SoundStart

In this episode we are joined by the sound team behind Wodow's Bay

How do you create one of the most unsettling cinematic soundscapes in recent memory?
In this episode, Stephen sits down with Supervising Sound Editor & Sound Designer Eugenio Battaglia and Production Sound Mixer Jan Hetmer to explore the making of Backrooms— the highly anticipated feature adaptation of Kane Parsons' internet phenomenon.
From capturing production sound in impossible 360° shots to designing an oppressive sonic world built almost entirely from buzzing fluorescent lights, this conversation is a fascinating deep dive into how sound shapes fear, tension and atmosphere.
Jan shares the unique challenges of recording production sound inside the endless, empty spaces of the Backrooms, while Eugenio reveals how stripping away traditional ambiences, embracing silence and building intensely detailed Foley helped create a world that feels both familiar and deeply unsettling.
Whether you're a filmmaker, sound professional or horror fan, this episode offers a rare behind-the-scenes look at one of the year's most ambitious soundtracks.
How Backrooms evolved from a YouTube phenomenon into a feature film
Capturing production sound with ultra-wide lenses and 360° camera moves
Using camera-mounted microphones to preserve perspective in impossible shots
Why realistic room acoustics became a key part of the post-production process
Building tension by removing sound instead of adding it
The role of silence, buzzing fluorescent lights and minimal ambiences in creating psychological horror
Designing believable found-footage sound while maintaining cinematic impact
Creating creature vocals that avoid familiar horror clichés
Worldising audio using real CRT televisions and vintage equipment
The importance of close-perspective Foley and subtle sonic detail
Collaboration between production sound and post-production teams
Practical advice for aspiring production sound mixers and sound designers
Why relationships, curiosity and adaptability are just as important as technical skill
One of the biggest themes throughout the conversation is that great horror sound isn't about making everything louder—it's about knowing what to remove.
Eugenio explains how reducing traditional background ambiences, focusing almost exclusively on the iconic fluorescent buzz, and allowing silence to create anticipation made the Backrooms feel unnervingly empty while keeping audiences constantly on edge.
Jan discusses the importance of capturing as much authentic production sound as possible, even mounting microphones directly to cameras when boom operators couldn't physically appear in shot. Those recordings later became invaluable references for recreating the unique acoustics of the Backrooms during post-production.
The episode also explores how respecting an established fanbase influenced creative decisions, balancing Kane Parsons' original online vision with the demands of a theatrical feature film.
Eugenio Battaglia is an award-winning Supervising Sound Editor and Sound Designer whose recent credits include Longlegs and Backrooms. Known for his immersive, close-perspective sound design and richly detailed Foley work, Eugenio specialises in building atmospheric, story-driven soundscapes.
Jan Hetmer is an acclaimed Production Sound Mixer with credits including The Monkey and Backrooms. Renowned for his technical ingenuity and collaborative approach on set, Jan has developed a reputation for capturing exceptional production dialogue in some of the industry's most demanding filming environments.
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What does it really take to build a career as an independent filmmaker?
This week I'm joined by writer and director Phil Claydon (Lesbian Vampire Killers, Alone, Within, Helloween) for a wide-ranging conversation about filmmaking, horror, storytelling and the changing landscape of independent cinema.
From directing studio features to making a micro-budget horror film with little more than determination, a MacBook and a huge amount of perseverance, Phil shares an honest look at what it really takes to keep creating in one of the toughest industries in the world.
We also explore why horror continues to launch exciting new filmmakers, whether the traditional distribution model still works for independent cinema, and why post-production and especially sound, is where films truly come to life.
In this episode we discuss:
Why there's never been a more exciting time to be an independent filmmaker
The success of films like Obsession and Backrooms
Building a career through conversation rather than waiting for a "big break"
The reality of directing Lesbian Vampire Killers
Making Helloween on a micro-budget
How directors should think about post-production
Why sound is one of the most powerful storytelling tools in filmmaking
Creating atmosphere, tension and world-building through sound
The importance of film scores and sonic identity
Why horror remains one of the best genres for emerging filmmakers
If you're an independent filmmaker, writer, producer or anyone passionate about telling better stories, there's a huge amount to take away from this conversation.

In this episode, Stephen Scott speaks with supervising sound editor and re-recording mixer Steve Fanagan about his work on Hokum.
They discuss:
How Steve first became involved with the film
Collaborating with director Damian McCarthy
Building the sound of the old rural hotel
Using subtle ambience, wind and creaks to create tension
Why silence and restraint are so important in horror
Recording bespoke sounds for environments, objects and supernatural moments
Designing the “gates of hell” sequence
The relationship between sound design and mixing
Why cinema audiences are so important to horror
Advice for emerging sound designers and mixers
A detailed, craft-led conversation about atmosphere, performance, fear and the invisible work that makes a film feel alive.

In this episode of SoundStart, Stephen sits down with members of the sound team behind Ready or Not 2: re-recording mixers Andrew Tay and Scott Hitchon, and supervising dialogue editor Mark Dejczak.
The conversation explores how the team approached the sound of a fast, chaotic horror-comedy where there are almost no simple “talking heads” scenes. They discuss rescuing production dialogue, cutting around overlapping breaths and reactions, preserving production effects, blending Foley with real set sounds, and building ADR that feels seamless.
They also dive into the film’s bigger sound moments, including the opening sequence, the ballroom fight, the industrial washing machine kill, the use of loop group, gore effects, Dolby Atmos mixing, and the pros and cons of working in large Pro Tools super sessions vs reels.
A generous, technical and very practical conversation for anyone interested in dialogue editing, sound design, Foley, re-recording mixing and the realities of modern feature film sound post.
Key topics covered:
Dialogue editing in fast, chaotic action scenes
Why production effects matter
Blending Foley with production sound
ADR for performance, breaths and reactions
Loop group for crowds and world-building
Cutting and mixing gore sounds
Dolby Atmos for movement, chaos and perspective
Mixing reel-by-reel versus super sessions
Working with directors and picture editors on the dub stage
Why monitoring format matters when giving notes