Sounding Off on Five Sonic Oscar Contenders

Though set in war zones, outer space, and Stephen Sondheim’s mysterious Woods, the sound contenders this awards season share a sense of the natural and sonic intensity.The sound category this awards season is highlighted by different war zones (Fury, Dawn of the Planet of the ApesGodzilla), a gut-wrenching space adventure (Interstellar), and a bizarre fairy tale musical mash-up (Into the Woods). What they have in common is a sense of the natural and a sonic intensity.

1. The sound of World War II tank warfare has never been as real or as intense as in David Ayer’s Fury.  Sound designer Paul Ottosson (Zero Dark Thirty) was totally in his element, recording sounds of the Nazi Tiger tank for the first time onscreen and getting the low-end of the shockwaves as well as the ricochets and shell hits just right. But the recording details extended to the interior machinery of the tanks and the authentic radio transmissions.

2. Although Matt Reeves decided to hold off on the final battle to let us savor the evolution of the apes, Dawn has plenty of gunfire and explosions developed from a mixture of library cuts and location recordings, working in native Atmos. But co-supervising sound editor/sound designer/effects re-recording mixer Will Files and co-supervising sound editor/sound designer Douglas Murray developed distinctive voices for the six principal apes (including Andy Serkis’ remarkable Caesar) through a combination of the actor’s voices and real ape sound effects. The result is as realistic as the imagery, with a lot of ambient sounds from the world along with creative, custom sounds for the apes.

Read the rest at TOH/Indiewire.

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Clips, Movies, Oscar, performance capture, Sound, Tech, Virtual Production

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