Ambient and Foley placement is complete for Episode 1, and mix automation is about 50% finished. There is one particular sound which I have saved for today, which requires some intense design. While the other sounds must be just right too, this one is particularly important because it will get used again throughout the film, so whatever I design now I'll be pretty much stuck with. It's tricky, and without giving anything away, I'll just say that it's most challenging because it's not a sound anyone in THIS world has ever heard before.
I'm certainly happy that I invested in several Hollywood Edge volumes as well as the relatively new Sony Pictures Sound Effects Series, as they have given me a great deal of high-quality raw materials to work with here. No internet-downloaded 11kHz samples in this film, that's for damn sure.
Music-wise, all score is in place for this first episode except for one very brief section which I'll be getting done today. I'm particularly happy with the opening, which I spent a lot of time on because that first impression for a film/series of this magnitude is so important. I think the team will be pleased, we shall know soon.
Episodes 2 and 3 are charted out, and while neither is quite as complex sound-wise as this first one, the third episode has some astounding moments that will require some more heavy-duty design which I'm looking forward to immensely.
All in all, I'm pleased with the progress in this first week, considering that the first couple days were just setup and resource-gathering for Act 1 in general. But once things got going, I've been able to keep some nice momentum while not totally wearing my ears out, which is a big factor for long sessions like this. Fellow engineers, I implore you, take good care of those ears!