And then we add in all the sound effects. You know, there's actors wearing masks, various aliens and dialects-all things that we change in post. Our characters have processing that has to happen. Her tracks are one element of what we do, which is making it so you can hear the performances. I take all of Shawn's amazingly crafted, brilliant work and tracks, and we bring them into post. I start pretty early on the project by reading the scripts and coming up with ideas for what will work for sound effects, creating things for these futuristic sci-fi worlds of Star Wars. Matthew Wood: As the supervising sound editor, I work in post-production. But really, my main goal is to get the cleanest dialogue tracks I possibly can, to record and preserve those performances. Also, various effects and sounds that need to be captured while shooting-be it Stormtroopers marching along or anything that can help post-production build on those effects that we give them and give them an idea of what it sounded like on set.
My main goal is to preserve the actors' performances and get the cleanest dialogue recordings that I possibly can. Shawn Holden: Well, as a production sound mixer, you're the one that's on the set recording dialogue and various effects. First off, how would you describe your role to someone who isn’t familiar with sound production? They also reveal what went into giving voice to The Mandalorian's adorable alien co-star, The Child. In this interview, production sound mixer Shawn Holden and supervising sound editor Matthew Wood share how the sound team behind The Mandalorian brought executive producer Jon Favreau’s unique vision for the series to life, while simultaneously rising to the level of quality expected from the beloved franchise. Sound has been a crucial element of the Star Wars universe since A New Hope landed on screens in 1977.
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