infinitebling

Thank you for the reply.

i was all the normal-scale fight sounds (impacts, slides, breaks)

Yeah, that's actually more what I was referring to. I've always been impressed with how solid and punchy you were able to get those and yet the score and dialogue still seem at a consistent RMS. Like those huge slides and impacts seem to have a lot of full-spectrum content. Not the kinds of sounds I've ever found easy to blend into a soundtrack without sacrificing some sonic character of some other element in some way, especially when trying to preserve a dialogue track.

One example would be in the bar fight scene, Zhang bursts through the doors out into the courtyard, sending a couple guys flying through the wood and onto the ground. I believe that specific moment you have a speaking voice, a bunch of grunts and cries, the impact of exploding wood, the clatter of debris and the score, which is a high flute and low drums, yet, every particular component can be clearly heard, and it never seems like the explosion-type noises ever force anything to try to be heard.

I was interested in the technical side.. whether that's strategic eq, or multiband compression, or some combination of techniques.

Crouching tiger hidden dragon's sound is amazing.

How do you treat the sword/movement fighting sounds in that type of project?

I'm assuming it's a bit boom capturing, foley, but then how do you give it that transience that pierces the score and dialogue, but doesn't overwhelm either?

Such good sounding stuff in that film, always admired it. Thanks for doing this very interesting AMA.