The sound design for FX/Hulu’s The Bear was driven by showrunner Christopher Storer’s vision of chaos. This directive led to two Emmy nominations for the sound editing and mixing teams involved in the series. However, capturing sound on set presented its own challenges for production sound mixer Scott D. Smith. The kitchen scenes, in particular, proved to be difficult due to the amount of noise made during filming. Smith explains that there isn’t much that can be done in terms of controlling the noise in the kitchen since the props used, such as pots and pans, cannot easily be replaced with quieter alternatives. The actors’ movements in the kitchen were authentic, adding to the realism of the scenes.
Another aspect that added to the chaos was the lack of rehearsals on the show. Storer prefers to keep things fresh and keep the actors on their toes, which means minimal rehearsals. This approach ensures that the surprise and spontaneity in the actors’ performances are genuine. To capture the best possible audio, actors wear microphones, and the sound team also utilizes boom mics and planted microphones. During larger scenes, they employ three boom operators to capture as much material as possible.
Once the production sound is captured, dialogue editor Evan Benjamin steps in to seamlessly stitch together the different takes and make them sound like one continuous piece. This process involves using syllables from different takes or using software to remove unwanted noises, such as a pot clank in the middle of a line. While Foley is added during the post-production stage, there is already a significant amount of sound material gathered during production.
Supervising sound editor and re-recording mixer Steve Giammaria commends his colleagues for their precise work in refining and preparing the audio for the final mix. In the first season, there were only 86 lines of automated dialogue replacement (ADR), and most of these were for creative purposes rather than technical corrections. Giammaria attributes this accomplishment to Smith and Benjamin’s efforts.
Related Post
Considering that the series was shot in a kitchen environment, the sound was organically captured during filming but was also enhanced by the effects team. FX editor Jon Fuhrer and the Foley team led by Leslie Bloome contributed additional sounds like clanks and chops to complete the scenes.
During the final mix, Giammaria faced the challenge of balancing the various elements in the hectic scenes. Normally, he aims to have only two elements (music, dialogue, or effects) playing simultaneously in a scene. However, in The Bear’s chaotic scenes, it wasn’t possible to limit the number of elements. Dialogue remained a priority, ensuring that it was always understandable, even in the midst of the chaos. Giammaria also aimed to control the volume during the loud parts while still making them impactful.
The sound design for The Bear showcases the meticulous attention to detail and the dedication of the sound teams involved in bringing Storer’s vision of chaos to life. Their collaborative efforts resulted in two well-deserved Emmy nominations for sound editing and mixing. The combination of production sound, dialogue editing, Foley work, and the final mix all contributed to creating the chaotic and immersive sonic world of The Bear.
