www.postmagazine.com
28
POST APRIL 2016
www.postmagazine.com
28
POST APRIL 2016
n animation, just because you're not limited to the bounds of reality, that's not to
say there aren't any boundaries at all. There are boundaries in all good relation-
ships, including the relationship between sound and picture. Sure, on-screen, there
might be a city populated by car-driving, smartphone-wielding animals (do you think
that Otter's purse is vegan leather?), but that doesn't mean the sound can just run wild.
Maybe it's a world where birds don't chirp, or lions shouldn't roar. Sound helps to rein-
force the laws of the land on-screen. The supervising sound editors on Zootopia, Kung
Fu Panda 3, Ratchet & Clank, and The Angry Birds Movie share insight on the sound-re-
lated boundaries they worked within to help define these compelling animated worlds.
S E T T I N G
SOUND BOUNDARIES
I
BY JENNIFER WALDEN
AUDIO PROS DEFINE THE ANIMATED WORLD ON-SCREEN