The Sound of Red Tails
OscarĀ® winning sound designer Ben Burtt spent time on both the visual and
audio sides of Red Tails working with editor Michael O'Halloran. "Doing the two
jobs together is really great, because I can develop the sound as I'm piecing
the images together," Burtt says. "That way, you can structure the timing of
things to favor a better sound design."
That combination helped enhance the authenticity of theRed Tails sound and
visuals. "We had to go in and figure out what things looked like and sounded
like for these World War II pilots in order to construct authentic audio
environments in terms of the actual engines that were appropriate for each
plane, the weapons, the sounds inside the cockpit," says Burtt. To capture some
of those sounds, Supervising Sound Editor Matt Wood and Sound Designer David
Acord recorded tracks from two P-51s flown around Novato and Skywalker Ranch.
"I actually got to go up in one of the P-51s and that was really great," Wood
says. "I've never experienced anything like that before — the power of those
planes and the control that they have at such high speeds, plus they sound and
look so menacing. Such incredible engineering."
For the dogfight scenes, Burtt listened closely to air combat documentaries
to establish a basis of what each of the planes sounded like. "I made them all
distinctively different so that when you would cut from one group of planes to
another, they were different sounds," says Burtt. "Each of the planes' sounds
were like musical notes. They had pitch and tone, and we got a chance to play
with that in those scenes."
That philosophy also applied when creating the sounds for the planes'
weapons, Burtt adds. "Each plane had different sounding guns. Every attempt was
made to match up a different type of sonic texture to the different planes and
keep it in the realm of credibility. If you do a Star Wars movie with
spaceships, you can go wild and make really different sounds because there's
nothing to compare it to. For this, though, I was trying to address historical
reality as well as getting the mix to make sense to the ear."
Red Tails was mixed at Skywalker Sound with David Acord handling effects and
Foley, Juan Peralta on dialog/ADR and Scott R. Lewis mixing music.
In addition to the conventional 5.1 and 7.1 theatrical mixes, Rick McCallum
opted to push the envelope and have Red Tails mixed in the all-new Auro-3D 11.1
format. The Auro-3D format adds an additional set of speakers above the
audience, adding a new dimension to the sound field.
"It's amazing, especially when we're in a scene where there are planes above
you in the shot," Wood says. "We didn't want to overdo it as far as using those
speakers, but we wanted to see what shots would benefit from having some wind or
planes or music playing up there. It was really another way for us to immerse
the viewer into the experience."
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