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News movies & tv series 10 July 2020, 19:01

author: Karol Laska

Creators of Stranger Things: Show Had to Not Only Look, but Also Sound Right

Sound technicians responsible for Stranger Things' audio setting explained how the series achieved effects similar to those in the cinema. Some behind the scenes material from the third season was also published.

Stranger Things is not just about colors.

Will Fires, Mark Paterson and Craig Henighan. People who are unlikely to be associated by most of you, although they were the ones who worked on the Oscar-winning Roma or the War for the Planet of the Apes. They also joined forces for the third season of Stranger Things. But they were not responsible for the direction or even the script. Their task was audio processing.

It was not an easy thing to do, especially with this series. Aesthetics of the 80s and inspiration from classic sci-fi and fantasy works forced the creators to use appropriate colors palette and special effects. Despite the TV show formula, the work had to maintain cinematic levels of quality. This also applied to the work of sound engineers. Those, on the pages of Hollywood Reporter, told a little more about their work:

"We had a giant monster, and it had to sound like it was the biggest, loudest thing you ever heard. How can you do that when you can't rely on tricks in the cinema? One way to suggest size was to add low-end bass. Additionally, tasteful distortion can go a long way if you want to suggest size, [suggesting] the thing is so big and so loud, it's not only shaking the camera but overwhelming the microphone and causing it to distort."

This is not the first time in the last few days that artists have bragged about their behind-the-scenes activities. There is also a ten-minuteTweeter material, in which showrunners and actors talk about their creative process.

It is known that the fourth season of Stranger Things is being created, but the work on the set was stopped by the coronavirus pandemic. For this reason, the release date is not yet known, but Netflix regularly publishes promo materials to satisfy the fans.

Karol Laska

Karol Laska

His adventure with journalism began with a personal blog, the name of which is no longer worth quoting. Then he interpreted Iranian dramas and the Joker, writing for cinematography journal, which, sadly, no longer exists. His writing credentials include a degree in film studies, but his thesis was strictly devoted to video games. He has been writing for Gamepressure since March 2020, first writing a lot about movies, then in the newsroom, and eventually, he became a specialist in everything. He currently edits and writes articles and features. A long-time enthusiast of the most bizarre indie games and arthouse cinema. He idolizes surrealism and postmodernism. He appreciates the power of absurdity. Which is probably why he also tried soccer refereeing for 2 years (with so-so results). He tends to over-philosophize, so watch out.

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