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Sound — Wonder Woman’s superpower
By Jennifer Walden

When director Patty Jenkins first met with supervising
sound editor James Mather to discuss Wonder Woman, they had a chat about the physical effects of low-frequency sound energy on the human body,
and how it could be used to manipulate an audience.

“The military spent a long time investigating sound cannons that could fire frequencies at groups of people and debilitate them,” explains Mather. “They found that the lower frequencies were far more effective than the very high frequencies. With the high frequencies, you can simply plug your ears and block the sound. The low-end frequencies, however, impact the fluid content of the human body. Frequencies around 5Hz-9Hz can’t be heard, but can have physiological, almost emotional effects on the human body. Patty was fascinated by all of that. So, we had a very good sound-nerd talk at our first meeting — before we even talked about the story of the film.”

Jenkins was fascinated by the idea of sound playing a physical role as well as a narrative one, and that direction informed all of Mather’s sound editorial choices for Wonder Woman. “I was amazed by Patty’s intent, from the very beginning, to veer away from very high-end sounds. She did not want to have those featured heavily in the film. She didn’t want too much top-end sonically,” says Mather, who handled sound editorial at his Soundbyte Studios in West London.

Soundbyte Studios offers creative supervision, sound design, Foley and dialog editing. The facility is equipped with Pro Tools 12 systems and Avid S6 and S3 consoles. Their client list includes top studios like Warner Bros., Disney, Fox, Paramount, DreamWorks, Aardman and Pathe. Mather’s team includes dialog supervisor Simon Chase, and sound effects editors Jed Loughran and Samir Fočo. When Mather begins a project, he likes to introduce his team to the director as soon as possible “so that they are recognized as contributors to the soundtrack,” he says. “It gives the team a better understanding of who they are working with and the kind of collaboration that is expected."

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Sight Sound & Story: TV editing
and Dylan Tichenor, ACE
By Amy Leland

This past weekend in NYC, Sight Sound & Story rounded up a variety of editors from TV, docs, VR and film to speak on panels about the art of editing.

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VR Audio — Differences between
A Format and B Format
By Claudio Santos

Since things can get pretty confusing with VR audio, we thought we’d offer a quick reminder
of what these two formats mean.

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SAM names Eric Cooney president and CEO

Quick Chat: Endcrawl
now supports 4K
By Randi Altman

Behind the Title: Flavor LA director/CD Jason Cook

SGO’s Mistika VR software
is now available

1stAveMachine makes
coffee for Nespresso

Audio post vet Rex Recker joins Digital Arts in NYC

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