• Hamed Hokamzadeh

Take-aways from Baby Driver's sound and music team

Julian Slater (x, xx,) discusses how they were able to put together such a challenging mix together. The synchronization of music and sound with picture edits and VFX/GFX appear effortless but behind the scenes there was a ton of communication and experimentation.

One of the takeaways is the music and sfx were baked into the script. Makes sense because we're experiencing the movie from Baby's POV but that's not much different than any other movie. Sound shouldn't be an after-thought, it should be part of the creative toolbag from pre-pro. Thomas about this in further detail here

He also talks about how they went about synchronizing the sfx with the music. It seems like a daughnting task but if you break it down it comes down to a couple factors:

- thinking about sound and music in pre-pro, shooting with the music playback

- clear direction from Edgar Wright in post but with trust and leeway to let the team experiment on their own

- allowing enough time for music and sound team to communicate

- using technology to tempo-map all of the songs

Julian talks about having a friendship with composer x, which is paramount in collaboration. You have to create a no ego zone, where the best idea wins. He was able to have to pitch the sfx and tinnitus to match the music, and other places they pitched the music or let it be, because they were able to build a strong relationship before hand.

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