Time Capsule 411: Exploring Sci-Fi Craft: From Silo’s Set to Invincible’s Sound and Dark Matter’s Worlds
Welcome to another episode of Exploring Humanity Through Sci-Fi, In this Time Capsule edition, we kick things off with Nicole Northridge, the talented production designer for “Silo” Season 2, as she reveals the secrets to building the rich, atmospheric environments that define the series—including the art of transforming a set to create an entirely new silo.
Next, we dive into the world of animation sound with Brad Meyer and Jeff Shiffman, the masterminds behind the audio of “Invincible” Season 2. From seamlessly integrating subtle city sounds to crafting powerful emotional moments, they share how sound shapes the storytelling experience.
We then shift dimensions with John Heller, visual effects supervisor for “Dark Matter,” who unpacks the creative challenges of designing unique alternate worlds and ensuring each universe has its own distinct look and feel.
Rounding out the episode, Janine Mason joins us to discuss giving voice and emotional depth to Eva Nine in “Wandla,” capturing the innocence and savvy that endear her character to fans of all ages.
Finally, we spotlight a deeply personal cause as “Star Trek” favorites John Billingsley, Jonathan Frakes, and Armin Shimerman, Juan Carlos Coto, and Kitty Winn reflect on their experiences with pancreatic cancer and the importance of community and support through the Purple Stride Walk.
Nicole Northbridge, production designer, Silo: To get the vibe and the atmosphere of silo 17. We spent a lot of time working out how. How they, as a society, an enclosed society, had grown over 350 years. We settled on that they would be sort of a progressive, artistic society. And that’s, you know, you saw the buildings and the, the. The apartments. They were all painted, they were colorful.
Brad Metyer, Supervising Sound Editor, Invincible: there was definitely a lot of detective work and research that went into season two. If there were, like, elements in season two that appeared in season one one, we made a lot of sound alikes in our sound editorial. And season three, which actually just finished airing, we got to do a lot more original design, which was nice because they weren’t referencing season one as much. But, you know, you have things that show up in every episode, like certain heroes, powers, or the sounds of different planets that you’re on and stuff like that. So, you know, we did our best to.
Jeff Shiffman, re-recording mixer, Invincible: Once we put the music and the dialogue in, balancing everything out and making sure that everything plays really cleanly so that you can, of course, understand and hear the dialogue. The score is fantastic for the show, so we want to make sure that that shines. And then basically everything that Brad puts together is up there on screen, as long as we can make it work around those two elements. So there’s not really any editorial that I need to do, luckily. But a lot of what we’ll end up doing is maybe adding effects and reverbs and things like that to kind of really make it all sing. And then, of course, we’ll play a lot with spatial realization.
John Heller, Visual Effects Supervisor, Dark Matter: I mean, we’re working on season two now, and so it’s sort of like the same process over again. It’s. It’s a little more free, you know, freehand this time, because we don’t have the book necessarily. It’s an extension of that story. But for season one, we had the book, so we kind of knew what the basis of the story was going to be, of course, and the scripts, you know, for the most part, stuck to the book and the storyline pretty. Pretty close. So there was a predictability level to it.
Jeanine Mason, Eva Nine, WandLa: I came on pretty late in the game. A lot of the cast was already working on it and I, you know, voiceover is a crazy world. It’s. You just send tapes in and you’re like, we’ll see, we’ll see. And I, I had a real instinct about her right away. It just sort of, she just sort of felt Very familiar to. To myself, my, like, young self, who I’m still very connected with. And, And I loved that even I remember that initial test.
Jonathan Frakes on losing his brother to pancreatic cancer: When Daniel (his brother) died, first of all, Genie(Francis, his wife) was very pregnant with Eliza, who was born a week after Daniel died. So that had this wonderful weird phenomenon on the. Of the passing of life. My father, who is. It’s an eccentric at least and he closed off and he Alzheimer’s set in and we had to put him into an Alzheimer’s facility and he never really could handle as many parents can’t, the loss of his child. And my mother and I, who I spoke to probably daily at his behest, he said you should keep in touch with your mother, make sure.There were a number of people from Daniel’s life back at Bethlehem, where my mom lived, who came to see her on a regular basis. So he was very much mourned and praised and loved and still is by, you know, but my dad completely shut down and I’m sure it had something to do with his early death.
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