Tag Archives: Technicolor Sound

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: Daredevil, Iron Fist, Luke Cage and Jessica Jones. In the new show, the previously independent superheroes find themselves all wanting to battle the same foe —a cultish 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 already 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.”

Since most of the violence plays out in hand-to-hand combat, it takes a lot of editing to make those fight scenes, and it involves contributions from several sound departments. Stephens has her hard effects team — led by sound designer Jordon Wilby (who has worked on all the Netflix/Marvel series) cut sound effects for every single punch, grab, flip, throw and land. In addition, they cut metal shings and whooshes, impacts and drops for weapons, crashes and bumps into walls and furniture, and all the gunshot material.

Stephens then has the Technicolor Foley team — Foley artists Zane Bruce and Lindsay Pepper and mixer Antony Zeller —cover all the footsteps, cloth “scuffle,” wall bumps, body falls and grabs. Additionally, she has dialogue editor Christian Buenaventura clean up any dialogue that occurs within or around the fight scenes. With group ADR, they replace every grunt and effort for each individual in the fight so that they have ultimate control over every element during the mix.

Stephens finds Gallery’s SpotStudio to be very helpful for cueing all the group ADR. “I shoot a lot of group ADR for the fights and to help create the right populated feel for NYC. SpotStudio is a slick program that interfaces well with Avid’s Pro Tools. It grabs timecode location of ADR cues and can then output that to many word processing programs. Personally, I use FileMaker Pro. I can make great cuesheets that are easy to format and use for engineers and talent.”

All that effort results in fight scenes that feel “relentless and painful,” says Stephens. “I want them to have movement, tons of detail and a wide range of dynamics. I want the fights to sound great wherever our fans are listening.”

The most challenging fight in The Defenders happens in the season finale, when the superheroes fight The Hand in the sublevels of a building. “That underground fight was the toughest simply because it was endless and shot with a 360-degree turn. I focused on what was on-screen and continued those sounds just until the action passed out of frame. This kept our tracks from getting too cluttered but still gives us the right idea that 60 people are going at it,” concludes Stephens

Netflix's Stranger Things

AES LA Section & SMPTE Hollywood: Stranger Things sound

By Mel Lambert

The most recent joint AES/SMPTE meeting at the Sportsmen’s Lodge in Studio City showcased the talents of the post production crew that worked on the recent Netflix series Stranger Things at Technicolor’s facilities in Hollywood.

Over 160 attendees came to hear how supervising sound editor Brad North, sound designer Craig Henighan, sound effects editor Jordan Wilby, music editor David Klotz and dialog/music re-recording mixer Joe Barnett worked their magic on last year’s eight-episode Season One (Sadly, effects re-recording mixer Adam Jenkins was unable to attend the gathering.) Stranger Things, from co-creators Matt Duffer and Ross Duffer, is scheduled to return in mid-year for Season 2.

L-R: Jordan Wilby, Brad North, Craig Henighan, Joe Barnett, David Klotz and Mel Lambert. Photo Credit: Steve Harvey.

Attendees heard how the crew developed each show’s unique 5.1-channel soundtrack, from editorial through re-recording — including an ‘80s-style, synth-based music score, from Austin-based composers Kyle Dixon and Michael Stein, that is key to the show’s look and feel — courtesy of a full-range surround sound playback system supplied by Dolby Labs.

“We drew our inspiration — subconsciously, at least — from sci-fi films like Alien, The Thing and Predator,” Henighan explained. The designer also revealed how he developed a characteristic sound for the monster that appears in key scenes. “The basic sound is that of a seal,” he said. “But it wasn’t as simple as just using a seal vocal, although it did provide a hook — an identifiable sound around which I could center the rest of the monster sounds. It’s fantastic to take what is normally known as a nice, light, fun-loving sound and use it in a terrifying way!” Tim Prebble, a New Zealand-based sound designer, and owner of sound effects company Hiss and A Roar, offers a range of libraries, including SD003 Seal Vocals|Hiss and A Roar.

Gear used includes Avid Pro Tools DAWs — everybody works in the box — and Avid 64-fader, dual-operator S6 console at the Technicolor Seward Stage. The composers use Apple Logic Pro to record and edit their AAF-format music files.


Mel Lambert is principal of Content Creators, an LA-based copywriting and editorial service, and can be reached at mel.lambert@content-creators.com. Follow him on Twitter @MelLambertLA.

 

Technicolor creates sixties soundscape for Hulu’s ‘11.22.63’

By Jennifer Walden

Beloved politician — now there’s an oxymoron. I can almost hear the collective “pffff” that term would elicit from today’s younger voters. However, voters of a certain age may remember one such president who could pull off that title: John F. Kennedy. So if you’ve had enough of this election year’s hoopla, then turn off the news channels and turn on Hulu. Their new series 11.22.63, based on a book by Stephen King, transports viewers back to the 1960s, a time when racism, sexism, domestic abuse and mistreatment of mental patients prevailed. (It wasn’t the glory days, but every generation and president has their battles… even JFK.)

11.22.63 follows the newly divorced English teacher Jake Epping (James Franco), who steps out of 2016 and into 1958 via a time portal in the utility closet of a small-town diner. His mission is to prevent the assassination of John F. Kennedy by unraveling the conspiracy theories that surround the event.

Michael Wilhoit

Michael Wilhoit

Sounds of the Sixties
Setting the stage of early ‘60s sound is supervising sound editor Michael Wilhoit, who is based at the Technicolor Sound facility on the Paramount lot in Hollywood. He got involved early, working with director Kevin Macdonald, executive producer Bridget Carpenter and associate producer Jill Risk during editorial on the pilot episode — well before the score and visual effects were created. “The sound we established in the pilot was going to be the continuing style of sound for all the episodes,” explains Wilhoit. “Jill and Bridget were the leading force for us on the whole series. They were involved in all of the sound design spotting sessions and they really wanted to have something in the track besides the score. Bridget was the one who signed off on everything for sound.”

One big decision they made early on was how to handle the time travel event. “We purposefully didn’t want to make it over the top. We wanted to include the audience without taking them out of reality and making it too sci-fi or too bold,” says Wilhoit. The time travel effect, sonically and visually, is very subtle. It’s not the earth-shattering epic thunderstorm of Terminator, for example. It’s a delicate blend of music — by composer Alex Heffes — and sound design. “We just wanted to bring the audience into this place and not lose them by overdoing our job. It’s the same for the ambiences and other sounds too. We tried not to hit people over the head. When we do our jobs right no one knows we’re here.”

The ‘60s soundscape is more mechanical and analog than modern day, with rotary phones with real metal ringers, clacking typewriters and big clunky cars — even the shoes of the day made more noise. Although the elements that make up the ambiences are louder than today’s sounds, the environments that Wilhoit and his sound effects editor, Dino Dimuro, created feel subtle and real, and they don’t draw unnecessary attention. Wilhoit and Dimuro really hit their mark without over shooting it.

Another sci-fi situation in the series involves the “past pushing back.” Whenever the characters get too close to changing the past, unexpected events cause them to fail. As with the time travel effect, the “past pushing back” effect errs on the side of realism. It was a reoccurring challenge throughout the show. Instead of designing one signature sound for the past pushing back, Wilhoit and Dimuro worked with sounds that were relevant to each situation on screen. For example, when Jake is back in 1958, he tries to call his father from a phone booth and the past pushes back. Wilhoit and Dimuro set up the uneasy feeling of the scene by adding distant dog barks, crickets and a mournful train horn as Jake approaches the booth. Once Jake is on the phone, they manipulated and distorted the voices on the other end. He and Dimuro added crackling static and high-pitched tones that interfere with the phone call; they added buzzing on the flickering lights. Out of nowhere a car races down the street and crashes into the phone booth, all of which was carefully crafted with sound.

“Because you don’t see the past pushing back you have to convey that with sound,” says Wilhoit. “My whole thing was making sounds stutter. Sound design wise I wanted there to be a stuttering of reality. I wanted there to be a dysfunctional stuttering sound.” He achieved this by editing the effects in Avid Pro Tools 11.

Matching the VFX
For several VFX-led scenes, Wilhoit and his team had to design sound without the benefit of actually seeing the visual effects. One of the early VFX-dependent scenes happens in Episode 1. Jake is hiding in a dark room in the basement of the Dallas Convention Center. It’s another situation of the past pushing back, so the lights flicker and buzz. Jake starts to hear things emerging from the shadows; it’s a swarm of cockroaches coming after him.

“I had to create a whole sound texture for these cockroaches that none of us ever saw until we were nearly done with the mix. Then at the very end we were able to make slight adjustments to make it work once the visual effects were finished,” says Wilhoit.

Another interesting VFX-dependent scene that takes place at the Dallas Convention Center is when John F. Kennedy is addressing a large audience. According to Wilhoit, that entire sequence was fabricated. “That was completely shot on greenscreen, but when you watch it you would never know because you can see and hear all of these people in this convention center. You see and hear the president up there, and that is unbelievable to me.”

JFK’s speech is an original recording that Wilhoit and dialogue/ADR editor Kimberly Ellis cleaned up using iZotope RX Advanced. There was no reverb inherent to that original track so the mixers were able to add that on the dub stage, effectively putting the speech into the 14,000-seat theater. Ellis edited the period-specific reactions in a loop group, and additional crowd sounds were added to fill in the space.

The loop group tracks were an essential element that Wilhoit used to help build a convincing early 1960’s soundscape. They added the right flavor without being over the top. “Because the show takes place mainly from 1958 into the early 1960’s, you won’t hear people say the same things that you would hear today, or hear the same reactions. The loop group sound had to be very specific in regards to the lingo of the time. For instance, they were saying things like ‘swell’ instead of ‘cool.’”

The Mix
11.22.63 was mixed in 5.1 surround on Stage 7 at Technicolor Sound on the Paramount lot by re-recording mixers Kevin Roache (sound effects/Foley) and Pete Elia (dialogue/music). Wilhoit notes that the mixers’ contributions on the dub stage went beyond balancing EQ and levels. “Kevin was able to take my effects tracks and make them that much more interesting on the dub stage. We have Pro Tools 11 and a ton of plug-ins that we all use. I make sounds and they twist them to make them even crazier. The re-recording mixers are like sound designers too. They bring everything to another level. It was definitely a collaborative effort between sound editorial and mixing.”

The season finale of 11.22.63 aired Monday, April 4 on Hulu, but all episodes are available for streaming, so binge away!

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

Oscar-winner Ben Wilkins on Whiplash’s audio mix, edit

This BAFTA- and Oscar-winner walks us through his process.

By Randi Altman

When I first spoke with Ben Wilkins, he was freshly back from the Oscar-nominee luncheon in Hollywood and about to head to his native England to attend the BAFTAs. Wilkins was nominated by both academies for his post sound work on Sony Picture Classics’ Whiplash, the Damien Chazelle-directed film about an aspiring jazz drummer and his brutal instructor.

Wilkins (@tonkasound) didn’t return to LA empty handed — he, along with fellow sound re- Continue reading