In horror cinema, audio plays as big a part in creating terror as the visuals. So too with Danny Boyle’s latest, 28 years Later. Kevin Hilton finds out how the sound team kept the tension high
The latest in the 28… franchise, which continues the story of how survivors of the Rage Virus carry on with life while fighting off the Infected, was shot on an iPhone 15 Pro Max, body-worn cameras and camera drones.
By contrast the location audio was recorded by production sound mixer Denise Yarde on what she describes as “very old” technology, including a Sound Devices 688 12-input digital field mixer/16-track recorder as her main unit and a portable 664 analogue equivalent for more mobile takes.
Yarde’s microphone choice was also traditional, with Sennheiser MKH 70 shotgun mics for many of the exterior shots and an MKH 50-P48 super-cardioid condenser mic on interiors. “We occasionally rocked out the MKH 816, a much longer shotgun,” she says. “I had two boom operators on the shoot, Kate Morath and Barry Coxhead, with sound trainee Tony Park on a third boom for wildlife and nature. Barry used the 816 for a sequence where Jodie Comer was up to her neck in water and he was probably about 200 metres away standing on the rocks. That’s the dialogue you hear in the film because it came through beautifully.”
Staff Reporter
Share this story
