Sound for Dunkirk Asbjoern Andersen


Reviews for Christopher Nolan’s Dunkirk have been incredible, and for good reason. It’s a truly spectacular film – and so is Dunkirk’s sound. Get the full story on how the film’s rich, dense, and immersive soundscape was created, in this A Sound Effect interview with Oscar-winning supervising sound editor Richard King:


Written by Jennifer Walden, images courtesy of Warner Bros





Dunkirk - Trailer 1 [HD]


During WWII, along the shore of Dunkirk in northern France, 300,000 British troops were stranded as they made a retreat back across the English Channel. Lined up on the beach, they were sitting ducks for German bombers. The larger British ships were unable to reach the men on the shore, so Britain called upon small civilian boats to cross the Channel and help ferry the stranded men back to safety. Even knowing their own lives will be at great risk, brave British citizens answered the call.

Director Christopher Nolan’s dramatic war film Dunkirk, in theaters now, follows their retreat from three perspectives: the beached troops, Britain’s Royal Air Force, and that of a civilian boat captain. They struggle against the advancing Germans, but they also fight against time and tide. The clock is ticking for these troops, and that ticking clock — a main component of Hans Zimmer’s score, is a prevalent aspect of the sound track. While the score grapples with the emotional tension of the film, Oscar-winning supervising sound editor Richard King, at Warner Bros. Sound in Burbank, CA was grappling with the sound of the characters’ experiences. His goal was to build a rich, dense, and immersive sound track that encompassed the raw environments and perilous situations that the characters were in. Here, he shares his experience of creating the visceral sound for the world on-screen.

 

Dunkirk is such a great story and the visuals are amazing. Of course, it’s no surprise that you and your team did an incredible job on the sound…

Richard King (RK): Thank you. I’m really proud of the film. We were all staggered when we first saw the footage. It was pretty inspiring and our job was to have our work live up to those images.

 

How did you get involved with Dunkirk?

RK: I’ve worked with director Christopher Nolan on his past six movies. He shared some of his thoughts and we talked a bit about it after I had read the script. Then he and the crew went off to Europe to shoot. I worked a bit on my own designing sound effects, and then officially worked on the film for about eight months.

 

What was director Nolan’s vision for the sound track? How was he planning to use sound to help tell this story?

RK: First, the goal was to make it exciting, to make it visceral and immediate for the audience. We wanted to put the audience on the beach, on the small boats in the Channel, and inside the Spitfires. We wanted the experience to sound like it would for the men on the beach, and for the people who were involved.

We tried to make all of those locations and situations as fresh and immediate as possible, to rethink all of the sound situations and deliver a fresh approach to war films in general. We didn’t want to follow the usual tropes that have been used in the past.

[tweet_box]Behind the spectacular sound of Dunkirk – with Richard King[/tweet_box]  

I was inspired by several books, especially Joshua Levine’s ‘Voices of Dunkirk’, which presents a kaleidoscopic view of the events through firsthand accounts. They often had fresh, interesting descriptions of the way certain things sounded and clearly these sounds made an impact on them. There were descriptions of bombs going off, of ships sinking, and of the Stuka sirens on the German dive bombers.

Using these firsthand accounts was my way into creating unique perspectives on situations that we all think we’re familiar with but mostly through other war films.

These descriptions were inspiring because not only were they real, but they provided fresh insight and perspectives on the sound. They talked about sound in unexpected ways sometimes. We wanted to create a sound track that was historically accurate, while at the same time making an awesome, exciting movie. Using these firsthand accounts was my way into creating unique perspectives on situations that we all think we’re familiar with but mostly through other war films.

We didn’t want to use other war films as inspiration. We wanted to use the real event as much as possible for inspiration.



The sound illusion that makes Dunkirk so intense


The sound illusion that makes Dunkirk so intense

On the beach, when the German bombers first attack, there is a spectacular screaming quality to the planes as they dive. What went into that sound?

RK: That sound was specific to the Stuka dive bombers, which had sirens attached to the wheel struts. They were air driven sirens that had small propellers and when the planes dove (which they did almost vertically) the pilot released a brake on these devices and the propellers on the sirens would start to spin. It created a sound that many of the soldiers described as being particularly horrifying. It was a psychological weapon that the Germans put on the planes to freak people out and it worked apparently.

The first thing I like to do is record the real thing, to record the real sound, because often that is the best solution. But there are no Stukas left in the world. There aren’t even plans or drawings showing how the sirens were built. All of that was destroyed by the Allies to inhibit potential German war-making plans in the future.

There are historical recordings of Stukas that date before the war and that sound has been recycled over the generations for movies and TV shows. It’s often used as the classic dive bomber sound, or plane crashing sound, or for an anvil dropping on Wile E. Coyote’s head. Even though that recording is pre-war, probably recorded by German newsreel crews for propaganda purposes, it’s out there in the culture and most everyone has heard that sound.

I wanted our sound to have the same intensity and the same horrific, apocalyptic quality that the Stuka siren seemed to have had.

I wanted to give a nod to that original sound, but I wanted to make a high fidelity version of it. I wanted our sound to have the same intensity and the same horrific, apocalyptic quality that the Stuka siren seemed to have had. It was a long journey figuring out how to make that sound. Eventually, I built an electric-driven siren inside of a 30-gallon steel drum and clamped resonators to it. We took it out into the desert and recorded it. The recordings have the siren sound ricocheting around the hills and that adds another quality to the sound.


Popular on A Sound Effect right now - article continues below:


Trending right now:

  • The Seagulls sfx library includes 28 tracks of both single, isolated seagull screams, and bigger flocks of nesting seagulls, calling out to each other and their chicks. There are plenty of classic call sounds, but also some weird throaty and raspy screaming, and what could sound like seagull laughing sounds.

    All tracks are recorded with the very useful zoom function of the Telinga microphone and dish.
    Library includes both untreated tracks, and noise reduction processed tracks in two separate folders. Noise reduction processed tracks have carefully been cleaned up with a CEDAR NR system.

    Though these birds are in an abundance around most harbours and industry around here, they are not always easy to record. You mostly hear them from a distance, or from places not easy to access. When you try to get close to them, they will usually fly away.

    Many hours have been spent on rooftops, gardens, backyards, a junkyard, and different harbours to get this material.

  • This is a unique bicycle library that captures road surfaces from the perspective of super quiet bicycle. These are clean, quiet, nicely performed true exterior rides. Including multiple perspectives, speeds and actions. From fast passbys on asphalt to slow onboard recordings and smooth stops.

    The Extra Surfaces library provides 162 sounds captured on the following road types Large Bricks, Gravel, Grit, Icy Asphalt.

    The four additional ‘onboard road’ surfaces are the perfect extension for your other ‘City Bicycle’ library of taste. Just add it as a layer, mix it and voila your bicycle can move from gravel to bricks to grit or from large bricks to slippery icy asphalt roads.

    Speeds and actions:

    Three speeds. Departures from slow, medium to fast getaways. Arrivals from slow stops with gently brakes to smooth departures.

    Five perspectives:
    1. Onboard Front: captures the whirring tire and surface sound.
    2. Onboard Pedal: nice overall combination of pedaling, crank creaks, chain rattle, tire and surface sounds.
    3. Onboard Rear: close up sound of the rear axle, with chain, sprocket and switching of gear.
    4. Tracking shot: mono recording of the passby, keeping the bike in focus while passing by.
    5. Static XY shot: stereo recording of the passby that emphasizes speed.

    Overview of perspectives and mic placement:

    Onboard recordings are 2-3 minutes long depending on speed. Higher speeds > shorter duration.
    All 3 onboard mics are edited in sync with one another to make layering easy.
    All Passbys, Arrivals and Departures move from Left to Right.

    Metadata & Markers:

    FREE UPDATE to City Bicycles: now conforms to UCS with new metadata to quickly find your sounds.

    Because we know how important metadata is for your sound libraries we have created a consistent and intuitive description method that adheres to the Universal Category System. This allows you to find the sound you need easily, whether you work in a database like Soundminer/Basehead/PT Workspace work, or a Exporer/Finder window. We made a video that helps you navigate the library ans find your best bicycle sounds faster and easier.

    CategoryFull
    A quick way to filter out sounds you don’t need: like handling sounds or vice versa bicycle onboards.

    UserCategory
    Fastest way to find the type of action you need for all bicycles. Passby needed, just click and voila.

    OpenTier

    Once you’ve selected the bike you can open up OpenTier and audition and select the perspective you want to use.

    Scene &  Performer
    This field contains the type of bicycle or other sound. So you can find the bike you like fast.

    iXMLTrackLayout
    This is a neat little identifier you will find in the Waveform displays and you can see in a glance what Listening position you are.

    MicPerspective

    We have another way to find perspectives but it is more limited to distance to the recorded subject.
    So passbys are MED – EXT and handling are CU – EXT. Exterior? Of course: we recorded everything outside!

    UserComments
    We used this field to create the UserData and give you the minimal set of information about the recording in the filename.

    Additionally, we added Markers to some wave files, so specific sound events are easy to spot in Soundminer and other apps.

    If you have any questions about this, please contact us info@frickandtraa.com!

    Need more?
    The GoodBike library is a part of the ‘City Bicycles – Complete Bundle‘ available here in the A Sound Effect store. It consists of all 4 bicycles and includes additional surfaces and extras ranging from one-off  bicycle passes captured in the city and bounces and rattles. If you buy the complete bundle you get 1 package for free!

    Here’s a handy comparison table:

     

    'City Bicycles'  Sound Library by Frick & Traa
    Responses:

    344 AUDIO:City Bicycles has a plethora of content, for a great price. The perfect balance between a great concept, great presentation and outstanding execution, lands them an almost perfect score of 4.9..

    The Audio Spotlight: City Bicycles is worth getting if you are in need of great sounding and well edited bicycle sounds.

    Watch a video created by Zdravko Djordjevic.

    City Bicycles sound examples

     

  • This is a unique bicycle library that captures this characteristic bike in clean, quiet, nicely performed true exterior rides. Including multiple perspectives, speeds and actions. From fast passbys on asphalt to slow onboard recordings and smooth stops.

    The GoodBike is a smooth sounding retro bike that doesn’t rattle or squeak, it has a really nice tire sound for a subtle presence in the mix.

    Speeds and actions:
    Three speeds. Departures from slow, medium to fast getaways. Arrivals from slow stops with gently squeaking handbrakes to heavy stuttering skids.

    Five perspectives:
    1. Onboard Front: captures the whirring tire and surface sound.
    2. Onboard Pedal: nice overall combination of pedaling, crank creaks, chain rattle, tire and surface sounds.
    3. Onboard Rear: close up sound of the rear axle, with chain, sprocket and switching of gear.
    4. Tracking shot: mono recording of the passby, keeping the bike in focus while passing by.
    5. Static XY shot: stereo recording of the passby that emphasizes speed.

    Overview of perspectives and mic placement:

    Onboard recordings are 2-3 minutes long depending on speed. Higher speeds > shorter duration.
    All 3 onboard mics are edited in sync with one another to make layering easy.
    All Passbys, Arrivals and Departures move from Left to Right.

    Metadata & Markers:

    FREE UPDATE to City Bicycles: now conforms to UCS with new metadata to quickly find your sounds.

    Because we know how important metadata is for your sound libraries we have created a consistent and intuitive description method that adheres to the Universal Category System. This allows you to find the sound you need easily, whether you work in a database like Soundminer/Basehead/PT Workspace work, or a Exporer/Finder window. We made a video that helps you navigate the library ans find your best bicycle sounds faster and easier.

    CategoryFull
    A quick way to filter out sounds you don’t need: like handling sounds or vice versa bicycle onboards.

    UserCategory
    Fastest way to find the type of action you need for all bicycles. Passby needed, just click and voila.

    OpenTier

    Once you’ve selected the bike you can open up OpenTier and audition and select the perspective you want to use.

    Scene &  Performer
    This field contains the type of bicycle or other sound. So you can find the bike you like fast.

    iXMLTrackLayout
    This is a neat little identifier you will find in the Waveform displays and you can see in a glance what Listening position you are.

    MicPerspective

    We have another way to find perspectives but it is more limited to distance to the recorded subject.
    So passbys are MED – EXT and handling are CU – EXT. Exterior? Of course: we recorded everything outside!

    UserComments
    We used this field to create the UserData and give you the minimal set of information about the recording in the filename.

    Additionally, we added Markers to some wave files, so specific sound events are easy to spot in Soundminer and other apps.

    If you have any questions about this, please contact us info@frickandtraa.com!

    Need more?
    The GoodBike library is a part of the ‘City Bicycles – Complete Bundle‘ available here in the A Sound Effect store. It consists of all 4 bicycles and includes additional surfaces and extras ranging from one-off  bicycle passes captured in the city and bounces and rattles. If you buy the complete bundle you get 1 package for free!

    Here’s a handy comparison table:

    'City Bicycles'  Sound Library by Frick & Traa

     

    Here’s a handy comparison table:

    'City Bicycles'  Sound Library by Frick & Traa
    Responses:

    344 AUDIO:City Bicycles has a plethora of content, for a great price. The perfect balance between a great concept, great presentation and outstanding execution, lands them an almost perfect score of 4.9..

    The Audio Spotlight: City Bicycles is worth getting if you are in need of great sounding and well edited bicycle sounds.

    Watch a video created by Zdravko Djordjevic.

    City Bicycles sound examples

     

  • Strident and Demonic

    Expand the timbre of your horror violins and cellos with CIRCUS, a sinister sample pack featuring 180 WAV sounds of screeching or high-pitched string noises, perfect for horror music and dark sound design.

    Creative Tension

    This collection offers a curated selection of screeches, high-tension tremolo, heavy jeté strokes, dark demonic textures, finger patterns, chaotic string elements, clock loops and bow accents.

    Haunting and Experimental

    Create haunting atmospheres, perfect for horror, thriller or experimental soundtracks. Every element has been designed to unsettle and disturb, blurring the line between music and noise.

    80 %
    OFF
    Ends 1760911199

Latest releases:

  • Car Sound Effects Ford Puma 1997 sports car Play Track 206 sounds included, 48 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is only available in UCS.

  • Ambisonic Sound Effects Red Deer Play Track 13+ sounds included $80

    A small collection of High quality, close up red deer recordings.

    20 %
    OFF
  • Take full control of your interface sound design with the Ultimate UI Click & Select SFX Bundle — a massive collection of 1,054 professional-grade UI sound effects across seven expertly crafted libraries by RawAmbience.

    From crisp button clicks and smooth menu transitions to RPG-style selects, denies, and toggles, this all-in-one bundle gives you everything needed to design intuitive and immersive UI audio for games, apps, web, or interactive media.


    Your complete UI sound design toolkit.

    The Ultimate UI Click & Select SFX Bundle delivers a polished collection of responsive interface sounds, including:

    • Click & Select UI RPG SFX 1 & 2 – Over 456 sounds tailored for RPG and interactive UI: selects, hovers, alerts, cancels, access-denied, and more.
    • Click Menu Sound Effects 1 & 2 – 281 high-quality menu interaction sounds for toggles, clicks, opens, closes, and confirmations.
    • Click Sound Effects – 110 versatile UI clicks designed for modern app and game interfaces.
    • Essential Menu Click Sounds – 107 precise and minimal click sounds, ideal for clean, modern UIs.
    • Essential Menu Select Sounds – 100 select-focused sound effects, delivering clean, modern UI feedback for toggles, confirms, menu navigation, and precise user selections.

    Perfect For:

    • Game menus and HUDs (RPGs, mobile, indie, AAA)
    • Web and app UI feedback
    • Interactive experiences (VR, AR, touchscreen)
    • UI prototyping and UX testing
    • Accessibility-focused sound design
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is only available in UCS.

  • Sirens VEHICLE SIRENS – Europe Play Track 450+ sounds included $115

    VEHICLE SIRENS: EUROPE is the ultimate emergency siren collection, featuring more than 20 authentic tones from across Spain, France, Italy, the UK, Germany, and the Netherlands. From police, ambulance, and fire services, every signature tone has been captured with clarity and precision to deliver the most comprehensive European siren library ever made.

    Every wail, yelp, hi-lo, polytone and air horn has been captured from multiple perspectives: static takes in close, medium and distant, pass-bys, approaches, aways, ambisonic interiors, and natural reflections across diverse environments – from narrow village alleys to vast mountain valleys – all carefully captured to deliver true-to-life acoustics.

    A year of research, field recording, and editing – distilled into a single library.

    15 %
    OFF
Need specific sound effects? Try a search below:


We brought the recordings back to the studio and made it fit the planes on-screen along with other sounds to make it even more intense. The sounds we added were like distortion, as if the sound is so loud that it is just ripping through the air. It’s natural distortion — not like something overloading. These were quite large, two-seater planes and they had large dive brakes on the wings that open up while the plane is diving. Those probably added to the screaming sound as the planes dove as well.

We wanted to use a version of what sounded like the original sound for the dive bomber approach, and then as it gets closer, the sound becomes more and more intense. It builds up to the point where you can’t believe that it can get any more intense and then it gets even more intense!

The period descriptions describe the Stuka siren as being so loud that it drowns out the sound of the plane’s engine as it dives. Our version needed to be almost musical but still ‘death-from-above’ sounding, like some screeching, horrible pterodactyl that is descending on them. There was no defense against it. There were minimal anti-aircraft guns on the beach. The soldiers and the ships were almost defenseless against it.



Videos by Eric Potter, showing the actual recording experiments to create the Stuka Siren sound for Dunkirk

 
The Sound of Dunkirk – Oscar Podcast

‘In this two part episode, the artists show how the carefully engineered track builds and maintains tension for the entire running time of the movie, with music playing almost continuously from the opening shot of soldiers walking down the street to the moment Finn falls asleep on the train. They talk about how the mixing time works: they make a complete pass through the film and screen it every week during the final mix; and finally, why director Christopher Nolan feels you don’t necessarily need to understand every word of dialog in his films. Oscar nominees: Alex Gibson, Gregg Landaker, Richard King, Gary Rizzo, Mark Weingarten’

There were great moments of water sounds, like the gigantic waves that lash the ship during the medic rescue. Then during the torpedo strike the water is rushing into the ship. The grounded trawler on the beach had water rushing in with increasing intensity. Also, there are underwater moments, including underwater screams. Can you talk about your water work on the film?

RK: We recorded a lot of underwater screams and fire hoses for the high-intensity water sounds. We also recorded garden hoses for the water streaming into the trawler, as the soldiers are trying to plug the holes with their fingers. We recorded sounds of sloshing water. We recorded giant waves for when they are below deck and get struck by the torpedo and water rushes in.

We spent a lot of time recording boats, the wake of boats, and the movement of boats through water along with boat engines. We scoured Europe for boats because we wanted older diesel boats that they would have used in Europe in the 1930s. Most of the pre-war boats in the States had gas engines and we wanted to have those small diesel motors instead. I have friends in Europe who looked all over for older boats that people have properly maintained. We recorded boats in Sweden, England, and Finland.
Three fighter planes approach a sail boat.
I didn’t go to Europe to record because at that point we were already starting to work on the movie and I needed to be here. The planes were also recorded in Europe. We recorded three different Spitfires and a British Blenheim bomber in England and in Sweden they recorded the German ME-109 fighter.

Another big recording session that the recordists did overseas was recording a loop group inside a de-commissioned English warship, which is part of the Imperial War Museum now. The loop group in England did voices for the guys on the ship before it gets torpedoed. They recorded the loop group yelling to capture that nice reverberant, metallic sound of that ship environment.

We wanted to use a British loop group because this is a story that is very important to the British and is still familiar to the people of Britain.

We wanted to use a British loop group because this is a story that is very important to the British and is still familiar to the people of Britain. This is a proud moment in their history. It’s an incredible testament to their spirit. It seemed like a hopeless situation and yet they didn’t give up. They wanted to get 40,000 soldiers off of the beach and they ended up saving multiples of that. It’s a real testament to British nerve and spirit and determination. It’s a testament to their wit and cleverness, how they figured out how to pull these boats out of nowhere and extract these troops.



Christopher Nolan on Dunkirk | Film4 Interview Special


Christopher Nolan, on the making of Dunkirk

During a scene on the beach, several troops are holed up in a grounded trawler waiting for the tide to lift it up. German soldiers begin to use the boat for target practice. The bullet impacts there made me jump out of my seat. Can you talk about your work on that scene?

RK: We shot pieces of metal to simulate the boat’s hull and used a silencer/suppressor on the weapon to diminish the gun firing sound. We really just wanted to hear the impact of the bullets.

That was the goal, to make those bullet impacts as startling as possible. One reason that they are so effective is where they occur in the scene. Chris [Nolan] designed the scene so that you really weren’t expecting the bullet impacts. Even after I had seen the movie a hundred times, I’d still jump when that happens. The timing of them is perfect. They happen in pregnant pauses. They’re meant to do to the audience what they did to the guys in the boat, just scare the hell out of everyone.

Then we have the water trickling in. That was the garden hose recordings. The water starts to spray in with more intensity and for that we had recorded some hoses here on the Warner Bros. lot. The water goes from a trickle to a spray as the boat settles deeper into the water. That was a cacophony of trickles that got bigger and bigger as the boat filled up with water. The sound was always there in the background to reinforce the jeopardy that they were in, as the boat was filling up with water. Everything was about racing time in the film and we wanted to accentuate that in whatever way we could with sound.

What are you most proud of in terms of sound on Dunkirk?

We wanted them to feel like this wasn’t necessarily a historical film, but that it could be something that is happening right now.

RK: I’m proud of the film in its entirety. It’s an amazing movie and I think that we really did our best to rethink every single situation and not ever refer to past war films or what we imagine something would sound like. We really tried to create something startling for each moment because the movie is so economical — it’s cut fast, the scenes are short, we are with individual stories for just a short moment before we go to another story, and so each shot had to have sound that immediately put the audience in that moment. We wanted to have something unique for each, to make you feel as though you are in that place for the very first time and that you have never been there before, or been in that situation before. That is what we wanted the audience to feel. We wanted them to feel like this wasn’t necessarily a historical film, but that it could be something that is happening right now. We didn’t want to make it seem like an old-fashioned story. It needed to feel immediate and I feel like we accomplished that.

A big thanks to Richard King for giving us a behind-the-scenes look at the sound of Dunkirk – and to Jennifer Walden for the interview!

 

Please share this:


 



 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • The Seagulls sfx library includes 28 tracks of both single, isolated seagull screams, and bigger flocks of nesting seagulls, calling out to each other and their chicks. There are plenty of classic call sounds, but also some weird throaty and raspy screaming, and what could sound like seagull laughing sounds.

    All tracks are recorded with the very useful zoom function of the Telinga microphone and dish.
    Library includes both untreated tracks, and noise reduction processed tracks in two separate folders. Noise reduction processed tracks have carefully been cleaned up with a CEDAR NR system.

    Though these birds are in an abundance around most harbours and industry around here, they are not always easy to record. You mostly hear them from a distance, or from places not easy to access. When you try to get close to them, they will usually fly away.

    Many hours have been spent on rooftops, gardens, backyards, a junkyard, and different harbours to get this material.

  • This foley collection features the unique sounds of “Animal Footsteps” across diverse terrains. From the soft padding of paws and the scuttling of insects to the rhythmic clop of hooves and the delicate patter of birds, you’ll find every sound you need to bring your wildlife scenes to life.

    Each sound has been captured in studio and divided into specialised categories including Paws With Claws, Paws Without Claws, Reptiles, Rodents, Crustaceans, Arachnids, and more.

  • Materials & Texture Sound Effects Glacier Ice Play Track 300+ sounds included $40

    Glacier Ice is a library containing over 300 high quality sounds of ice cracking, breaking, shattering in various sizes of blocks – recorded entirely in the Italian Alps over the course of two winters.

    The library contains sounds of all dimensions, from ice cubes being dropped in a drink to a designed iceberg collapsing.

    The majority of the material was recorded at 192 KHz with a Sanken CO100K and a stereo pair of Sennheiser MKH8040, making this library greatly flexible for pitch shifting and all sorts of heavy processing.

    A small section recorded at 96KHz features sounds recorded exclusively with contact microphones placed directly on the surface of a frozen water stream.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Car Sound Effects Ford Puma 1997 sports car Play Track 206 sounds included, 48 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is only available in UCS.

  • Ambisonic Sound Effects Red Deer Play Track 13+ sounds included $80

    A small collection of High quality, close up red deer recordings.

    20 %
    OFF
  • Take full control of your interface sound design with the Ultimate UI Click & Select SFX Bundle — a massive collection of 1,054 professional-grade UI sound effects across seven expertly crafted libraries by RawAmbience.

    From crisp button clicks and smooth menu transitions to RPG-style selects, denies, and toggles, this all-in-one bundle gives you everything needed to design intuitive and immersive UI audio for games, apps, web, or interactive media.


    Your complete UI sound design toolkit.

    The Ultimate UI Click & Select SFX Bundle delivers a polished collection of responsive interface sounds, including:

    • Click & Select UI RPG SFX 1 & 2 – Over 456 sounds tailored for RPG and interactive UI: selects, hovers, alerts, cancels, access-denied, and more.
    • Click Menu Sound Effects 1 & 2 – 281 high-quality menu interaction sounds for toggles, clicks, opens, closes, and confirmations.
    • Click Sound Effects – 110 versatile UI clicks designed for modern app and game interfaces.
    • Essential Menu Click Sounds – 107 precise and minimal click sounds, ideal for clean, modern UIs.
    • Essential Menu Select Sounds – 100 select-focused sound effects, delivering clean, modern UI feedback for toggles, confirms, menu navigation, and precise user selections.

    Perfect For:

    • Game menus and HUDs (RPGs, mobile, indie, AAA)
    • Web and app UI feedback
    • Interactive experiences (VR, AR, touchscreen)
    • UI prototyping and UX testing
    • Accessibility-focused sound design
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is only available in UCS.

  • Sirens VEHICLE SIRENS – Europe Play Track 450+ sounds included $115

    VEHICLE SIRENS: EUROPE is the ultimate emergency siren collection, featuring more than 20 authentic tones from across Spain, France, Italy, the UK, Germany, and the Netherlands. From police, ambulance, and fire services, every signature tone has been captured with clarity and precision to deliver the most comprehensive European siren library ever made.

    Every wail, yelp, hi-lo, polytone and air horn has been captured from multiple perspectives: static takes in close, medium and distant, pass-bys, approaches, aways, ambisonic interiors, and natural reflections across diverse environments – from narrow village alleys to vast mountain valleys – all carefully captured to deliver true-to-life acoustics.

    A year of research, field recording, and editing – distilled into a single library.

    15 %
    OFF

   

4 thoughts on “Behind the spectacular sound of ‘Dunkirk’ – with Richard King:

  1. Richard was the sound effects supervisor on one of my early films, called down twisted. even then you knew richard was immensely talented. sadly it was the only time i worked with richard.

    albert pyun

  2. The film was amazing. But… In the IMAx theater in NYC the sound was so loud you couldn’t hear what the people were saying at times. Could have used sub titles or just turned it down. Many people complained but the theater didn’t seem to care. I heard this was the case in other theaters as well.

  3. I wanted to see Dunkirk, for Nolan is a fine director. Then I read this article and that was that-just saw it, or rather, heard it. Incredible, awe inspiring, terrifying – sound design on the highest level. I am working for the next few days, day and night, but my next day off next week and I will be listening again. And I’ll buy it on DVD when it is released for this is one to treasure and to learn from, masterly.

    Bernard Clarke

Leave a Reply

Your email address will not be published. Required fields are marked *

HTML tags are not allowed.