ComingSoon had the opportunity to speak with the Masters of the Air sound team, namely Jack Whittaker, Co-Supervising Sound Editor, Michael Minkler, Co-Supervising Sound Editor & Re-Recording Mixer, and Duncan McRae, Re-Recording Mixer. The trio dove into their process in creating the astonishing sound design in Apple TV’s acclaimed series.
ComingSoon: Can you walk us through the process of creating the soundscape for Masters of the Air? How did you approach capturing the essence of World War II-era aircraft and environments?
Jack Whittaker: We started this show with lots of conversations about how to build out the world of the 100th Bomb Group and the sound of the B-17 aircraft that we are with throughout the series. Those planes are a character on the show.
The first order of business was to record actual working B-17s, which we did over several days in Arizona. We recorded absolutely everything on the planes, both on the ground and in the air, so that we had a unique new library and also an audio reference of how the aircraft functioned—recordings we referred to many times while cutting the show.
Using that library of recorded sounds as the basis, I designed additional plane sounds to enhance specific moments as needed. We wanted to heighten the emotional aspect of the aircraft’s character as much as possible, and sometimes, the actual recordings didn’t quite have that dramatic punch a big soundtrack needs.
As is often the case, we continuously tweaked and expanded upon those sounds as the visual fx improved right up until the last day of the mix. Fortuitously for us, the period in which the show takes place was a wonderfully rich time sonically. Everything made a sound, and every sound had a unique character that allowed us to bring a vibrant energy to every scene. It was a real treat to work on something of this magnitude.
Masters of the Air follows the harrowing missions of the 100th Bomb Group. How did you convey the intensity and danger of these missions through sound design?
Whittaker: From the beginning of the production, we knew we wanted to immerse the viewer in the experience of being onboard with the crew. To do that, we put a lot of time into building the sonic world of the planes, both interior and exterior. We had four deafening Wright engines playing at all times and all kinds of other engine sweeteners to enhance specific shots. We also cut a lot of ambient sounds one would hear on the aircraft. Bangs, shakes, and rattles to help sell the ever-present turbulence. Metal creaks to sell the stress the planes are constantly under. Plus, all the physical sounds and human sounds of the crew. On top of that, we had the beefy 50 cal machine guns shooting at the German Fighters, the sound of exploding flak ripping by, and the shredding of the ship’s hull from the onslaught of combatant gunfire. All in all, it is a harrowing soundscape.
What were some unique challenges you faced in recreating the sounds of aerial combat and bomber missions for television?
Duncan McRae: One of the big challenges we faced in the mix was to continuously feel the strength and power of the plane we are in as the audience, and yet still feel the presence and location of surround friendly and enemy planes. Cutting to exterior facing shots of the B17s in formation meant that we had our audience still situated on a powerful aircraft, while seeing and hearing movement of other B17s around us. Carving out perspective through different onboard recordings from the crew, and the pitching movement of other planes accelerating or descending, really helped deliver the narrative when we needed to. Fitting all that into a format for streaming, while still feeling the great size of those engines, took a lot of work.
Michael Minkler: Dialogue intelligibility was very important for story point and drama. Mask/no mask/radio all had to be clear and distinctive. At the same time, the battle rages on with aggressive sound effects and heroic music. It took weeks of experimenting with mixing techniques that would be best represented in a home environment.
The series aims to provide an authentic portrayal of the American Eighth Air Force during WWII. How did you ensure historical accuracy in the sound design?
Minkler: We all read the book, “Masters of the Air,” as well as the Harry Crosby memoir, “A Wing and a Prayer.” These books are what the entire series is based on, and they are very concise and accurate in their accounts of the days. We also had access to Military Advisors who were at our disposal the entire time making sure that dialogue as well as sound effects were accurate and appropriately descriptive. Planes, guns, armor, and vehicles all went through an approval process.
What research and preparations did you undertake to accurately represent the sounds of aircraft engines, gunfire, and explosions from that era?
Whittaker: Our journey into researching the show began with a thorough exploration of Donald Miller’s book, “Masters of the Air.” This book served as an invaluable well of knowledge, becoming a crucial reference point throughout the entire process. In addition to this, we collaborated closely with Kirk Saduski, the Executive Producer of the show, and the military advisors involved in the project. This collaboration provided a wealth of information, covering everything from the proper use of radios on the plane and the nuances of alarms and sirens to ensuring authenticity in the sounds heard in the briefing room and control tower. Maintaining an ongoing dialogue with Kirk and the team throughout the entire mixing process was vital. We all strove to be as accurate as possible, as this project deserved it.
Masters of the Air promises to deliver a groundbreaking auditory experience. Can you tell us about any innovative techniques or technologies used in the sound production for the series?
Whittaker: Our approach to this project centered on prioritizing sound in service of the narrative before any design, cutting, or mixing occurred. Talking through ideas with Mike & Duncan about perspective, emotion, and energy proved invaluable—one notable technique involved designing the soundscape of the onboard B-17s into a three-dimensional experience. We wanted the viewer to feel immersed in each location within the plane. We did this by spatially mapping out the engine sounds within the mix room in relation to those positions. Duncan artfully manipulated the material to place the viewer in various positions within each aircraft, be it the back, the nose, or the top turret of the plane. Both Duncan and Mike leveraged the spatial aspects offered by Atmos to the best of what the format can offer.
Sound plays a crucial role in immersing viewers in the story. How did you balance realism with the need to create a compelling narrative through sound?
Minkler: Any sound that goes into a film like this must serve the narrative in an emotional, entertaining and descriptive manner. If it doesn’t, don’t put it in. It comes down to choices. Maintaining believability is critical. Designed sounds can cross a line and ruin the moment, taking the audience out of that “moment.”
Can you share any memorable moments or scenes from the series where sound design played a particularly significant role?
Minkler: Yes, at the train yard in Episode 6 when our boys witness another train that is loaded with women leaving the train yard. The women are loaded in like cattle, crying and screaming. We know that they are on a trip to their death. In that scene there is no train sound effect, only the accompaniment of a large bass drum and pulsing white noise.
Collaboration is key in bringing a project like Masters of the Air to life. How did you work with other departments, such as visual effects and music, to ensure cohesion in the overall auditory experience?
Minkler: Files were shared amongst the Picture, VFX, Music and Sound departments constantly. We all knew where the other one was during the process. We could either led or follow each others ideas and results.
What do you hope viewers will take away from the sound design of Masters of the Air, and how do you believe it enhances the storytelling of this remarkable true story?
Minkler: Our mission was to be authentic to their stories and heroic in our delivery. Music, Dialogue, and Sound Effects are all capable of delivering honest, high emotion. We all knew that we have a responsibility to convey what these men went through each and every day. We could only use our imagination to recreate the horror and fear that is well conveyed in print inside the remarkable books and memoirs. I hope that we did well.
