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Michael Semanick: Mixing SFX,
Foley for Star Wars: The Last Jedi

By Jennifer Walden

Oscar-winning re-recording mixer Michael Semanick from Skywalker Sound mixed the sound effects, Foley and backgrounds on Star Wars: The Last Jedi, which has earned an Oscar nom for Sound Mixing.

Technically, this is not Semanick’s first experience with the Star Wars franchise — he’s credited as an additional mixer on Rogue One — but on The Last Jedi he was a key figure in fine-tuning the film’s soundtrack. He worked alongside re-recording mixers Ren Klyce and David Parker, and with director Rian Johnson, to craft a soundtrack that was bold and dynamic. (Look for Part 2 of our Star Wars audio coverage next week, in which re-recording mixer Ren Klyce talks about his approach to mixing John Williams’ score.)

Recently, Semanick shared his story of what went into mixing the sound effects on The Last Jedi. He mixed at Skywalker in Nicasio, California, on the Kurosawa Stage.

You had all of these amazing elements — the effects, the score, the dialogue. How did you bring clarity to what could potentially be a chaotic soundtrack?
Yes, there are a lot of elements that come in, and you have to balance these things. It’s easy on a film like this to get bombastic and assault the audience, but that’s one of the things that Rian didn’t want to do. He wanted to create dynamics in the track and get really quiet so that when it does get loud it’s not overly loud.

So when creating that, I have to look at all of the elements coming in and see what we’re trying to do in each specific scene. I ask myself, “What’s this scene about? What’s this storyline? What’s the music doing here? Is that the thread that takes us to the next scene or to the next place? What are the sound effects? Do we need to hear these background sounds, or do we need just the hard effects?”

Essentially, it’s me trying to figure out how many frequencies are available and how much dialogue has to come through so the audience doesn’t lose the thread of the story. It’s about deciding when it’s right to feature the sound effects or take the score down to feature a big explosion and then bring the score back up.

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