Tag Archives: Spider-Man: Into the Spider-Verse

AES/SMPTE panel: Spider-Man: Into the Spider-Verse sound

By Mel Lambert

As part of its successful series of sound showcases, a recent joint meeting of the Los Angeles Section of the Audio Engineering Society and SMPTE’s Hollywood Section focused on the soundtrack of the animated features Spider-Man: Into the Spider-Verse, which has garnered several Oscar, BAFTA, CAS and MPSE award nominations, plus a Golden Globes win.

On January 31 at Sony Pictures Studios’ Kim Novak Theater in Culver City many gathered to hear a panel discussion between the film’s sound and picture editors and re-recording mixers. Spider-Man: Into the Spider-Verse was co-directed by Peter Ramsey, Robert Persichetti Jr. and Rodney Rothman, the creative minds behind The Lego Movie and 21 Jump Street.

The panel

The Sound Showcase panel included supervising sound editors Geoffrey Rubay and Curt Schulkey, re-recording mixer/sound designer Tony Lamberti, re-recording mixer Michael Semanick and associate picture editor Vivek Sharma. The Hollywood Reporter’s Carolyn Giardina moderated. The event concluded with a screening of Spider-Man: Into the Spider-Verse, which represents a different Spider-Man Universe, since it introduces Brooklyn teen Miles Morales and the expanding possibilities of the Spider-Verse, where more than one entity can wear the arachnid mask.

Following the screening of an opening sequence from the animated feature, Rubay acknowledged that the film’s producers were looking for a different look for the Spider-Man character based on the Marvel comic books, but with a reference to previous live-action movies in the franchise. “They wanted us to make more of the period in which the new film is set,” he told the standing-room audience in the same dubbing stage where the soundtrack was re-recorded.

“[EVPs] Phil Lord and Chris Miller have a specific style of soundtrack that they’ve developed,” stated Lamberti, “and so we premixed to get that overall shape.”

“The look is unique,” conceded Semanick, “and our mix needed to match that and make it sound like a comic book. It couldn’t be too dynamic; we didn’t want to assault the audience, but still make it loud here and softer there.”

Full house

“We also kept the track to its basics,” Rubay added, “and didn’t add a sound for every little thing. If the soundtrack had been as complicated as the visuals, the audience’s heads would have exploded.”

“Yes, simpler was often better,” Lamberti confirmed, “to let the soundtrack tell the story of the visuals.”

In terms of balancing sound effects against dialog, “We did a lot of experimentation and went with what seemed the best solution,” Semanick said. “We kept molding the soundtrack until we were satisfied.” As Lamberti confirmed: “It was always a matter of balancing all the sound elements, using trial and error.”

=Nominated for a Cinema Audio Society Award in the Motion Picture — Animated category, Brian Smith, Aaron Hasson and Howard London served as original dialogue mixers on the film, with Sam Okell as scoring mixer and Randy K. Singer as Foley mixer. The crew also included sound designer John Pospisil, Foley supervisor Alec G. Rubay, SFX editors Kip Smedley, Andy Sisul, David Werntz, Christopher Aud, Ando Johnson, Benjamin Cook, Mike Reagan and Donald Flick.

During picture editorial, “we lived with many versions until we got to the sound,” explained Sharma. “The premix was fantastic and worked very well. Visuals are important but sound fulfils a complementary role. Dialogue is always key; the audience needs to hear what the characters say!”

“We present ideas and judge the results until everybody is happy,” said Semanick. “[Writer/producer] Phil Lord was very good at listening to everybody; he made the final decision, but deferred to the directors. ‘Maybe we should drop the music?’ ‘Does the result still pull the audience into the music?’ We worked until the elements worked very well together.”

The lead character’s “Spidey Sense” also discussed. As co-supervisor Schulkey explained: “Our early direction was that it was an internal feeling … like a warm, fuzzy feeling. But warm and fuzzy didn’t cut through the music. In the end there was not just a single Spidey Sense — it was never the same twice. The web slings were a classic sound that we couldn’t get too far from.”

“And we used [Dolby] Atmos to spin and pan those sounds around the room,” added Lamberti, who told the audience that Spider-Man: Into the Spider-Verse marked Sony Animation’s first native Atmos mix. “We used the format to get the most out of it,” concluded the SFX re-recording mixer, who mixed sound effects “in the box” using an Avid S6 console/controller, while Semanick handled dialogue and music on the Kim Novak Theater’s Harrison MPC4D X-Range digital console.


Mel Lambert has been intimately involved with production industries on both sides of the Atlantic for more years than he cares to remember. He can be reached at mel.lambert@content-creators.com. He is also a long-time member of the UK’s National Union of Journalists. 

Efilm’s Natasha Leonnet: Grading Spider-Man: Into the Spider-Verse

By Randi Altman

Sony Pictures’ Spider-Man: Into the Spider-Verse is not your typical Spider-Man film… in so many ways. The most obvious is the movie’s look, which was designed to make the viewer feel they are walking inside a comic book. This tale, which blends CGI with 2D hand-drawn animation and comic book textures, focuses on a Brooklyn teen who is bitten by a radioactive spider on the subway and soon develops special powers.

Natasha Leonnet

When he meets Peter Parker, he realizes he’s not alone in the Spider-Verse. It was co-directed by Peter Ramsey, Robert Persichetti Jr. and Rodney Rothman and produced by Phil Lord and Chris Miller, the pair behind 21 Jump Street and The Lego Movie.

Efilm senior colorist Natasha Leonnet provided the color finish for the film, which was nominated for an Oscar in the Best Animated Feature category. We reached out to find out more.

How early were you brought on the film?
I had worked on Angry Birds with visual effects supervisor Danny Dimian, which is how I was brought onto the film. It was a few months before we started color correction. Also, there was no LUT for the film. They used the ACES workflow, developed by The Academy and Efilm’s VP of technology, Joachim “JZ” Zell.

Can you talk about the kind of look they were after and what it took to achieve that look?
They wanted to achieve a comic book look. You look at the edges of characters or objects in comic books and you actually see aspects of the color printing from the beginning of comic book printing — the CMYK dyes wouldn’t all be the same line — it creates a layered look along with the comic book dots and expression lines on faces, as if you’re drawing a comic book.

For example, if someone gets hurt you put actual slashes on their face. For me it was a huge education about the comic book art form. Justin Thompson, the art director, in particular is so knowledgeable about the history of comic books. I was so inspired I just bought my first comic book. Also, with the overall look, the light is painting color everywhere the way it does in life.

You worked closely Justin, VFX supervisor Danny Dimian and art director Dean Gordon What was that process like?
They were incredible. It was usually a group of us working together during the color sessions — a real exercise in collaboration. They were all so open to each other’s opinions and constantly discussing every change in order to make certain that the change best served the film. There was no idea that was more important than another idea. Everyone listened to each other’s ideas.

Had you worked on an animated film previously? What are the challenges and benefits of working with animation?
I’ve been lucky enough to do all of Blue Sky Studios’ color finishes so far, except for the first Ice Age. One of the special aspects of working on animated films is that you’re often working with people who are fine-art painters. As a result, they bring in a different background and way of analyzing the images. That’s really special. They often focus on the interplay of different hues.

In the case of Spider-Man: Into the Spider-Verse, they also wanted to bring a certain naturalism to the color experience. With this particular film, they made very bold choices with their use of color finishing. They used an aspect of color correctors that are used to shift all of the hues and colors; that’s usually reserved for music videos. They completely embraced it. They were basically using color finishing to augment the story and refine their hues, especially time of day and progression of the day or night. They used it as their extra lighting step.

Can you talk about your typical process? Did that differ because of the animated content?
My process actually does not differ when I’m color finishing animated content. Continuity is always at the forefront, even in animation. I use the color corrector as a creative tool on every project.

How would you describe the look of the film?
The film embodies the vivid and magical colors that I always observed in childhood but never saw reflected on the screen. The film is very color intense. It’s as if you’re stepping inside a comic book illustrator’s mind. It’s a mind-meld with how they’re imagining things.

What system did you use for color and why?
I used Resolve on this project, as it was the system that the clients were most familiar with.

Any favorite parts of the process?
My favorite part is from start to finish. It was all magical on this film.

What was your path to being a colorist?
My parents loved going to the cinema. They didn’t believe in babysitters, so they took me to everything. They were big fans of the French new wave movement and films that offered unconventional ways of depicting the human experience. As a result, I got to see some pretty unusual films. I got to see how passionate my parents were about these films and their stories and unusual way of telling them, and it sparked something in me. I think I can give my parents full credit for my career.

I studied non-narrative experimental filmmaking in college even though ultimately my real passion was narrative film. I started as a runner in the Czech Republic, which is where I’d made my thesis film for my BA degree. From there I worked my way up and met a colorist (Biggi Klier) who really inspired me. I was hooked and lucky enough to study with her and another mentor of mine in Munich, Germany.

How do you prefer a director and DP describe a look?
Every single person I’ve worked with works differently, and that’s what makes it so fun and exciting, but also challenging. Every person communicates about color differently and our vocabulary for color is so limited, therein lies the challenge.

Where do you find inspiration?
From both the natural world and the world of films. I live in a place that faces east, and I get up every morning to watch the sunrise and the color palette is always different. It’s beautiful and inspiring. The winter palettes in particular are gorgeous, with reds and oranges that don’t exist in summer sunrises.