By Randi Altman
Veteran sound designer and feature film supervising sound editor Scott Gershin is leading the charge at the recently launched The Sound Lab at Technicolor, which, in addition to film and television work, focuses on immersive storytelling.
Gershin has more than 100 films to his credit, including American Beauty (which earned him a BAFTA nomination), Guillermo del Toro’s Pacific Rim and Dan Gilroy’s Nightcrawler. But films aren’t the only genre that Gershin has tackled — in addition to television work (he has an Emmy nom for the TV series Beauty and the Beast), this audio post pro has created the sound for game titles such as Resident Evil, Gears of War and Fable. One of his most recent projects was contributing to id Software’s Doom.
We recently reached out to Gershin to find out more about his workflow and this new Burbank-based audio entity.
Can you talk about what makes this facility different than what Technicolor has at Paramount?
The Sound Lab at Technicolor works in concert with our other audio facilities, tackling film, broadcast and gaming projects. In doing so we are able to use Technicolor’s world-class dubbing, ADR and Foley stages.
One of the focuses of The Sound Lab is to identify and use cutting-edge technologies and workflows not only in traditional mediums, but in those new forms of entertainment such as VR, AR, 360 video/films, as well as dedicated installations using mixed reality. The Sound Lab at Technicolor is made up of audio artists from multiple industries who create a “brain trust” for our clients.
As an audio industry veteran, how has the world changed since you started?
I was one of the first sound people to use computers in the film industry. When I moved from the music industry into film post production, I brought that knowledge and experience with me. It gave me access to a huge number of tools that helped me tell better stories with audio. The same happened when I expanded into the game industry.
Learning the interactive tools of gaming is now helping me navigate into these new immersive industries, combining my film experience to tell stories and my gaming experience using new technologies to create interactive experiences.
One of the biggest changes I’ve seen is that there are so many opportunities for the audience to ingest entertainment — creating competition for their time — whether it’s traveling to a theatre, watching TV (broadcast, cable and streaming) on a new 60- or 70-inch TV, or playing video games alone on a phone or with friends on a console.
There are so many choices, which means that the creators and publishers of content have to share a smaller piece of the pie. This forces budgets to be smaller since the potential audience size is smaller for that specific project. We need to be smarter with the time that we have on projects and we need to use the technology to help speed up certain processes — allowing us more time to be creative.
Can you talk about your favorite tools?
There are so many great technologies out there. Each one adds a different color to my work and provides me with information that is crucial to my sound design and mix. For example, Nugen has great metering and loudness tools that help me zero in on my clients LKFS requirements. With each client having their own loudness requirements, the tools allow me to stay creative, and meet their requirements.
What are some recent projects you’ve worked on?
I’ve been working on a huge variety of projects lately. Recently, I finished a commercial for Audi called The Duel, a VR piece called My Brother’s Keeper, 10 Webisodes of The Strain and a VR music piece for Pentatonix. Each one had a different requirement.
What is your typical workflow like?
When I get a job in, I look at what the project is trying to accomplish. What is the story or the experience about? I ask myself, how can I use my craft, shaping audio, to better enhance the experience. Once I understand how I am going to approach the project creatively, I look at what the release platform will be. What are the technical challenges and what frequencies and spacial options are open to me? Whether that means a film in Dolby Atmos or a VR project on the Rift. Once I understand both the creative and technical challenges then I start working within the schedule allotted me.
Speed and flow are essential… the tools need to be like musical instruments to me, where it goes from brain to fingers. I have a bunch of monitors in front of me, each one supplying me with different and crucial information. It’s one of my favorite places to be — flying the audio starship and exploring the never-ending vista of the imagination. (Yeah, I know it’s corny, but I love what I do!)