E d i t o r ' s D e s k In this issue of Sound & Picture, director Ash Mayfair shares the journey of filming her acclaimed histori- cal drama The Third Wife on location in Vietnam and watching it premiere at the Toronto International
Film Festival. “It was an extremely touching experience but also reminded me that each millisecond on
the screen is a mountain of work,” she recalls. Cinematographer Neville Kidd also chats with us about
lensing the mind-bending new series The Umbrella Academy. “It's great
fun to create a world that is just one or two degrees from reality, while
making it convincingly real,” he tells us.
In our cover story, we talk to the Us production and post sound teams
about creating an inventive soundscape for Jordan Peele’s chilling new
doppelgänger tale. The team mixed recordings of rides, games, and
crowds from the Santa Cruz Boardwalk with layers of unnatural sound to
evoke a tone of emotional disharmony. “Jordan wanted to create a sense
of eeriness but without having eerie sound design or ominous tones,”
explains dialogue editor Jason Dotts.
Picture editor Lee Smith shares his workflow for assembling Dark Phoenix, the epic conclusion to the current X-Men cinematic arc. Smith worked
closely with sound designer Richard King to keep the film grounded in reality. “We’re real-world guys and made the sound based upon real-world
things, like when Cyclops [Tye Sheridan] uses his laser goggles, that’s
actually a recording of a real military laser incorporating other sounds,”
he tells us. We also chat with the Future Man post sound team about creating inventive sci-fi effects like a shattering hologram and a barking robotic dog. “Part of what gives the show its sound is that the effects haven’t
been mulled over for months and months. It’s fresh and of the moment,”
supervising sound editor Larry Goeb explains.
The VFX teams behind Godzilla: King of the Monsters tell us about breathing new life into Japan’s beloved kaiju clan. “The movie that [director]
Mike Dougherty wanted to make was a realistic, dark, and gritty take on
these creatures, so we treated them as animals with bits of personality,”
MPC animation supervisor Spencer Cook recalls. Composer David Housden also talks to us about crafting an immersive score for the imaginative
new adventure Lost Words and about the challenges of writing music for
video games. “It’s important that everyone receives a tailor-fit musical
experience, regardless of the decisions they make,” he notes.
Colorists Diego Yhamá and Henry Santos tell us how they created a vibrant look for Carlos Vives’ new music video “Mañana,”, our reviewer
tests out Sanken’s new CS-M1 shotgun microphone, and we share a rundown of the latest sound, video, lighting, and post-production gear.
As always, a special “Thank you” goes out to everyone who took the time
to share their experiences with our readers. We greatly appreciate it. If
you have any feedback or suggestions, or if you’d like to contribute to the
magazine or have an article idea, please email us at firstname.lastname@example.org. For daily news and updates, visit: soundandpicture.com
A preview of our 'Us' cover story