![]() ![]() I think the biggest challenge overall was for us all to be able to pull back and see this section as a single piece, rather than as a series of interesting engineering and editing decisions, as the sheer granularity of the construction meant it was easy to get lost in the weeds.Īs important as the first section was for introducing the show, the section that follows was vital for introducing the setting and, as such, this was where we locked down how the world sounds. ![]() Therefore we spent a lot of time on sound design looking for a sound with the tonality and midrange to work anywhere, and I’m happy with the result. I completely understood their artistic vision, and it was interesting thinking about how we met this challenge: we could have had a “bigger” sound but we were concerned about how it would cut through on a TV without the heaviness of the bass. There’s a sound that follows that is intended to convey suspense and impact, but the production team were keen to ensure it was neutral - that it didn’t inspire “good” or “bad” feelings, which fits with some of the narrative themes of the show. This is illustrated right at the end of the sequence where the crescendo has reached fever pitch and we needed to keep the dialogue legible for one last line before it drops. We spent a lot of time ensuring it worked in a range of settings and finding a compromise regarding how “big” we could go. Something that heavily influenced the process was that we were mixing in 5.1, but needed to be aware that the intended audience would be watching on home TV sets, or even potentially on mobile phones. You might ask how we managed to balance so many audio sources and the answer is both simple and enjoyably old-school - it was largely a matter of trial and error and experimentation, and getting it right was incredibly rewarding. ![]() We had the stems for the music, however, so we were able to edit the original tracks to give us more flexibility with placement and volume to meet the needs of both storytelling and audio. This aspect was complicated a little as the original music also incorporated the sound of ticking clocks, which we initially thought might cause comprehension problems for the viewer as there was footage of clock faces throughout. The defining element throughout is a clock sound, as it lends the section its metronome, and it works on many levels as it acts as both a heartbeat and an accelerator, by harnessing how the average viewer associates a ticking clock with urgency and drama. We were also fortunate because some of the softer elements - such as the sound of waves - were established in the footage quite early, as we would have struggled to make these cut through later. That strong ADR track allowed us to build mounting dramatic tension around the voice, punctuating it with the incidental sounds of things like traffic and sirens, so they occurred in the spaces between the dialogue. Thankfully, the actor Ezra Elliot was available to deliver a spoken word track for us in ADR and he was a real pro, getting it in one go. This would co-exist with a legible narrative which, for artistic reasons, needed to be delivered in a normal speaking voice despite the mounting chaos around it. Here, Dubbing mixer Rich Simpson walks us through the first episode, highlighting some of the exciting creative and technical decisions the team made to realise the show’s unique vision through mixing and sound design.įor the show’s introduction, the production team had a specific vision where a range of incidental sounds would crescendo, moving from sparseness to near-pandemonium at the end. The heightened reality drama series 'Jungle' represents one of the most ambitious projects Hijack has ever worked on - depicting a vibrant, near-future world of breathtaking intensity. ![]()
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