E d i t o r ' s D e s k In this issue of Sound & Picture, we go behind the scenes of NASCAR with Road to Race Day docuse- ries director, producer, and production sound mixer Cynthia Hill. “Being the sound person gives me this
element of control,” Hill tells us. “Everything is filtered through my ears, so I know what’s going on
and I can respond quickly.” A Boy. A Girl. A Dream.
cinematographer Steven Holleran shares his experience shooting a captivating feature in one night as a continuous stabilized take. “Imagine you can’t cut, you can’t change batteries, you can’t
rest. Every piece of the rig, camera, and your body must be able to work
flat out for 90 minutes,” says Holleran.
In our cover story, we explore the groundbreaking post sound and picture editing behind the cinematic re-creation of Neil Armstrong’s historic
journey to the moon in First Man. The sound design team captured audio
of a SpaceX rocket launch and recorded sound in a nitrogen gas–powered
acoustic chamber at NASA’s Jet Propulsion Lab to simulate the sonic dynamics of a launch environment. “The helmet air was recorded from the
same bubble helmet that astronaut John Young wore on the Apollo 16
mission,” sound designer, re-recording mixer, and supervising sound editor Ai-Ling Lee tells us.
Director Matthew Heineman and the A Private War post sound team discuss their authentic approach to telling the courageous true story of journalist Marie Colvin. Heineman tells us, “One piece of advice I received
early on in my documentary career was, ‘If you end up with the story
you started with then you weren’t listening along the way.’ That’s good
advice for life and good advice for filmmaking.” Filmmaker Tuva Novotny
also talks to us about the perseverance required for filming her compelling drama feature Blind Spot as a single shot. “I did not take ‘no’ for an
answer,” she tells us.
The MPC Films VFX team tells us about building the fantastical world
of The Nutcracker and the Four Realms and its complex digital characters
like Mother Ginger, a massive 40-foot tall marionette with a circus tent
for a skirt. Composing duo ‘The Flight’ share their workflow for crafting a
heroic score for Assassin’s Creed Odyssey, an epic adventure title shaped by
myths and legendary creatures. Filmmaker Andrew Colton also discusses
the color grading process for his intriguing new music video I’m Sorry,
and our reviewer gives us a hands-on look at DPA’s game-changing new
d:screet CORE 6060 Subminiature Lavalier Microphone.
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 editor@soundandpic-
ture.com. For daily news and updates, visit: soundandpicture.com