I n s i d e L o o k In this issue of Sound & Picture, re-recording mixer
Kevin O’Leary chats with us about his work on Alone,
an extreme survival competition series. Contestants
record their own footage while fending for themselves
in the wilderness, capturing everything from daunting
mountain climbing expeditions to howling wolves. “You
don’t need to enhance it because the drama is already there,” O’Leary tells
us. Cinematographer Luis Salas Lobo also shares his experiences lensing The
Babymoon, an indie adventure comedy shot in the jungles of Costa Rica and
In our cover story, production sound mixer John Midgley and cinematographer Ben Davis talk to us about capturing the mind-bending interdimensional world of Marvel’s Doctor Strange. Davis explains the logistics of a particularly epic sequence in the film: “You have a world that’s traveling in reverse
and you have your key artists moving forward, and the universe is changing
Picture editor Jennifer Lame tells us about assembling the poignant, intimate
drama Manchester by the Sea. “We needed to get to version 30 to know that the
second version was the best one. I loved doing that even though it’s a lot of
work,” she tells us. Visual effects supervisor Dan Glass also discusses his decade of work on Terrence Malick’s Voyage of Time: Life’s Journey, a documentary exploring the origins of life. Glass combined imagery from the Hubble
Space Telescope with a variety of materials like liquids, gels, and gases to
craft the film’s intricate visuals.
Production sound mixer Simon Hayes and sound designer Niv Adiri chat
with us about their work on Fantastic Beasts and Where to Find Them. Hayes
explains the importance of capturing production dialogue in a film driven by
elaborate visual effects. “If we can save and nurture that dialogue by recording it cleanly enough,” he tells us, “it will help the world that the post sound
team and the VFX team build around it to be more believable.”
Composer Neal Acree shares his experiences crafting the score for the multiplayer RPG Revelation Online with traditional Chinese instruments. Colorist
Don Armstrong also tells us about setting the look of She Has a Name, a gritty
independent thriller that aims to spread awareness about the human trafficking crisis in Thailand.
Sound legend Dan Dugan and Sound Devices’ Jon Tatooles have an in-depth
discussion with us about automixing technology and its applications in production sound. Also, our reviewer takes the Tascam DR-701D recorder for a
test run at NASA’s Wallops Flight Facility.
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.
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