E d i t o r ' s D e s k In this issue of Sound & Picture, Polish director Jan Ko- masa and screenwriter Mateusz Pacewicz tell us about bringing Corpus Christi, a compelling exploration of so- cial roles, to this year’s Best International Feature Film
Oscar race: “Poland is severely traumatized by history.
Losing and finding our identity is part of our identity,” Komasa says. We also talk to A Beautiful Day in the
Neighborhood director Marielle Heller, picture editor
Anne McCabe, and sound editor Damian Volpe about telling an illuminating
true story of a friendship between beloved television personality Fred Rogers and a skeptical journalist.
In our cover story, we chat with Once Upon a Time… in Hollywood production sound mixer Mark Ulano, CAS, and cinematographer Robert Richardson,
ASC, about their Oscar-nominated work on Quentin Tarantino’s acclaimed
love letter to filmmaking. “The technical challenge of this film was there
was an enormous amount of driving material, we had 107 speaking parts,
over 200 locations in LA, music scenes, and complex dialogue scenes,” Ulano
The Formosa Group post sound team tell us about their superpowered
workflow for The Boys, a boundary-pushing Amazon Original series about
a scrappy group of vigilantes determined to bring down a corrupt league of
heroes. “A lot of the sounds we used would probably have been flagged as
too over-the-top for network,” notes supervising sound editor Wade Barnett.
El Camino: A Breaking Bad Movie cinematographer Marshall Adams, ASC, and
FotoKem colorist Dave Cole also discuss their approach to bringing an enthralling epilogue to life. “We were all focused on telling the best story and
supporting the emotional arc to draw the audience in,” Cole recalls.
Composing team Bob & Barn take us behind the scenes of rescoring MediEvil,
a spooky fan-favorite adventure game, from the grave up: “The biggest challenge was how to take a non-interactive synthesized orchestral score from a
1998 PlayStation 1 game, update it to a live interactive score from 2019, but
still retain the essence of the original.” MPC Film VFX supervisor Axel Bonami also dives into the process of delivering extensive photorealistic effects
for Underwater, a terrifying tale of survival set on the ocean floor but filmed
entirely out of the water with black screens and LED tracking markers.
We also share a rundown of the latest sound, video, lighting, and post-production gear, and IndieCollect colorist Oskar Miarka tells us about restoring
and preserving classic films like the 1959 documentary Jazz on a Summer’s
Day: “We are a bridge between the world captured on celluloid film and audiences who can no longer watch films on celluloid. By digitally restoring
important works, we are giving them the ability to survive for future generations. We are racing against time.”
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 email@example.com.
For daily news and updates, visit: soundandpicture.com
Kendra Ruczak I m a
A preview of our Once Upon a
Time... in Hollywood cover story