walls of it, and I know that with Loop Group and Walla sound effects [and Sound Mixer Tod A. Maitland's production tracks], we just let it encompass us once we entered it for the first time, and that's where a lot of the use of Dolby Atmos was really helpful because we were able to move objects around," explained Bucino. "So on the stage, we came up with the double-headed cow moo, and we started introducing these mutated animals, so Lucy kind of sees that and hears that for the first time, and it's a really subtle effect, but it starts to open her eyes to the world she's about to experience." "Those are moments where, along with Max [Aaron Moten] and the suit flying, I just went with it by being aggressive and having as much fun with it as I could," said Bucino. "And it made sense for the scene and it made sense for the story — and it was the rare moment where kind of going over the top, pun intended, with the Atmos field made a lot of sense and it was very effective." Another tricky task that the team took on was designing the sound of the feral ghouls, such as Roger (Neal Huff) and Mar- tha (Alexa Marcigliano), who are beginning to turn into mindless monsters. "What was cool about those was the transition that we were seeing.... We're talking to them as people in the midst of their transition into feral ghouls, so there are multiple layers that we played with and really worked line by line," said Colman. "We had them during production and then we brought them in for ADR to do a more raspy zombie-esque version of their lines. We recorded loop groups with them to add some other voices that we could play with at times, and I used a little bit of dehumanizer on those, which I tend to stay away from for all design stuff. But I used it [here] as a little bit of FutzBox to add a little more rasp to it, and then added creature sounds on top of that. We edited it very closely to match the pitches and the envelope of their words so that with each line we could play a little, more or less, with that transition into the feral state." The "Fallout" team was under pressure to build upon a world that has existed for 20 years and developed a very rabid base, but they knew they'd done right when they could hear audiences taking shallow breaths during the series'first big action sequence, which sees Los Angeles come under attack. "I'll never forget the moment w h e re t h a t f i r s t b o m b go e s o f f, because I remember we played with this a lot in the mix. Jonah asked us to take out that boom — the sound of the bomb —- and he said, 'That's it. It's so much more impactful when there's the absence of sound. It's not always about what you're adding, it's about what you choose to take away.' And that moment, in the theater, you just felt everyone's goosebumps," said Cahill. Because much of "Fallout"'s sound team had previously worked with Nolan, they had a good idea of what he was looking for and credited him with being a good communica- tor in that regard. "For the mix in general, I kind of under- stand his sensibilities and what he likes. Keith Rogers.