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The sound of Netflix’s The Defenders
By Jennifer Walden

Netflix's The Defenders combines the stories of four different Marvel shows already on the streaming service: Luke Cage, Daredevil, Iron Fist and Jessica Jones.

In the new show, the previously independent superheroes find themselves all wanting to battle the same foe — an organization called The Hand, which plans to destroy New York City. Putting their differences aside, the superheroes band together to protect their beloved city.

Supervising sound editor Lauren Stephens, who works at Technicolor at Paramount, has earned two Emmy nominations for her sound editing work on Daredevil. And she supervised the sound for each of the aforementioned Marvel series, with the exception of Jessica Jones. So when it came to designing The Defenders she was very conscious of maintaining the specific sonic characteristics they had established.

“We were dedicated to preserving the palette of each of the previous Marvel characters’ neighborhoods and sound effects,” she explains. “In The Defenders, we wanted viewers of the individual series to recognize the sound of Luke’s Harlem and Daredevil’s Hell’s Kitchen, for example. In addition, we kept continuity for all of the fight material and design work established in the previous four series. I can’t think of another series besides Better Call Saul that borrows directly from its predecessors’ sound work.”

But it wasn’t all borrowed material. Eventually, Luke Cage (Mike Colter), Daredevil (Charlie Cox), Jessica Jones (Krysten Ritter), Iron Fist (Finn Jones) and Elektra Natchios (Elodie Yung) come together to fight The Hand’s leader Alexandra Reid (Sigourney Weaver). “We experience new locations, and new fighting techniques and styles,” says Stephens. “Not to mention that half the city gets destroyed by The Hand. We haven’t had that happen in the previous series.”

Even though these Netflix/Marvel series are based on superheroes, the sound isn’t overly sci-fi. It’s as though the superheroes have more practical superhuman abilities. Stephens says their fight sounds are all real punches and impacts, with some design elements added only when needed, such as when Iron Fist’s iron fist is activated. “At the heart of our punches, for instance, is the sound of a real fist striking a side of beef,” she says. “It sounds like you’d expect, and then we amp it up when we mix. We record a ton of cloth movement and bodies scraping and sliding and tumbling in Foley. Those elements connect us to the humans on-screen.”

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Review: Boxx’s Apexx 4 workstation
By Brady Betzel

Boxx takes advantage of the X or K series Intel processors and overclocks them, getting the most from the processors, while still being backed by Boxx’s three-year warranty.

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Behind the Title: Postal director
of operations Jason Mayo

“Postal is a creative studio that believes everything starts with great design. That’s our DNA. We believe it all begins with the talent, not the tools. Our desire to create transcends all mediums.”

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Creating graphics package for
UN’s Equator Prize ceremony

Undefined Creative was commissioned by the United Nations Development Programme (UNDP) to produce a fresh package of event graphics for its Equator Prize 2017 Award Ceremony.

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ATTO XstreamCore: remote access to DAS, more

Courtney Ryan Law now
EP/MD of BlueRock

Flame 2018.3 offers
pipeline enhancements

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