The conceit behind Baby Driver – a getaway driver uses his iPod playlists to drown out his tinnitus, thereby providing the soundtrack to his car chases – is really smart, and works incredibly well: the film sounds as good as it looks, and it looks amazing. If you’re in the mood for an action-packed event with spectacular stunt work, effective CGI, and lots of thrills and spills, it’s a five-star experience – and it’s on Netflix.
Ansel Elgort is the Baby of the title, and while he’s tired of the life he has no choice but to take on one more job from criminal Doc, played by Kevin Spacey. As you’d expect, things promptly go off the rails – it wouldn’t be much of a movie otherwise – and the result was what RogerEbert.com described as “as much fun as you’re going to have in a movie theater this year.” And now you can have the same fun from the comfort of your couch.
Is Baby Driver worth streaming?
Definitely. It’s hard to describe the film without making it sound like an extended movie video, but while it has all the visual flair and excitement of the very best music videos there’s a proper film here too: RogerEbert.com says that “trust me when I say that [director Edgar] Wright doesn’t skimp” on the substance; “there’s enough story and action here to satisfy without the music that drives the film-making… at its core, Baby Driver recalls decades of movies that anchored their narratives on criminals and the art of the car chase.”
But “it’s not just the action sequences that strike a chord,” the Guardian says. “At times the songs serve as an on-the-nose Greek chorus, telling us that Baby has “nowhere to run to, nowhere to hide” as he’s trapped in an arms deal. But it’s when the horns and drums of the Button Down Brass’s Tequila become gunfire, or the madness of Hocus Pocus by Focus drives a breathless chase, that Wright really puts his foot down, with exhilarating results.”
Empire gave the film the full five stars, with Terri White calling it “an awe-inspiring piece of filmmaking… that plays out as a musical through the lens of an action thriller. Sweet, funny and utterly original – you won’t see a film like it this year.”
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Movie sound production is a complex and painstaking process, requiring multiple teams of individuals with special skills to create and mix the dialogue, music, and sound effects that comprise a typical Dolby Atmos movie soundtrack.
How do I know this? I spent two days touring the Sony Pictures Studios lot in Culver City, California where Sony produces the soundtracks for its films. The reason I was at the studio was to see the new Sony TV lineup for 2024, along with the new Sony Dolby Atmos soundbars, but Sony also provided me and other tech writers with a behind-the-scenes look at the studio’s production processes.
During the visit, we were treated to demonstrations of Foley effects, ADR (Automated Dialogue Replacement) and soundtrack mixing. These, along with musical score composition, are the building blocks of soundtrack creation, and when executed well, add up to the detailed and dramatic soundscapes that can be fully appreciated when watching movies on the best Dolby Atmos soundbars and speakers.
A key takeaway from my visit was that movie soundtracks contain only fragments of “live” sound captured during the actual shooting process. Most of the soundtrack is created completely from scratch in the studio, with dialogue, footsteps, rustling leaves and wind, motor sounds, and explosions added after the fact. Another takeaway was that a typical soundtrack is comprised of a surprisingly wide array of audio elements, all of which ultimately get mixed into a seamless whole. I’ll step through the various processes I caught demonstrations of below.
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An antique tool used to create horse hoofbeat sounds(Image credit: Future)
Sony Pictures Foley artist Gary Hecker at work(Image credit: Future)
A closet used to store Foley artist tools of the trade(Image credit: Future)
More tools of the trade(Image credit: Future)
Foley effects
Before my Sony Pictures Studio tour, I thought many of the sounds you hear in modern movies were sourced from a library of digital audio samples. And while there is some of that going on, the vast majority of sounds are created by a Foley artist.
These sound magicians summon up an array of audio effects using plain, everyday objects in highly creative ways and maintain a vast library of said objects to aid them in that task. During the demo, Sony Studios Foley artist Gary Hecker performed the various sounds that went into a Western movie scene of a band of horses being driven through a forest. Hoofbeat sounds were created using what looked like an antique tool pounded on a dirt-covered surface, while other objects were used to generate rustling leaves and jostling spurs. Hecker created the whinnying sounds the horses made when halted with his own voice, and the effect was strikingly naturalistic.
After watching the scene’s various effects created one by one, they were edited together with sound processing added to make them louder and more dynamic, and the result was an authentic-sounding movie action scene. In another demo, the sound of Spider-Man shooting webs to leap from building to building was quickly created using a whip, and, after a bit of processing, the effect was convincingly Spider-Man-like.
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ADR
When an actor signs on to make a movie, part of the work involves the actual shooting of scenes, but another equally important part is overdubbing dialogue later in a process called ADR. As with other soundtrack elements, a scene’s dialogue is almost completely re-constructed in a studio to ensure it sounds clear and easy to understand. While no actors were on hand for Sony’s ADR demo, we got to see a studio where ADR is edited and hear examples of dialogue recorded post-shoot being inserted into a scene.
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The Spider-Man: No Way Home Dolby Atmos soundtrack mixing demo begins(Image credit: Sony Pictures Studios)
The sound mixer preparing to play Dolby Atmos height effects in isolation(Image credit: Future)
The overhead Dolby Atmos height speakers in the Japanese garden-themed soundtrack mixing studio(Image credit: Future)
Soundtrack mixing
After all the sound effects creation, ADR, and music scoring work is complete, the soundtrack is ready to be mixed. The large room – a space with Japanese garden-themed decor – where Sony’s soundtrack mixing demo took place was one of 14 mixing rooms at the studio, and was a medium-sized mixing room according to Sony. Even so, it had a total of 38 speakers for mixing soundtracks in Dolby Atmos. (We were told during the demo that all soundtracks are also later mixed in a smaller home theater-type space for an Atmos home video release.)
Using the Spider-Man: No Way Home (2021) soundtrack for the demo, Sony sound mixer Jeff Gross played the multiple tracks in the mix individually so we could hear them in isolation. The demo also alternated between a full soundtrack mix and just the Dolby Atmos height effects, allowing us to hear how much Atmos effects contribute to a soundtrack. Short version: a lot. Coming away from the experience, I had a renewed appreciation for immersive soundtrack formats like Dolby Atmos, and of the importance of reproducing Atmos soundtracks adequately at home.
It’s not every day you get to wander around a legendary Hollywood studio and watch people at work making movies. I may have been there to check out the new Sony TVs and soundbars, but I also got to experience movie soundtrack production, which is a more magical, intense, and involved process than I ever imagined.
