the subwoofer channel." Nolan deliberately intended some dialogue to seem drowned out by ambient noise or music, causing some theaters to post notices emphasizing that this effect was intentional and not a fault in their equipment. Composer Hans Zimmer, who scored Nolan's The Dark Knight Trilogy and Inception (2010), returned to score Interstellar. Nolan chose not to provide Zimmer with a script or any plot details for writing the film's music but instead gave the composer a single page that told the story of a father leaving his child for work. It was through this connection that Zimmer created the early stages of the Interstellar soundtrack. Zimmer and Nolan later decided that the 1926 four-manual Harrison & Harrison organ of the Temple Church, London, would be the primary instrument for the score. Zimmer conducted 45 scoring sessions for Interstellar, three times more than for Inception. The soundtrack was released on November 18, 2014. Visual effects Visual effects company Double Negative, which worked on Inception, was brought back for Interstellar. According to visual effects supervisor Paul Franklin, the number of effects in the film was not much greater than in Nolan's The Dark Knight Rises (2012) or Inception. However, for Interstellar, they created the effects first, allowing digital projectors to display them behind the actors, rather than having the actors perform in front of green screens. Ultimately, the film contained 850 visual-effect shots at a resolution of 5600 × 4000 lines: 150 shots that were created in-camera using digital projectors, and another 700 were created in post-production. Of those, 620 were presented in IMAX, while the rest were anamorphic. The ranger, Endurance, and lander spacecraft were created using miniature effects by Nathan Crowley in collaboration with effects company New Deal Studios, as opposed to using computer-generated imagery, as Nolan felt they offered the best way to give the ships a tangible presence in space. 3D-printed and hand-sculpted, the scale models earned the nickname "maxatures" by the crew due to their immense size; the 1/15th-scale miniature of the Endurance module spanned over , while a pyrotechnic model of part of the craft was built at 1/5th scale. The Ranger and Lander miniatures spanned and over , respectively, and were large enough for van Hoytema to mount IMAX cameras directly onto the spacecraft, thus mimicking the look of NASA IMAX documentaries. The models were then attached to a six-axis gimbal on a motion