As a seasoned gamer with a penchant for immersive experiences, I must say that the sound team behind Shogun has truly outdone themselves. The level of authenticity they’ve achieved is nothing short of a masterpiece. It’s like they’ve taken me back in time to feudal Japan, not just through the visuals, but with every clash of sword, every rustle of wind, and every drop of rain.
As a gamer, I’d rephrase it like this: “Me and my crew – Steve Pederson, Greg P. Russell, Brian Armstrong, and Greg Ortiz – collaborated to create an immersive audio experience that took players back to the 1600s Japan. I was in charge of dialogues and music, while Greg handled sound effects and ambient sounds. Interestingly, we didn’t film this game in Japan, but in Vancouver. This gave us a unique set of environmental sounds to work with, quite different from what you’d expect during that era in Japan.”
Russell emphasized that authenticity was crucial throughout the entire production process, as he guided the team towards accurately portraying rural feudal Japan during the 1600s. He explained, “We aimed to create a vibrant and respectful representation of their culture, which is rich and bold in its own right.” The show features dramatic dynamics, from weaponry and battles with swords, arrows, cannons, to moments of quiet introspection filled with subtle nuances. Russell added that the show also offers a wide range of textures and captivating sounds to evoke city life, while maintaining movement and a sense of spatial size and scale. However, he emphasized that amidst all this grandeur, there is an undercurrent of deep intimacy in the story, with faithfully portraying the essence of the characters being paramount.
In the play, rain serves as a significant prop, setting the stage for numerous dialogues among the characters. However, it posed difficulties for Pederson and Russell during filming, as they had to find a harmonious equilibrium in their scenes. They acknowledge the crucial role of the sound engineers and production team in achieving this balance.
As a shared appreciation for crafting compelling dialogues runs deep between Greg and me, I often find myself explaining this in clear terms: “Greg and I share an uncanny knack for emphasizing dialogue.” Frequently, when I’m immersed in the process of creating dialogue and music, it’s common for the mixer to focus on the effects – be it Foley or rain or any other element. However, what sets our collaboration apart is that we both have attentive ears for every detail – not just the effects but also the dialogue, music, and all other components. This holistic approach makes our collaborative mixing sessions truly exceptional.
Reflecting on Greg’s earlier remarks about feudal Japan during the 1600s, I find myself drawn to the stark contrast between that era and our contemporary world. In our quest to capture the essence of this natural setting for our show, we strove for silence, a rare commodity in today’s bustling environment. With no engines or aircraft humming in the background, our challenge began with meticulous dialogue editing. I must applaud our dedicated sound editorial team for diligently removing any traces of modern noise that occasionally seeped onto our set. As I stepped into my role, I built upon their efforts by further refining the ambient sounds to provide a backdrop, allowing me to eliminate even more modern distractions. I believe we have successfully managed to strip away the sounds of the modern world, leaving only the delicate backgrounds that could transport us back to that time and offer a glimpse into its tranquility.
1) The show has received praise for its accuracy from Japanese historians, and its sound design was no less exceptional. As Russell puts it, “I’ve rarely been involved in a project that was examined as closely as this one, from ‘Those aren’t the correct crickets’ to the way the swords ring. We kept receiving feedback that it sounded too Western. It wasn’t thick enough, and the metallic sounds were too reminiscent of Western civilization.” To respect their culture and their keen ear for the time period and place… well, it was quite remarkable.
According to Pederson, there was a remark that caught both of our attention. It hinted, “Now, we need to focus.” We were outside, surrounded by birds, and the location had a waterfront. One of our editors, who is Japanese and has experience in Japan, questioned if those were waterfowl. She said it seemed like a rural bird. At that moment, we realized we had to listen carefully.
Apart from other obstacles, the sound team faced a significant change during the earthquake scene, as Russell explained it went through multiple transformations. At first, they intended to include music for the scene, but later opted instead for a more subdued approach. This meant making the environment as silent as possible before the sudden and peculiar reaction of the flock of birds. This silence was like the calm before the storm, yet it still incorporated subtle sounds such as trees breaking and gravel shifting on the surface. These smaller noises built anticipation for the larger sounds in the following sequence, which Russell found to be one of his favorite parts of the series.
The pair collaborated to record the Earth’s movement noises, human distress cries from wounded individuals, and the off-screen chaos, all aspects of the environment.
In a film set, it’s fortunate if we simply manage to capture the dialogue, but everything else – from moving rocks to footsteps – is included, according to Russell. You hear all sorts of background noises like birds, horses, people, and more, and each and every one of those sounds are added later. It’s a remarkable process that transforms it into a work of art.
As a longtime reader and admirer of The Hollywood Reporter, I was thrilled when this captivating story caught my eye in their August standalone issue. To stay updated with all the latest entertainment news, I always make sure to subscribe to this esteemed magazine. If you’re not yet a subscriber, I highly recommend it – you won’t want to miss out on such compelling content!
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2024-08-23 23:26