Deepwater Horizon’s immersive
mix via Twenty Four Seven Sound
By Jennifer Walden
The Peter Berg-directed film Deepwater Horizon, in theaters now, opens on a black screen with recorded testimony from real-life Deepwater Horizon crew member Mike Williams recounting his experience of the disastrous oil spill that began April 20, 2010 in the Gulf of Mexico.
“This documentary-style realism moves into a wide, underwater immersive soundscape. The transition sets the music and sound design tone for the entire film,” explains Eric Hoehn, re-recording mixer at Twenty Four Seven Sound in Topanga Canyon, California. “We intentionally developed the immersive mixes to drop the viewer into this world physically, mentally and sonically. That became our mission statement for the Dolby Atmos design on Deepwater Horizon. Dolby empowered us with the tools and technology to take the audience on this tightrope journey between anxiety and real danger. The key is not to push the audience into sensory overload.”
The 7.1 mix on Deepwater Horizon was crafted first with sound designer Wylie Stateman and re-recording mixers Mike Prestwood Smith (dialogue/music) and Dror Mohar (sound effects) at Warner Bros in New York City. Then Hoehn mixed the immersive versions, but it wasn’t just a technical upmix. “We spent four weeks mixing the Dolby Atmos version, teasing out sonic story-point details such as the advancing gas pressure, fire and explosions,” Hoehn explains. “We wanted to create a ‘wearable’ experience, where your senses actually become physically involved with the tension and drama of the picture. At times, this movie is very much all over you.”
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