Gravity Set to Dominate Oscar Craft Nominations

As we approach Wednesday’s Oscar voting deadline, at least one thing’s certain: Gravity will dominate the craft nominations. And rightly so for the creative and innovative contributions. We’ve already covered production designcinematography, and VFX in depth, so now let’s look at the corresponding design for sound and music, which was perfect for the immersive Dolby Atmos surround experience, along with the editing of what was essentially an animated movie.

Gravity is all about transmitting sound through vibration and following Sandra Bullock in space. Who will ever forget the sound of her breath or heartbeat; her fiddling with the Hubble telescope or the crashing debris that provides ongoing jeopardy?

Gravity contains the most complex spatial direction in recent memory, thanks to the work of supervising sound editor/sound designer Glenn Freemantle and re-recording mixer Skip Lievsay, among others. Voices and other sounds constantly change in relation to Bullock’s POV.

“Space sound can’t be transmitted through atmosphere but through other elements,” Freemantle explains. “We came up with the idea of vibration through touch and when she’s in contact we hear it through her [as a muffled sound].”People picked up on this straight away. The concept works and it doesn’t distract from the beauty of space when a barrage of things happen. We did research of what tools they used and how they used them. We recorded vibrations using contact mics at General Motors and medical plants. We tried to be as real as we could using signal bases, and we had space suits as well with all the gear when we were shooting it. We tried to have a contact within her suit.

Read the rest at TOH/Indiewire.

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Clips, Editing, Movies, Music, Oscar, previs, Sound, Tech, VFX, Virtual Production

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