Making Modern World as Quiet as Feudal Japan

Making Modern World as Quiet as Feudal Japan

Creating a Peaceful Modern World Inspired by Feudal Japan

Emmy-nominated Shogun rerecording mixers Steve Pederson and Greg P. Russell collaborated with sound supervisor Brian Armstrong and mix technician Greg Ortiz to transport audiences to 1600s Japan. Pederson focused on dialogue and music, while Russell handled sound effects and environmental background sounds. Despite filming in Vancouver, they aimed for authenticity in capturing the unique sounds of feudal Japan.

Russell explained, “The focus was consistently on authenticity, transporting the audience to rural, feudal Japan in the 1600s. It required respecting the culture and creating a rich, bold soundscape with dynamics, weaponry sounds, and nuances. The show demanded textures and sounds to emulate city life while maintaining intimacy in character drama.”

Rain played a crucial role in the show, adding depth to scenes. Pederson and Russell navigated the challenge of balancing dialogue with rain sounds, crediting the premixing and production teams for their support.

Pederson highlighted the importance of dialogue through collaborative mixing with Russell. They aimed for quietness to reflect the natural setting of feudal Japan, eliminating modern sounds to enhance the authenticity of the show.

Japanese historians praised the authenticity of the series, including the sound production. Russell mentioned the meticulous attention given to details such as the sound of swords and crickets, respecting Japanese culture and the time period.

The sound team faced challenges such as creating an earthquake scene with realistic sounds. Russell described the process of capturing environmental sounds like the earth moving and injured people’s screams, emphasizing the intricate creation of sounds in post-production.

Overall, the duo worked closely to capture the essence of feudal Japan through the show’s sound design, integrating various elements to transport audiences to a different time and place.

This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

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