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Okay, welcome to this week's production diary.

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We've got now 23 weeks left to go.

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So now that you've seen the gathering process,

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and you've seen us run around and record all the sounds we need,

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I would like to invite you inside to Park Road Post

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to see the next step, which is designing and editing the sounds.

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Okay, so just down there is the ADR recording stage.

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We didn't get much of a crowd tonight, Annie.

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This is our main mixing theatre.

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Come on, take me to dinner.

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And this is out of nowhere.

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The sound design is really made up of many, many, many layers of sounds.

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And we start with the smallest sounds.

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Sound design is pulling sounds out of thin air.

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Building mass foot wallah.

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We'll start with a couple of simple elements for the hit of him throwing.

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And then a metal element.

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We'll have a glass element.

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And then it's really a matter of adding other elements for the slide pass.

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Once you kind of put it all together, it kind of sounds like this.

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We have the ability to basically take each sound and move it around the room

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by putting it through this control system

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where we can tell it what speaker to go into.

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So this dot basically represents the sound.

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Right now, I've got it playing out the center speaker,

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but I can move it to the right surround, left surround, back to the front left.

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We're putting that right around the room,

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so we've got pretty much a really good quad going of creaks and moans.

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And when the tram gets bashed, the tram bell also dings every now and then,

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which is quite funny.

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I also use the boat and the car drops...

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...for the tram impacts onto the vehicles and stuff like that.

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It's been a fantastic day. One of the best recording days yet.

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And the tram is made of wood and steel,

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so it gives it a believability in that size of the impact.

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They're pretty tough people.

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When you hear this in the film, there'll be Kong effects all over it,

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and the crowds probably won't be anywhere near as exhausting to listen to

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as they are at the moment when they're totally raw,

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because they sound like this.

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You get the idea.

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When I finally see the scene and I see all those bits of crevice

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have been swapped out with the real crowd,

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I'm familiar with it, and I can go,

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that shot, that sound, and just whack it in.

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It's going to be a bit of a sausage factory,

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because that's the way it's looking like it's going to turn out.

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We've got a pretty monstrous amount of work to get through,

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which is kind of appropriate given there's lots of monsters in the film.

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The bulk of the recording has been done,

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but there's still lots of little bits and pieces,

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and you come up with an idea and you go,

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oh, I want to try that.

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So you just sort of run away and try a particular thing.

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As time goes on, there'll be obviously less of that,

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and it'll just get hairier and smellier.

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We'll just get really tired and grumpy.

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Apart from that, it'll be great fun.