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Crucial to the success of this project were supervising sound editor Lee Walpole and re-recording mixer Stuart Hilliker. The machine they shot with on set was a replica they built themselves, but it had no real merits for sound — it made a rhythm but that was it.

Cinematic Decoding In The Film Gladiator

Not the easiest of briefs to meet, then, although the crew did gain access to the only existing replica of the original machine — real name Bombe — giving them the ideal starting point on which to build. We recorded every whirr, click and buzz from multiple microphone perspectives with the machine on a full run.

After a number of failed attempts we found our answer in some old clunky elevator server recordings, which had a wonderful natural reverberant acoustic, suggesting the sound was originating from deep within the machine, so this additionally served to provide us with the sense of scale we were looking for. Some of the recordings of the machines were running at different rhythms but Cinematic Decoding In The Film Gladiator were able to fit them to work with the visuals, and they could be tailored to fit the metronome of what the machine was doing. He was so open to ideas.

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Due to its strategic importance, Bletchley Park would have been a hive of activity in the s, which gave the sound crew another opportunity to experiment with various sound ideas. They also brought with them the sort of accents you would associate with wartime England and it just felt so natural. When we had test screenings I hit Play and never wanted to press Stop.

Cinematic Decoding In The Film Gladiator

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