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70 M PS E . O R G only be heard—it should be felt." Designing the soundscape for a large-scale science fiction film like Tron: Ares involves far more than creative inspiration. Behind every futuristic energy pulse or mechanical movement lies a carefully structured editorial workflow that allows hundreds— sometimes thousands—of sound elements to evolve throughout post production. For supervising sound editor Tormod Ringnes, maintaining a flexible workflow was essential. Large films rarely arrive in the sound department as finished products. Scenes change constantly as picture editing evolves, visual effects continue to develop, and new creative ideas emerge. "You have to expect change," Ringnes explains. "Editorial turnover is part of the process." During post production, the sound team receives regular picture turnovers from the editorial department. These updated cuts may include newly completed visual effects, timing adjustments, or structural changes to scenes. Maintaining organization within editorial sessions becomes crucial. Sound editors rely on carefully structured sessions where each category of sound—dialogue, Foley, ambiences, mechanical effects, and energy textures—can be adjusted quickly without disrupting the rest of the mix. As the film moves closer to the Final day of the final mix August 2025, Mix stage A at Disney Burbank. L-R: Baard H. Ingebretsen (supervising sound editor), Ron Bartlett (re-recording mixer), Joachim Rønning (director), Tormod Ringnes (supervising sound editor/sound designer), Addison Teague (supervising sound editor/sound designer). Photo © Disney