There was a small child living with my parents.

Yes, hi, I'm Don Sylvester.

I'm the supervising sound editor for four versus Ferrari, David DeMarco's re recording mixer and sound editor.

Ford versus For Today We're gonna be breaking down.

How sound works in film on how we use it to tell a story I like to describe sound at least movie sound as, ah, tree of Sound.

It has three main branches dialogue, music, sound effects.

But inside those branches are below.

Those branches are extensions of different kinds of sound.

Dialogue has got production sound on.

80 are added sound.

Later, music has got score and source music.

Sound effects has got a whole lot of different branches.

Fully backgrounds, atmosphere, hard effects.

There's a whole lot of different sound editors, each one cutting different things in different locations.

The difference between a sound editor and the sound mixer is the sound editor will assemble the sounds and cut them, and there may be more than one sounded.

If it could be 10 each person, then it will be responsible for certain aspect of the sound.

Not all the sound.

The Sound effects editor will compile sounds go on record sounds put.

Sounds together to picture at a point when the film is ready to show, we're gonna have to mix these together.

Only at that point to these three elements come together in a room like this.

They are then put together in a sort of, ah, recipe that the mixer would then be the controller of the flavors of those sounds.

And then he'll feature one sound over another music, maybe stronger here.

The sound effects may be strong here.

That recipe that is in his hands as a mixer healed and control the old roll soundtrack of the film, so sound mixing is bringing dialogue, music and sound effects to a room like this.

We play through the rial and balance and mix so that they play in balance well against one another.

A sound supervisor Oh, will be hired on the show.

He will put a crew together, and he works closely with the director.

They'll speak above the vision of the film and what kind of sound the director wants for the movie.

And then we'll start putting a soundtrack together.

I was brought on the film early to work on what we call a previous previous is an animated rendition of the scene made by computers.

It's kind of, Ah, moving storyboard, and the director comes in and directs it.

They felt that they needed sound.

I agree they had to have sound tohave the cars have any kind of, in fact, on screen.

I came in to make a ll the sounds for the animated previous so that he could help figure out what he's gonna actually do on the day when actually came to recording the cars.

And so has my job is to get that stuff realized in this case, being fortunate to work with him four times.

It was great to be able to kind of anticipate where he's going to go just because of previous knowledge from earlier films.

Once dialogue, music and effects are in a good place, then we all come here to the stage.

It's only then we can judge whether they're gonna work well together in this environment.

That's what Dave does.

He'll he'll mix it together with director would then now be able to hear everything for the first time in this room, all acoustically treated and we can create a theater environment in here.

It's really remarkable that some of the hard work that you go into making sound gets in this room, and it's not good enough.

And then we have to go back and redo it because it reveals the true sound.

That's why everything that comes out of this room sounds great because we've been there.

We've now heard everything we need here.

We fixed it well.

Now let's look at some clips on the mixing stage.

In the beginning of the movie, Carroll Shelby talks about how a man becomes one with the machine.

Here's an example of where the man becomes part of the race with machine.

He's thoroughly concentrating on his race on, although it's a very intimate moment, it's snapped out when reality comes back in, the car doesn't evasive maneuvers.

So what is an internal moment?

It's probably when the sound goes away.

So not only is it important when the sounds there was also the lack of sound, and we get to focus on other sounds that are not the race sounds his breaths.

There's a kind of a drone going on represents what we hope is an internal moment.

This is a lack of sound that makes the next sound more impactful.

So in order to try to achieve some kind of realism of racing and open cockpit like this, we had this heavy buffeting wind, which also gives way to the design effects that is all around us in the room and at most, and I can play that with the car.

This is the Dolby Monitor that allows us to see where I'm placing things in the room like those balls light up when program is hitting them, and that's where I place the wind in the room.

It's closer to the screen, up on top.

It gives me a view of where place things and what's hitting things, when and where practical effects like when the car crashes and comes flying.

Bias that I'm using, at most to take us through the room is the car would uncle over us from 10 miles 22 meeting.

Of course, the car crash comes flying over our heads.

Let me just show you what music and dialogue we're doing through that same sequence.

We're meeting with Nolan.

No.

So these tracks here all makeup, Ken's car, these air, the other race cars on the track.

From here down, this entire suspensions break squeaks, squeals and things like that.

You know, there's a lot of elements playing here.

We can't play them all engines and backgrounds and crowds of that Some feet.

You're not gonna hear feet in this scene.

We can hear the feet in the Ford scene where Henry Ford second talks about getting people to work for him in 18 99.

My grandfather, Henry By God Ford.

I was walking home from Edison Illumination after working a double shift.

He was ruminating that morning.

He had himself in idea that changed the world.

In this clip, Henry Ford addresses the employees of Ford Motor Company on the voice needed to have the same impact as his personality.

We want to make sure his voice boomed throughout the factory.

It's actually heavily treated.

I don't think you'll notice that it's heavily treated because it sounds right for the man and it sounds right to the environment.

So this is how he initially sounded in 18 99.

My grandfather, Henry by God, Ford, was walking home.

So then we add that verb to him to carry through the plant.

In 18 99 my grandfather, Henry By God Ford, I was walking home.

We also felt that defeat his fee walking would also expressed some of his personality.

Things need to have character, and they need to have more than just being okay.

Every sound has an opportunity to create a character and character development and tell more of the story.

There was no feet actually recording attracts least nothing that was very, very useful.

So we had to add them.

You could do the rial sound of leather on what we think is concrete.

It didn't sound right, so the next idea was a foot leather on wood.

It didn't work.

So the only thing that really sold the idea of a very forceful person in the strong personality was feet on metal.

Now don't look closely because there's no metal on that gangplank.

But there is now because his feet now sound like a man who's in charge of a multinational corporation.

That's what we wanted.

So here's an example.

Feet being done, a whole lot of ways.

But only one of them was really right.

Yeah, these air all feet right here.

This is basically why were employed to put sound, and it seems like this.

If we just use the production, it would It would be really good scene, but the character development that we want to push, he's done entirely.

Few sounds.

We're at LeMond and we're in the midst of the 24 hour race.

10 miles has made it unscheduled pit stop, and now he's racing to catch up.

It was pretty important for us to get the actual GT 40 sounds.

These are vintage cars, however, almost impossible to find an actual vintage GT 40 to record.

But fortunately, we found a collector in Ohio who built a GT 40 from genuine four parts with the tail pipe in the engine sounds that we need.

We then went to Ohio and on his local track.

We recorded a couple days of recordings with this car, and that's the hero car that way on, I've seen other GT forties.

This is the real thing, the way they recorded the cars.

There's microphones in the engine compartment, microphones in the cockpit on the trans axles and transmission to pick up different sounds.

So It's very well recorded, as well as microphones along the track.

The car's air cut with a lot of separation.

So I have complete control over the interior sounds.

The exterior sounds thes air, all the different microphones I had.

So I was able to get in pretty tight with the car balance between the different microphones and then spatially place them around the room like if we're in a shot that you see on screen, I'm keeping the engine with the car.

When we're in the interior of the car, the engine sounds air all around us.

So here's some of the car by itself.

Sometimes when you're listening to these tracks by themselves and you hear the car engine and sometimes it sounds weaker soft.

That's because there's a car skid there, or the tire skid or gear change that's filling that void.

Or it's for music awards for dialogue.

Okay, so we're continuing on with the same scene.

Only this time we're going to demonstrate some of the sounds in diverse order.

Let's start with some of the crowds and then build up some of the sound effects until we finally have the full sound.

So all of our crowds are in different languages as well as we have some P A announcers in French and English.

So there's a whole atmosphere of the Lamont's place itself.

So when we cut back and forth from the race, we come to the stands.

There's another world of sound music's driving, but it allows for the effects, the play and it really, really works well.

Hats off to Marco Beltrami and Buck Sanders, cause the score works so well with the way the sound effects come play.

There's the cut to the speedometer.

The guitars there are as big and powerful as any engine can be.

In it.

It is the GT 40 musically, right there, pushing the car too hard.

That's not the plan.

It's almost as if the music is in the same key as the engine.

I know Marco talked about that on Buck, about crafting some of the music to go with the engine.

I never really isolated that moment before, but now, now that I have, that's the same key.

They're no dummies pushing the car too hard.

That's not the plan, Jane.

Well, there's a lot of ways to make soundtrack.

This is how we made ours.

It's very subjective.

Purely out of the mine of James Mangold.

And so I wanna thank value fear for letting Dave and me come and talk about our little film on.

We hope you got little insight.

I know I did.

Oh, my God.

Look at the time I got to go find out who wrote this.