Infiniti — sound for the series

Infiniti is the kind of production in which sound works on equal footing with the image. A thriller with science-fiction elements sets the post-production studio tasks quite different from those of a comedy or documentary: you have to build a world that does not always exist in front of the camera, and its credibility is born largely in the soundtrack itself. Tension, scale, unease — all of this is delivered by sounds that often cannot be captured on set.

Recognition: Infiniti is a sci-fi/thriller series from Canal+ / Studiocanal (2022) that earned an official selection at Canneseries 2022 — a prestigious festival premiere. The production was sold to over 60 territories worldwide. It is precisely in projects like this that sound post-production and sound design determine international impact: a consistent, polished soundtrack builds a tension that holds the viewer’s attention regardless of language or market.

The role of sound in a thriller

In an action production, sound design is a tool of narration. The director guides the viewer not only with the image but also with what they hear and when. Silence can be louder than a roar — a well-led pause before the climax builds anticipation more effectively than music. On the other hand, a rising low tone beneath a scene can provoke an unease the viewer cannot rationally explain.

To this is added the building of space: ambiences that define the location of the action, and sound effects that give weight and realism to the events on screen. In a production with science-fiction elements, some of these sounds have to be designed from scratch — they do not exist in nature, so they arise from layering, processing and the synthesis of recordings. It is a craft in which imagination matters as much as technical discipline.

The All In Sound approach

On a series, consistency across the whole season is crucial. Before we start editing, we define the sonic palette: the character of the ambiences, the sound of the key effects, the way tension is built. Thanks to this, episodes made at different times sound like one deliberate whole. We write more about our approach and our team about us .

The experience we bring to productions like this comes from our team’s individual careers. On Infiniti itself, Olga Pasternak — a sound professional who co-founded All In Sound — worked as an ADR editor as part of a larger sound post-production crew (IMDb ). ADR editing is the precise alignment of studio-recorded re-dialogue to the picture and to the actor’s original emotion — a craft that lies at the foundation of a clean, believable dialogue track, and one we draw on in every project today.

In practice we divide the work into layers. Editing and cleaning the dialogue gives us a clean foundation. On it we build the sound design — effects, ambiences and designed sounds — using our 4 TB library and our own recordings. The Foley layer is created separately: footsteps, touch, movement, which add physicality to the scene. The whole is bound together by a mix in a surround configuration, in which we decide on direction, depth and dynamics — from a barely audible whisper of background to a full impact in the climactic scene.

The result is a soundtrack that does not so much accompany the image as co-create the tension. In a thriller, it is most often the sound that decides whether the viewer holds their breath.

See our other projects or write to us — if you are making a production where atmosphere matters, we would be glad to talk about sound.