The Subtle Art of Sound Design for Editors

Ever notice how Oppenheimer pulls you in—even in its quietest moments? Most people think it’s all about fancy technical effects, but after 20 years of editing TV commercials, I’ve learned that great cinematic sound design comes down to simple, emotional steps.

The first—and most overlooked—step is to stop diving into sound design without a goal. Before touching a single effect, decide what emotion your scene should evoke. In Oppenheimer’s rain-soaked lab scene, for instance, everything—from pacing to thunder—builds pure tension. Once you define your target emotion, every sound choice becomes intentional.

Here’s how I break it down:

• Start with ambiance. It’s the emotional bed for your dialogue. Don’t just use the production audio you’re given—experiment with different ambiances until one perfectly reinforces your emotional goal. The editors of Oppenheimer didn’t just drop in any rain—I'm sure they auditioned maybe hundreds of storms to find one that built unease.

• Shape your dialogue. Move lines slightly to control rhythm and energy. Need tension? Tighten the pacing. Need reflection? Add space. And don’t be afraid of imperfections—little mouth noises or breaths can add realism and authenticity that clean takes sometimes lack.

• Add music last. Music is powerful but deceptive. If you start with it too early, you might think the scene works emotionally when it doesn’t. Build your emotional base first with ambiance and dialogue, then let the score enhance it.

• Layer in details. Tiny sounds—like a chair creak, a coat rustle, or a thunderclap between lines—make your world feel real. Even replacing something simple, like a door knock, can transform the emotional tone.

When every sound serves the emotion you’re aiming for, your edits will hit harder and feel more cinematic.