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www.postmagazine.com 32 POST AUGUST 2017 Another effective way of adding authenticity and specificity was to record meticulously script- ed loop group. Walpole explains that the Royal family is built on protocol and tradition, so there are very specific manners of addressing and respond- ing to the Royals. If that commentary is correct in the backgrounds, they can confidently fea- ture the loop group in the mix. "All of the principal dialogue is researched to the nth degree by show creator/writer Peter Morgan and his crew, so all of the additional ADR and group was sent to them to script and advise on as well. I wanted to use the background walla for storytelling and to create a sense of location. There are a lot of quiet conver- sations in The Crown, so the loop group really has a chance to poke in," says Walpole, who mixes the show alongside re-recording mixer Martin Jensen (dialogue/music). One of Walpole's favorite episodes for sound is Season 1, Episode. 2, "Hyde Park Corner," in which Princess Elizabeth and Philip are on tour in Kenya. Walpole wanted Kenya to overwhelm the senses, to emphasize how alien the environment would seem to the Princess in the 1950s. He gathered new vibrant sounds of cicadas, birdsongs, tree frogs and other atmospheric elements, and feature those heav- ily in the mix. It stands in contrast to the stark environment of the palace back in England. "We also use it as a device when Elizabeth learns of the King's death. As she emerges from the lodge, we meet her with an incredibly dense mix of birds and cicadas. We then use the passing messenger's car as a trigger to slowly remove the atmosphere until we are left with a solitary wind that tonally emerges from the car's reverb tail. The world literally stops for a moment," Walpole says. Sound also plays a huge role when the Royals encounter an elephant while in Kenya. Through sound effects, they added weight, scale and intri- cate detail that helped bring the CGI elephant to life. "We tried to harness the power and potential threat of the animal through sound," says Walpole. They also had fun with the pheasant shoot that happens earlier in the episode. Director Stephen Daldry wanted the guns to have "as much weight and volume as we felt the dialogue would allow. A fine balance between effects and dialogue was struck with the guns punctuating the King's conver- sation with Eden," concludes Walpole. LO S T I N O Z Amazon Prime's Emmy-award winning animated series, Lost in Oz is inspired by L. Frank Baum's Oz books. The story follows young Dorothy Gale, who discovers her mother's magical journal in their home in Kansas. After reading the words, "go forth" from the book, Dorothy, Toto and their house are swept up by a tornado that deposits them in the land of Oz. But this isn't the Oz of the 1939 film, The Wizard of Oz. It's quite the oppo- site. This Emerald City is a futuristic metropolis, with flying cars and skyscrapers. It's vibrant and magical…er, at least it would be magical but the city has been hit with the worst magical crime wave it has seen in eons. That's a tough break for Dorothy, since her only way back to Kansas is to collect one sample of each magical element listed on the Ozian Periodic Table. Burbank, CA's Bang Zoom Studios (www. bangzoomstudios.com) was brought in to the project by supervising producer Ken Duer once the pilot got the green light by Amazon, in 2015. Their sound team, which was recently awarded Daytime Emmys for Outstanding Sound Mixing — Animation and Outstanding Sound Editing — Animation for Lost in Oz: Extended Adventure, is led by Bang Zoom Studios' founder/CEO/su- Audio tools include Waves, Pro Tools and SoundMorph. Bang Zoom's audio team. Amazon Prime's Emmy-winning series, Lost in Lost in Lost Oz.