Tag Archives: DC Comics

Sound — Wonder Woman’s superpower

By Jennifer Walden

When director Patty Jenkins first met with supervising sound editor James Mather to discuss Warner Bros. Wonder Woman, they had a conversation 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.

James Mather (far right) and crew take to the streets.

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. I always find that if you can get everyone to work as a collaborative team and everyone has an emotional investment or personal investment in the project, then you get better work.”

Following Jenkins’s direction, Mather and his team designed a tranquil sound for the Amazonian paradise of Themyscira. They started with ambience tracks that the film’s sound recordist Chris Munro captured while they were on-location in Italy. Then Mather added Mediterranean ambiences that he and his team had personally collected over the years. Mather embellished the ambience with songbirds from Asia, Australasia and the Amazon. Since there are white peacocks roaming the island, he added in modified peacock sounds. Howler monkeys and domestic livestock, like sheep and goats, round out the track. Regarding the sheep and goats, Mather says, “We pitched them and manipulated them slightly so that they didn’t sound quite so ordinary, like a natural history film. It was very much a case of keeping the soundtrack relatively sparse. We did not use crickets or cicadas — although there were lots there while they were filming, because we wanted to stay away the high-frequency sounds.”

Waterfalls are another prominent feature of Themyscira, according to Mather, but thankfully they weren’t really on the island so the sound recordings were relatively clean. The post sound team had complete control over the volume, distance and frequency range of the waterfall sounds. “We very much wanted the low-end roar and rumble of the waterfalls rather than high-end hiss and white noise.”

The sound of paradise is serene in contrast to London and the front lines of World War I. Mather wanted to exaggerate that difference by overplaying the sound of boats, cars and crowds as Steve [Chris Pine] and Diana [Gal Gadot] arrived in London. “This was London at its busiest and most industria

l time. There were structures being built on a major scale so the environment was incredibly active. There were buses still being drawn by horses, but there were also cars. So, you have this whole mishmash of old and new. We wanted to see Diana’s reaction to being somewhere that she has never experienced before, with sounds that she has never heard and things she has never seen. The world is a complete barrage of sensory information.”

They recorded every vehicle they could in the film, from planes and boats to the motorcycle that Steve uses to chase after Diana later on in the film. “This motorcycle was like nothing we had ever seen before,” explains Mather. “We knew that we would have to go and record it because we didn’t have anything in our sound libraries for it.”

The studio spent days preparing the century-old motorcycle for the recording session. “We got about four minutes of recording with it before it fell apart,” admits Mather. “The chain fell off, the sprockets broke and then it went up in smoke. It was an antique and probably shouldn’t have been used! The funny thing is that it sounded like a lawnmower. We could have just recorded a lawnmower and it would’ve sounded the same!”

(Mather notes that the motorcycle Steve rides on-screen was a modern version of the century-old one they got to record.)

Goosing Sounds
Mather and his sound team have had numerous opportunities to record authentic weapons, cars, tanks, planes and other specific war-era machines and gear for projects they’ve worked on. While they always start with those recordings as their sound design base, Mather says the audience’s expectation of a sound is typically different from the real thing. “The real sound is very often disappointing. We start with the real gun or real car that we recorded, but then we start to work on them, changing the texture to give them a little bit more punch or bite. We might find that we need to add some gun mechanisms to make a gun sound a bit snappier or a bit brighter and not so dull. It’s the same with the cars. You want the car to have character, but you also want it to be slightly faster or more detailed than it actually sounds. By the nature of filmmaking, you will always end up slightly embellishing the real sound.”

Take the gun battles in Wonder Woman, for instance. They have an obvious sequentiality. The gun fires, the bullet travels toward its target and then there is a noticeable impact. “This film has a lot of slow-motion bullets firing, so we had to amp up the sense of what was propelling that very slow-motion bullet. Recording the sound of a moving bullet is very hard. All of that had to be designed for the film,” says Mather.

In addition to the real era-appropriate vehicles, Wonder Woman has imaginary, souped-up creations too, like a massive bomber. For the bomber’s sound, Mather sought out artist Joe Rush who builds custom Mad Max-style vehicles. They recorded all of Rush’s vehicles, which had a variety of different V8, V12 and V6 engines. “They all sound very different because the engines are on solid metal with no suspension,” explains Mather. “The sound was really big and beefy, loud and clunky and it gave you a sense of a giant war monster. They had this growl and weight and threat that worked well for the German machines, which were supposed to feel threatening. In London, you had these quaint buses being drawn by horses, and the counterpoint to that were these military machines that the Germans had, which had to be daunting and a bit terrifying.

“One of the limitations of the WWI-era soundscapes is the lack of some very useful atmospheric sounds. We used tannoy (loudspeaker) effects on the German bomb factory to hint at the background activity, but had to be very sparing as these were only just invented in that era. (Same thing with the machine guns — a far more mechanical version than the ‘retatatat’ of the familiar WWII versions).”

One of Mather’s favorite scenes to design starts on the frontlines as Diana makes her big reveal as Wonder Woman. She crosses No Man’s Land and deflects the enemies’ fire with her bulletproof bracelets and shield. “We played with that in so many different ways because the music was such an important part of Patty’s vision for the film. She very much wanted the music to carry the narrative. Sound effects were there to be literal in many ways. We were not trying to overemphasize the machismo of it. The story is about the people and not necessarily the action they were in. So that became a very musical-based moment, which was not the way I would have normally done it. I learned a lot from Patty about the different ways of telling the story.”

The Powers
Following that scene, Wonder Woman recaptured the Belgian village they were fighting for by running ahead and storming into the German barracks. Mather describes it as a Guy Ritchie-style fight, with Wonder Woman taking on 25 German soldiers. “This is the first time that we really get to see her use all of her powers: the lasso, her bracelets, her shield, and even her shin guards. As she dances her way around the room, it goes from realtime into slow motion and back into realtime. She is repelling bullets, smashing guns with her back, using her shield as a sliding mat and doing slow-motion kicks. It is a wonderfully choreographed scene and it is her first real action scene.”

The scene required a fluid combination of realistic sounds and subdued, slow-motion sounds. “It was like pushing and pulling the soundtrack as things slowed down and then sped back up. That was a lot of fun.”

The Lasso
Where would Wonder Woman be without her signature lasso of truth? In the film, she often uses the lasso as a physical weapon, but there was an important scene where the lasso was called upon for its truth-finding power. Early in the film, Steve’s plane crashes and he’s washed onto Themyscira’s shore. The Amazonians bind Steve with the lasso and interrogate him. Eventually the lasso of truth overpowers him and he divulges his secrets. “There is quite a lot of acting on Chris Pine’s part to signify that he’s uncomfortable and is struggling,” says Mather. “We initially went by his performance, which gave the impression that he was being burned. He says, ‘This is really hot,’ so we started with sizzling and hissing sounds as if the rope was burning him. Again, Patty felt strongly about not going into the high-frequency realm because it distracts from the dialogue, so we wanted to keep the sound in a lower, more menacing register.”

Mather and his team experimented with adding a multitude of different elements, including low whispering voices, to see if they added a sense of personality to the lasso. “We kept the sizzling, but we pitched it down to make it more watery and less high-end. Then we tried a dozen or so variations of themes. Eventually we stayed with this blood-flow sound, which is like an arterial blood flow. It has a slight rhythm to it and if you roll off the top end and keep it fairly muted then it’s quite an intriguing sound. It feels very visceral.”

The last elements Mather added to the lasso were recordings he captured of two stone slabs grinding against each other in a circular motion, like a mill. “It created this rotating, undulating sound that almost has a voice. So that created this identity, this personality. It was very challenging. We also struggled with this when we did the Harry Potter films, to make an inert object have a character without making it sound a bit goofy and a bit sci-fi. All of those last elements we put together, we kept that very low. We literally raised the volume as you see Steve’s discomfort and then let it peel away every time he revealed the truth. As he was fighting it, the sound would rise and build up. It became a very subtle, but very meaningful, vehicle to show that the rope was actually doing something. It wasn’t burning him but it was doing something that was making him uncomfortable.”

The Mix
Wonder Woman was mixed at De Lane Lea (Warner Bros. London) by re-recording mixers Chris Burdon and Gilbert Lake. Mather reveals that the mixing process was exhausting, but not because of the people involved. “Patty is a joy to work with,” he explains. “What I mean is that working with frequencies that are so low and so loud is exhausting. It wasn’t even the volume; it was being exposed to those low frequencies all day, every day for nine weeks or so. It was exhausting, and it really took its toll on everybody.”

In the mix, Jenkins chose to have Rupert Gregson-Williams’s score lead nearly all of the action sequences. “Patty’s sensitivity and vision for the soundtrack was very much about the music and the emotion of the characters,” says Mather. “She was very aware of the emotional narrative that the music would bring. She did not want to lean too heavily on the sound effects. She knew there would be scenes where there would be action and there would be opportunities to have sound design, but I found that we were not pushing those moments as hard as you would expect. The sound design highs weren’t so high that you felt bereft of momentum and pace when those sound design heavy scenes were finished. We ended up maintaining a far more interesting soundtrack that way.”

With DC films like Batman v Superman: Dawn of Justice and Spider-Man, the audience expects a sound design-heavy track, but Jenkins’s music-led approach to Wonder Woman provides a refreshing spin on superhero film soundtracks. “The soundtrack is less supernatural and more down to earth,” says Mather. “I don’t think it could’ve been any other way. It’s not a predictable soundtrack and I really enjoyed that.”

Mather really enjoys collaborating with people who have different ideas and different approaches. “What was exciting about doing this film was that I was able to work with someone who had an incredibly strong idea about the soundtrack and yet was very happy to let us try different routes and options. Patty was very open to listening to different ideas, and willing to take the best from those ideas while still retaining a very strong vision of how the soundtrack was going to play for the audience. This is Patty’s DC story, her opportunity to open up the DC universe and give the audience a new look at a character. She was an extraordinary person to work with and for me that was the best part of the process. In the time of remakes, it’s nice to have a film that is fresh and takes a different approach.”


Jennifer Walden is a New Jersey-based audio engineer and writer. Follow her on Twitter at @AudioJeney

The A-List: Suicide Squad director David Ayer

By Iain Blair

With his distinctive, anarchic, immersive style, director/producer/screenwriter David Ayer has always excelled at probing the murky depths of human behavior and blurring the lines between the bad guys and the good guys in such hardcore films as Training Day, Fury, Sabotage, Harsh Times and End of Watch. Now Ayer, whose credits include Street Kings, and the screenplays for U-571, The Fast and the Furious, Dark Blue and S.W.A.T., has made Suicide Squad, a blockbuster without the usual bluster, and a superhero movie without the usual heroes.

David Ayer

With an all-star cast that includes Will Smith, Jared Leto, Margot Robbie, Joel Kinnaman and Viola Davis, and based on the DC Comics anti-heroes, it tells the story of a rogues gallery of outcasts who are assembled into a team, equipped with the most powerful arsenal at the government’s disposal, and sent off on a mission to defeat an enigmatic entity.

Ayer’s behind-the-scenes stellar creative team included director of photography Roman Vasyanov, production designer Oliver Scholl, editor John Gilroy and visual effects supervisor Jerome Chen. The music is by composer Steven Price. The Warner Bros. film was released in 3D, 2D and in select IMAX 3D theaters.

I spoke with Ayer on the eve of its release about making Suicide Squad and why editing is like a wrestling match.

This is definitely not your usual superhero movie. What was the appeal of doing it, as there’re so many superhero films out there now? 
Great question. When I did Fury, it was all about historical accuracy and recreating WWII. With this, I wanted to try and create a fantasy world and give it this real and gritty feel that I like as a director, and bring that sensibility to a comic book movie and create multi-dimensional characters through casting amazing actors — and ground the fantastical as much as possible in reality.

What were the main technical challenges in pulling it all together?
In a lot of ways filmmaking is very mechanical, and all the processes are sort of an industrial process. So it was dealing with all the sets and set pieces, the sheer scale of it, and that becomes about logistics — building them, tearing them down, building new sets on the same stages, and how to move all these pieces around and keep your crews running smoothly. It was a massive undertaking.

How early on did you start integrating post and all the VFX?
Sony Imageworks’ Jerome Chen — who did the VFX on Fury, and the Spider-Man films as well as Beowulf and The Polar Express for Bob Zemeckis — came in right at the start. We did extremely complex CG characters in this, so we spent a lot of time figuring out how to go about doing it and what were the best techniques. It took a lot of time and work, and we also had to figure out all the computer time and the renderfarms we needed to generate the shots, so all the VFX were embedded in the shoot from day one. We set up witness cameras to record everything the crew did, we had constant telemetry and a ton of data gathering.

Did you do a lot of previs?
Quite a lot. Third Floor did them. It’s a very interesting technique, as for certain scenes you absolutely have to have it. You have to go in knowing efficiently where you’re going to have to drop that camera on the set, and there are a few scenes that almost exactly match the previs we did. But other times it’s not really an essential tool

You reunited with director of photography Roman Vasyanov, who shot Fury and End of Watch. How tough was the shoot?
We did most of the principal photography at Pinewood Toronto Studios, and it was a long and grueling shoot. I was very happy to get to post!

Do you like the post process?
I love post. You know you’re going to work every day, that’s for sure. We did it all on the lot at Warners. It’s always challenging because film isn’t logical, it’s emotional, and it comes together in strange ways. It’s never a linear journey, and you go down blind alleys and try to solve problems, and not every problem wants to yield its secrets.

Can you talk about working with editor John Gilroy, (Nightcrawler, Pacific Rim, The Bourne LegacyMichael Clayton). Was he on the set?
He set up editorial in Toronto so it was up and running from the beginning. He tried to keep up with the shoot as much as possible as we shot on film, so there’s the lag between photography and the dailies reaching editorial.

And you like to shoot, don’t you?
(Laughs) I do shoot a lot! Over 1.5 million feet of film on this — so it’s a lot of work just to watch it and keep the assembly up to date. Then we did the main editing back on the lot. I love editing even though it’s baffling and frustrating and wonderful, all at the same time. The challenge is always that you can make an infinite number of films out of the same footage, and whatever your ideas and dreams are going in, they’re going to be shattered along the way — because the movie wants to be what it wants to be, and you can only fight that so much. You’re wrestling every day to find the right film.

All the VFX play a big role. Talk about working on them with VFX supervisor Jerome Chen who did Fury for you.
We have this shorthand, and he knows my taste and how I think and what I’m going to want and how I’m going to want it. It’s a pretty seamless relationship, and he also has great ideas; he often surprises me. This was a huge job with thousands of VFX shots, and a lot of vendors, but the main ones were MPC and Sony Pictures Imageworks.

What was the hardest VFX sequence to do?
Anything with full CG characters is hard. It’s hard to shoot that and block it and hard to edit things you can’t see. You end up with this hodgepodge of previs and half-finished shots and slowly the finished VFX stuff gets dropped in.

Where did you do the DI and how important is it to you?
At Shed in Santa Monica, a fairly new company [which runs Baselight’s latest Generation VI system with more grading power]. We did the DI with colorist Yvan Lucas, who co-founded the company. He did Fury, but this was my first time at The Shed, and he did an amazing job. The film looks very beautiful. The DI is so important, and it’s almost my favorite part of post. I get in there and look at every shot. Yvan and Roman would do a pass and then I’d do one, and we’d keep passing the baton like that until we were all happy.

For me, it’s where the film really comes to life. After seeing it in dailies for so long, it’s such a pleasure to see it like this. We did everything from the overall look to saturation and contrast matching, and some re-composition now and again. We shot the film in a very precise way and composed shots very specifically, but the DI lets you do some re-comps if needed when you simply don’t have the time on the day of the shoot, especially with exterior stuff.

Did the film turn out the way you hoped?
It was mostly what I had envisioned, but the mechanics of how you get there and how to tell the best story were a bit different, and you can’t foresee that. It was a great experience, and I can safely say I learned more about filmmaking on this than on any other film I’ve done. It was a maturing as a filmmaker.

What’s next?
I’m doing Bright with Will Smith. We start shooting in the fall.

Will you do another superhero movie?
(Laughs) I’ll wait to see how the fans respond to this before I put my neck on the block again.

Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Playing in a sonic sandbox for ‘Batman v Superman’

Formosa Group’s Scott Hecker on creating iconic sounds

By Jennifer Walden

If you’re looking to see a deep, intellectual movie, you might want to skip Batman v Superman: Dawn of Justice. But if it’s action you are after, buy your ticket and enjoy the ride. Directed by Zack Snyder — who has helmed 300, Dawn of the Dead, Watchmen, Sucker Punch and Man of Steel — this film tries to answer the age-old question asked on playgrounds and in bars worldwide: “Who would win in a fight? Batman or Superman?”

For Warner Bros.’ Batman v Superman, Snyder called on his go-to supervising sound editor/designer Scott Hecker from Santa Monica’s Formosa Group — Hecker has worked on all of the Snyder films mentioned above, and more. “His vision is amazing,” Hecker says of Snyder. “It’s always fun to see what he puts on screen. It’s just a treat for a sound designer to dig his teeth into an amazing film like this.”

Scott Hecker

Scott Hecker

The Sound of Superheroes
Hecker’s sound design work on Man of Steel paved the way for Batman v Superman. The sounds from both films are the start of a growing library that will define the ensuing DC Comic films coming via Warner Bros. On Man of Steel, Hecker says they created Superman’s unique flying sounds by processing numerous wind and whoosh effects, but there was one throwback ingredient they included to make the flying sounds authentically Superman. “There’s a bit of the George Reeves flying sound from the original Superman TV series. The sound isn’t dominant, but we just had to include it. If you hear it you know exactly what it is and where it is from,” says Hecker.

Other superheroes and villains take the screen in Batman v Superman, including Wonder Woman (Gal Gadot), who is the focus of the next feature film in the series. Knowing that, Hecker paid special attention to Wonder Woman’s characteristic sounds. “They are presently shooting Wonder Woman in the UK. So while we were working on Wonder Woman’s sounds for this film, we wanted to come up with something that could hopefully carry forward, because the next film is entirely based on Wonder Woman. Her sounds weren’t just a one-off in this film.”

Power Blast!
Wonder Woman has two main sound elements to her superpower. There is the clank of her wristbands followed by a power blast. For the wristband clank, Hecker says he and his sound designer Chuck Michael searched far and wide to find a sound that was feminine, magical and tonally pleasing. “The final sound is a really powerful, solid metallic clank. It has a cool ring to it and it has a tone to it, instead of it just sounding like a normal metal hit. It sounds feminine and powerful with a cool tone.”

For the power blast, “we were thinking that it needed to feel magical, like a superpower, and not something earthly,” says Hecker. To achieve an interesting tonal feel without being overly musical, they processed different gongs and bells by manipulating the pitch and speed, and added modulation using Waves MondoMod and other plug-ins.

“It has a stuttering effect to make it feel like it is emulating a force. It’s unique, and it sounds powerful and magical at the same time,” says Hecker, who feels that designing superhero sounds is part skill and part serendipity. “It’s like playing in a sonic sandbox. You just keep experimenting with things until all the sudden it’s like sonic alchemy — a beautiful accident happens and you go, ‘Wow that was cool! What did we just do?” That happens for a lot of what we do and that’s the fun of it. It really is a lot of experimentation and just playing until something tickles your funny bone and you feel good about it.”

The Batmobile
Batman (Ben Affleck) may not have superpowers, but he’s super rich and super smart, and that’s good enough for gaining entry into the crime-fighting game. Sound-wise, Hecker wanted to reflect Bruce Wayne’s refined sense of style in Batman’s arsenal of high-tech gear, including his sweet ride — the Batmobile.

“We recorded the Batmobile on-location in Detroit, which was really exciting,” explains Hecker. “In putting that production vehicle together, they had to invert and reverse the transmission. On a technical level, I don’t know why they did it but it created this interesting sound. When I heard a sample of this reversed transmission, with this reversed whine and pitched-up characteristic to it — I thought there is a lot of promise there.”

He sent sound effects recordist John Fasal to Detroit to capture every sound he could from the Batmobile. There was just one stipulation: since they didn’t want to risk breaking the vehicle before they had a chance to shoot the scenes, they only allowed Fasal to capture the recordings during the vehicle tests. “They were constantly testing the vehicle to make sure it could withstand the various stunts and maneuvers that were required in the chase scenes. So they allowed John to put as many mics as he wanted on the car, in the car, on the engine and the tailpipe, but he couldn’t dictate what he wanted the car to do. He could just be there and capture as many sounds as he was able to capture.”

With the Batmobile miked up, Fasal was free to capture all the exterior sounds too, like pass-bys, drive-ups, pull-aways, engine starts and stops.

Back at Formosa, Hecker and his sound team layered the recordings of the Batmobile’s inverted transmission whine with the engine sounds of a Shelby Series 1. “It’s a powerful car, but it has this sleek power to it that works well with the high-pitched whine that was created from the inverted transmission of the Batmobile,” says Hecker. “I’m really happy that they had to do that to the car to make it work for them because otherwise we would’ve been missing a critical element to the sound. I think for other permutations of the Batmobile, in previous films, those sound crews were using jet turbine whines. One thing I always want to avoid is doing something that other people have done before. So this helped us to be original and authentic. It was a win-win.”

Fights
For the hand-to-hand combat sequences, Hecker turned to his brother Gary Hecker, a supervising Foley artist at Sony Pictures who has a flair for action films. “I love the process of Foley, and especially being able to work with my brother Gary. He was the perfect guy to get into that action film mode,” says Hecker.

Besides the footsteps and normal hand props, they created new punches, hits, crashes and also cape sounds. “We have Batman’s cape and Superman’s cape — that made everything have a very visceral feel. You actually feel the movement and the characters’ presence in these fights too.” The final combat tracks are a combination of Foley and sound effects tailored to fit the unique qualities of each fight scene. “There are about four fight scenes in the film and they are all different. It’s not just your standard punches and hits. They all have a slightly different feel stylistically. Zack is very smart about that. He has such a colorful vision and he keeps things fresh and fun.”

During the film’s epic battle sequences, there is the potential to go full-bore all the time. Add to that the soaring score by Hans Zimmer and Junkie XL, which at times reaches operatic heights, and you get what Jimmy Fallon called, “One of the loudest movies I’ve ever seen… in a great way.”

The Mix
Hecker admits it was super challenging to build a dynamic track. “One way that we modulated it was by really changing things up for the various confrontations, fights and action scenes,” he says. On some scenes the effects would drive the mix, and in other scenes the music would lead. They could create shifts in the intensity by having the music and the effects hand-off from one to the other. “As soon as you start hearing operatic motifs in the music, you just know you don’t want to hear a bunch of loud sound effects. So in those situations we turned to using more impressionistic action sounds versus literal punches and hits and crashes.”

Batman V. Superman: Dawn Of Justice

On Warner Bros. dub Stage 9, re-recording mixers Chris Jenkins (dialogue/music) and Michael Keller (sound effects/Foley) were tasked with finding harmony among all the elements competing for the same sonic space. “In areas where there are less interesting sound design or effects, we just let the music lead. When in doubt, the music will usually predominate, as it should. It’s a really beautiful score,” says Hecker.

There are definitely areas of the film that get loud but they don’t stay loud. The mixers tried to achieve an intense feeling without hitting levels that would abuse the audience. The loud sections pop in and pop out, giving the audience sonic breaks. Hecker explains the approach on the climactic third act confrontation, where Wonder Woman comes in. “Her theme comes in and the score turns operatic. We got very impressionistic there because by then, throughout the whole film, we had a lot of opportunities for vibrant, colorful, powerful action sounds. By the third act we really wanted to hand-off to music a bit more for the climax.”

Once Jenkins and Keller crafted the final soundtrack on Stage 9, they transferred everything over to Warner Bros. Stage 10 for the Dolby Atmos mix.

“I’m thrilled that audiences are finally able to enjoy our team’s hard work on the film. And as far as what’s sonically in store for the other DC Comics characters, we’re just rolling up our sleeves,” concludes Hecker.

Jennifer Walden is a New Jersey-based writer and audio engineer.

Quick Chat: Encore Colorist Paul Westerbeck Talks ‘Gotham’

Fox’s Gotham gives viewers a look at the early days of some of your favorite, and not-so-favorite, Batman characters, mostly focusing on a young detective named Jim Gordon… way before he became the Commissioner Gordon most of us are familiar with.

Gotham tells some dark stories, and the look of the show matches that dark narrative. To talk more about the color of the show, which will shortly come back from hiatus, Encore colorist Paul Westerbeck was kind enough to take time out and answer some or our questions.

What unique challenges does Gotham present?
Starting with the pilot, we were required to do rolling conforms. We colored each version as if it Continue reading