The destruction of the sound design lotr: The Ring of the Power S2: “Destined to Die”

In Lord of the Rings: The Ring of Power Season 2 Episode 7 is a massive battle salary between Uruks and the Elves as Sauron works hard to get Celebrimbor to focus on completing the mission of nine power rings. The battle lasts most of the episode – starting with the barrage of the Uruk siege engine, turning to the cavalry charge, and ending with the inevitable close combat. This is a dynamic plot that requires a lot of reasonable works!

New Lord of the Rings: The Ring of Power The series is Sound 24’s Oscar awarded to Sound Editor/Sound Designer Glenn Freemantle MPSE and MPSE award-winning Supervised Sound Editor/Sound Designer Ben Barker. Here they talk about the overall sound approach of their performance and break down the sound design of the key scenes in S2. 7 “Does Be Deadly.” They talk about creating new sounds for the nine rings to connect them to the realms of humans, Urukshire and elves, how they convey the power and power of destruction during the siege, how they create contrast between uruk and fifteen weapons, how they create tension during the hard decision of Cleasterimbor to escape, and more!

Lord of the Rings: The Ring of Power | Season 2

How You Prepare for the Voice of Season 2 TLOTR: The Ring of Power?

Ben Barker (BB) and Glenn Freemantle (GF): We’ve seen a lot Lord of the RingsAnd we watched the movie and Season 1, and if I tell the truth, that’s amazing! We want to be true to the Tolkien World and the journey that the world has led us before. And, after chatting with performers, we wanted to develop sound design. We set out to collapse and make sure we have every sound we have to provide on every Earth. The worlds of Linton, Mordo, Eleg and Kazard Dum all provide atmospheric sounds for each unique location, and then the sounds within these worlds also have their unique IDs.

The concept we pass through the series is to give each space its own style and try to tell a story with almost all sounds.

The concept we pass through the series is to give each space its own style and try to tell a story with almost all sounds. For example, using dwarfs, we try to make connections with granite sounds where possible, because Uruks are industrial sounds, and elves are all about clean precision. Beyond that, whenever we have Sauron in a scene, we want to have an ominous influence, like the audience will feel something crawling on their backs, or may feel cold. For this he is always surrounded by disturbing tones and dark movements.

Celebrimbor creates nine rings for mortals – can you talk about the sound work of this opening sequence?

BB and GF: Throughout the show, there are rings of men, elves and dwarfs. Everyone needs to feel the unique voice, but they also need to connect. The shared sound can be heard early in this sequence, is a high metal resonance, created by using the Ina Grm Tools plugin to stretch and filter recordings, which we make from a variety of bow metals, bells, bells and gongs. It is designed to convey the physical material of the ring, and it can also convey its beauty and perfection.

We then asked the dialect coach of Tolkien’s language experts to write various spells and spells in “Black Speech” (Mordor’s language), which we document and process as layers representing Sauron and his corruption effects on the ring.

We then asked the dialect coach of Tolkien’s language experts to write various spells and spells in “Black Speech” (Mordor’s language), which we document and process as layers representing Sauron and his corruption effects on the ring. As part of the same palette, we recorded and played some male breaths and vocals that were meant to suggest Sauron himself. We also use it to pay tribute to the original movie as it is a unique sound with Sauron and Ring.

Throughout the series, the elves’ rings are similarly designed using processed spells in the elves, but with more breathing, more musical and feminine tones, and are also stacked into tall female singing, which they extend into long tones using a program called Paulstretch.

The dwarf’s ring combines earthy textures such as low animal roar and rock movement, but also processes fallen coins records to describe their greed and desire for gold, which is caused by the ring.

What are your voice challenges or siege opportunities? (I love the sound of siege engines, fire bombs and huge rocks falling into the river!) Can you talk about the sound working in this scene?

BB and GF: Thank you! For us, everything is an opportunity. We love a challenge! We want to convey the weight and huge size of the siege. In early conversations, the scale of the visual effects was described as huge, so we worked hard to convey this. The siege engine has so much power and power that we have to match it with sound while keeping it true. All influences, new feelings, fireballs, etc. are made of organic elements, so we have a foundation. Apart from that, we wanted the effect of the movie, so we used various sound design techniques to support each sound and gave it “Strength Ring“Magic!

What is the sound of fighting between Urux and the Elves? This sequence takes up most of the episodes, and there are a lot of sound productions here. Can you talk about crowds, battles, Uruks’ machines (such as those used to pull down part of the wall), Uruks facing Elven Cavalry, Elven Swords, etc.? (I like the arrows that are almost like birds!)

BB and GF: We wanted to create a sound difference for Urux’s battle with the elves to give each army and its weapons a style, even if subtle. Uruks’ swords, machines, etc. have very low texture to them, as if everything has a tough, dull aspect. We recorded and used iron and other dense metals for the hits of the Uruk sword. Their bows and arrows have more twisting sounds to them, and then put the machines of the wall together with very low wood and metal sounds.

Instead, to give us this texture, the elves are cleaner, more precise, and nervous about their sounds and weapons. These swords are mainly made of steel strikes, which can make our more traditional nervous sounds, and all arrows tremble as they pass by, like better arrows!

Celebrate his thumb slice to escape Sauron. Can you talk about the sound working of this scene, like the sound of the cutting machine slowly turning on, because he seriously considered this avenue of escape?

BB and GF: It began with Celebrimbor’s struggle with handcuffs. We use a quick and nervous voice when he struggles. Then, when his eyes see the cutter, every sound from here comes with a slower, more detailed approach. We want to suggest the thought process Celebrimbor is going through. The slow and deep spring sound is designed to highlight his decision-making process and slowly reach his mind space, and his only escape option is to cut his thumb open. We ended the scene with a proactive approach!