In the realm of high-altitude cinema, silence is rarely empty. It is a dense, pressurized presence that weighs heavily on the human psyche. For Highest, the objective was not merely to replicate the sound of wind and snow, but to sonify the internal sensation of isolation.
The mixing process was conducted in a 5.1 surround environment to fully immerse the audience in the spatial disorientation experienced by the protagonist. By manipulating the LFE channel, I introduced sub-bass frequencies that are felt rather than heard.
Every footstep was recorded using specific Foley techniques to reflect the changing density of the terrain—from the crunch of frozen snow to the hollow thud of rock. These tactile details anchor the viewer in the physical struggle.