Tag Archives: audio post production

Sony Pictures Post adds three theater-style studios

Sony Pictures Post Production Services has added three theater-style studios inside the Stage 6 facility on the Sony Pictures Studios lot in Culver City. All studios feature mid-size theater environments and include digital projectors and projection screens.

Theater 1 is setup for sound design and mixing with two Avid S6 consoles and immersive Dolby Atmos capabilities, while Theater 3 is geared toward sound design with a single S6. Theater 2 is designed for remote visual effects and color grading review, allowing filmmakers to monitor ongoing post work at other sites without leaving the lot. Additionally, centralized reception and client services facilities have been established to better serve studio sound clients.

Mix Stage 6 and Mix Stage 7 within the sound facility have been upgraded, each featuring two S6 mixing consoles, six Pro Tools digital audio workstations, Christie digital cinema projectors, 24 X 13 projection screens and a variety of support gear. The stages will be used to mix features and high-end television projects. The new resources add capacity and versatility to the studio’s sound operations.

Sony Pictures Post Production Services now has 11 traditional mix stages, the largest being the Cary Grant Theater, which seats 344. It also has mix stages dedicated to IMAX and home entertainment formats. The department features four sound design suites, 60 sound editorial rooms, three ADR recording studios and three Foley stages. Its Barbra Streisand Scoring Stage is among the largest in the world and can accommodate a full orchestra and choir.

Behind the Title: Sonic Union’s executive creative producer Halle Petro

This creative producer bounces between Sonic Union’s two New York locations, working with engineers and staff.

NAME: Halle Petro

COMPANY: New York City’s Sonic Union (@SonicUnionNYC)

CAN YOU DESCRIBE YOUR COMPANY?
Sonic Union works with agencies, brands, editors, producers and directors for creative development in all aspects of sound for advertising and film. Sound design, production sound, immersive and VR projects, original music, broadcast and Dolby Atmos mixes. If there is audio involved, we can help.

WHAT’S YOUR JOB TITLE?
Executive Creative Producer

WHAT DOES THAT ENTAIL?
My background is producing original music and sound design, so the position was created with my strengths in mind — to act as a creative liaison between our engineers and our clients. Basically, that means speaking to clients and flushing out a project before their session. Our scheduling producers love to call me and say, “So we have this really strange request…”

Sound is an asset to every edit, and our goal is to be involved in projects at earlier points in production. Along with our partners, I also recruit and meet new talent for adjunct and permanent projects.

I also recently launched a sonic speaker series at Sonic Union’s Bryant Park location, which has so far featured female VR directors Lily Baldwin and Jessica Brillhart, a producer from RadioLab and a career initiative event with more to come for fall 2018. My job allows me to wear multiple hats, which I love.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I have no desk! I work between both our Bryant Park and Union Square studios to be in and out of sessions with engineers and speaking to staff at both locations. You can find me sitting in random places around the studio if I am not at client meetings. I love the freedom in that, and how it allows me to interact with folks at the studios.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Recently, I was asked to participate on the AICP Curatorial Committee, which was an amazing chance to discuss and honor the work in our industry. I love how there is always so much to learn about our industry through how folks from different disciplines approach and participate in a project’s creative process. Being on that committee taught me so much.

WHAT’S YOUR LEAST FAVORITE?
There are too many tempting snacks around the studios ALL the time. As a sucker for chocolate, my waistline hates my job.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
I like mornings before I head to the studio — walking clears my mind and allows ideas to percolate.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I would be a land baroness hosting bands in her barn! (True story: my dad calls me “The Land Baroness.”)

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
Well, I sort of fell into it. Early on I was a singer and performer who also worked a hundred jobs. I worked for an investment bank, as a travel concierge and celebrity assistant, all while playing with my band and auditioning. Eventually after a tour, I was tired of doing work that had nothing to do with what I loved, so I began working for a music company. The path unveiled itself from there!

Evelyn

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Sprint’s 2018 Super Bowl commercial Evelyn. I worked with the sound engineer to discuss creative ideas with the agency ahead of and during sound design sessions.

A film for Ogilvy: I helped source and record live drummers and created/produced a fluid composition for the edit with our composer.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
We are about to start working on a cool project with MIT and the NY Times.

NAME SOME TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Probably podcasts and GPS, but I’d like to have the ability to say if the world lost power tomorrow, I’d be okay in the woods. I’d just be lost.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Usually there is a selection of playlists going at the studios — I literally just requested Dolly Parton. Someone turned it off.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Cooking, gardening and horseback riding. I’m basically 75 years old.

Composer and sound mixer Rob Ballingall joins Sonic Union

NYC-based audio studio Sonic Union has added composer/experiential sound designer/mixer Rob Ballingall to its team. He will be working out of both Sonic Union’s Bryant Park and Union Square locations. Ballingall brings with him experience in music and audio post, with an emphasis on the creation of audio for emerging technology projects, including experiential and VR.

Ballingall recently created audio for an experiential in-theatre commercial for Mercedes-Benz Canada, using Dolby Atmos, D-Box and 4DX technologies. In addition, for National Geographic’s One Strange Rock VR experience, directed by Darren Aronofsky, Ballingall created audio for custom VR headsets designed in the style of astronaut helmets, which contained a pinhole projector to display visuals on the inside of the helmet’s visor.

Formerly at Nylon Studios, Ballingall also composed music on brand campaigns for clients such as Ford, Kellogg’s and Walmart, and provided sound design/engineering on projects for AdCouncil and Resistance Radio for Amazon Studios and The Man in the High Castle, which collectively won multiple Cannes Lion, Clio and One Show awards, as well as garnering two Emmy nominations.

Born in London, Ballingall immigrated to the US eight years ago to seek a job as a mixer, assisting numerous Grammy Award-winning engineers at NYC’s Magic Shop recording studio. Having studied music composition and engineering from high school to college in England, he soon found his niche offering compositional and arranging counterpoints to sound design, mix and audio post for the commercial world. Following stints at other studios, including Nylon Studios in NYC, he transitioned to Sonic Union to service agencies, brands and production companies.

Sim Post NY expands audio offerings, adds five new staffers

Sim Post in New York is in growth mode. They recently expanded their audio for TV and film services and boosted their post team with five new hires. Following the recent addition of a DI theater to its New York location, Sim is building three audio suites, a voiceover room and support space for the expanded audio capabilities.

Primetime Emmy award-winner Sue Pelino joins Sim as a senior re-recording mixer. Over Pelino’s career, she has been nominated for 10 Primetime Emmy Awards, most recently winning her third Emmy in 2017 for Outstanding Sound Mixing for her work on the 2017 Rock & Roll Hall of Fame Induction Ceremony (HBO). Project highlights that include performance series such as VH1 Sessions at West 54th, Tony Bennett: An American Classic, Alicia Keys — Unplugged, Tupac: Resurrection and Elton John: The Red Piano.

Dan Ricci also joins the Sim audio department as a re-recording mixer. A graduate of the Berklee College of Music, his prior work experience includes time at Sony Music and credits include Comedians in Cars Getting Coffee and the Grammy-nominated Jerry Before Seinfeld Netflix special. Ricci has worked extensively with Dolby Atmos and immersive technologies involved in VR content creation.

Ryan Schumer completes Sim New York’s audio department as an assistant audio engineer. Schumer has a bachelor’s degree from Five Towns College on Long Island in Jazz Commercial Music with a concentration in audio recording technology.

Stephanie Pacchiano joins Sim as a finishing producer, following a 10-year stint at Broadway Video where she provided finishing and delivery services for a robust roster of clients. Highlights include Jerry Seinfeld’s Comedians in Cars Getting Coffee, Atlanta, Portlandia, Documentary Now! and delivering Saturday Night Live to over 25 domestic and international platforms.

Kassie Caffiero joins Sim as VP, business development, east coast sales. She brings with her over 25 years of post experience. A graduate of Queens College with a degree in communication arts, Caffiero began her post career in the mid 1980s and found herself working on the CBS TV series. Caffiero’s experience managing the scheduling, operations and sales departments at major post facilities led her to the role of VP of post production at Sony Music Studios in New York City for 10 years. This was followed by a stint at Creative Group in New York for five years and most recently Broadway Video, also in New York, for six years.

Sim Post is a division of Sim, provides end-to-end solutions for TV and feature film production and post production in LA, Vancouver, Toronto, New York and Atlanta.

Netflix’s Lost in Space: New sounds for a classic series

By Jennifer Walden

Netflix’s Lost in Space series, a remake of the 1965 television show, is a playground for sound. In the first two episodes alone, the series introduces at least five unique environments, including an alien planet, a whole world of new tech — from wristband communication systems to medical analysis devices — new modes of transportation, an organic-based robot lifeform and its correlating technologies, a massive explosion in space and so much more.

It was a mission not easily undertaken, but if anyone could manage it, it was four-time Emmy Award-winning supervising sound editor Benjamin Cook of 424 Post in Culver City. He’s led the sound teams on series like Starz’s Black Sails, Counterpart and Magic City, as well as HBO’s The Pacific, Rome and Deadwood, to name a few.

Benjamin Cook

Lost in Space was a reunion of sorts for members of the Black Sails post sound team. Making the jump from pirate ships to spaceships were sound effects editors Jeffrey Pitts, Shaughnessy Hare, Charles Maynes, Hector Gika and Trevor Metz; Foley artists Jeffrey Wilhoit and Dylan Tuomy-Wilhoit; Foley mixer Brett Voss; and re-recording mixers Onnalee Blank and Mathew Waters.

“I really enjoyed the crew on Lost in Space. I had great editors and mixers — really super-creative, top-notch people,” says Cook, who also had help from co-supervising sound editor Branden Spencer. “Sound effects-wise there was an enormous amount of elements to create and record. Everyone involved contributed. You’re establishing a lot of sounds in those first two episodes that are carried on throughout the rest of the season.”

Soundscapes
So where does one begin on such a sound-intensive show? The initial focus was on the soundscapes, such as the sound of the alien planet’s different biomes, and the sound of different areas on the ships. “Before I saw any visuals, the showrunners wanted me to send them some ‘alien planet sounds,’ but there is a huge difference between Mars and Dagobah,” explains Cook. “After talking with them for a bit, we narrowed down some areas to focus on, like the glacier, the badlands and the forest area.”

For the forest area, Cook began by finding interesting snippets of animal, bird and insect recordings, like a single chirp or little song phrase that he could treat with pitching or other processing to create something new. Then he took those new sounds and positioned them in the sound field to build up beds of creatures to populate the alien forest. In that initial creation phase, Cook designed several tracks, which he could use for the rest of the season. “The show itself was shot in Canada, so that was one of the things they were fighting against — the showrunners were pretty conscious of not making the crash planet sound too Earthly. They really wanted it to sound alien.”

Another huge aspect of the series’ sound is the communication systems. The characters talk to each other through the headsets in their spacesuit helmets, and through wristband communications. Each family has their own personal ship, called a Jupiter, which can contact other Jupiter ships through shortwave radios. They use the same radios to communicate with their all-terrain vehicles called rovers. Cook notes these ham radios had an intentional retro feel. The Jupiters can send/receive long-distance transmissions from the planet’s surface to the main ship, called Resolute, in space. The families can also communicate with their Jupiters ship’s systems.

Each mode of communication sounds different and was handled differently in post. Some processing was handled by the re-recording mixers, and some was created by the sound editorial team. For example, in Episode 1 Judy Robinson (Taylor Russell) is frozen underwater in a glacial lake. Whenever the shot cuts to Judy’s face inside her helmet, the sound is very close and claustrophobic.

Judy’s voice bounces off the helmet’s face-shield. She hears her sister through the headset and it’s a small, slightly futzed speaker sound. The processing on both Judy’s voice and her sister’s voice sounds very distinct, yet natural. “That was all Onnalee Blank and Mathew Waters,” says Cook. “They mixed this show, and they both bring so much to the table creatively. They’ll do additional futzing and treatments, like on the helmets. That was something that Onna wanted to do, to make it really sound like an ‘inside a helmet’ sound. It has that special quality to it.”

On the flipside, the ship’s voice was a process that Cook created. Co-supervisor Spencer recorded the voice actor’s lines in ADR and then Cook added vocoding, EQ futz and reverb to sell the idea that the voice was coming through the ship’s speakers. “Sometimes we worldized the lines by playing them through a speaker and recording them. I really tried to avoid too much reverb or heavy futzing knowing that on the stage the mixers may do additional processing,” he says.

In Episode 1, Will Robinson (Maxwell Jenkins) finds himself alone in the forest. He tries to call his father, John Robinson (Toby Stephens — a Black Sails alumni as well) via his wristband comm system but the transmission is interrupted by a strange, undulating, vocal-like sound. It’s interference from an alien ship that had crashed nearby. Cook notes that the interference sound required thorough experimentation. “That was a difficult one. The showrunners wanted something organic and very eerie, but it also needed to be jarring. We did quite a few versions of that.”

For the main element in that sound, Cook chose whale sounds for their innate pitchy quality. He manipulated and processed the whale recordings using Symbolic Sound’s Kyma sound design workstation.

The Robot
Another challenging set of sounds were those created for Will Robinson’s Robot (Brian Steele). The Robot makes dying sounds, movement sounds and face-light sounds when it’s processing information. It can transform its body to look more human. It can use its hands to fire energy blasts or as a tool to create heat. It says, “Danger, Will Robinson,” and “Danger, Dr. Smith.” The Robot is sometimes a good guy and sometimes a bad guy, and the sound needed to cover all of that. “The Robot was a job in itself,” says Cook. “One thing we had to do was to sell emotion, especially for his dying sounds and his interactions with Will and the family.”

One of Cook’s trickiest feats was to create the proper sense of weight and movement for the Robot, and to portray the idea that the Robot was alive and organic but still metallic. “It couldn’t be earthly technology. Traditionally for robot movement you will hear people use servo sounds, but I didn’t want to use any kind of servos. So, we had to create a sound with a similar aesthetic to a servo,” says Cook. He turned to the Robot’s Foley sounds, and devised a processing chain to heavily treat those movement tracks. “That generated the basic body movement for the Robot and then we sweetened its feet with heavier sound effects, like heavy metal clanking and deeper impact booms. We had a lot of textures for the different surfaces like rock and foliage that we used for its feet.”

The Robot’s face lights change color to let everyone know if it’s in good-mode or bad-mode. But there isn’t any overt sound to emphasize the lights as they move and change. If the camera is extremely close-up on the lights, then there’s a faint chiming or tinkling sound that accentuates their movement. Overall though, there is a “presence” sound for the Robot, an undulating tone that’s reminiscent of purring when it’s in good-mode. “The showrunners wanted a kind of purring sound, so I used my cat purring as one of the building block elements for that,” says Cook. When the Robot is in bad-mode, the sound is anxious, like a pulsing heartbeat, to set the audience on edge.

It wouldn’t be Lost in Space without the Robot’s iconic line, “Danger, Will Robinson.” Initially, the showrunners wanted that line to sound as close to the original 1960’s delivery as possible. “But then they wanted it to sound unique too,” says Cook. “One comment was that they wanted it to sound like the Robot had metallic vocal cords. So we had to figure out ways to incorporate that into the treatment.” The vocal processing chain used several tools, from EQ, pitching and filtering to modulation plug-ins like Waves Morphoder and Dehumaniser by Krotos. “It was an extensive chain. It wasn’t just one particular tool; there were several of them,” he notes.

There are other sound elements that tie into the original 1960’s series. For example, when Maureen Robinson (Molly Parker) and husband John are exploring the wreckage of the alien ship they discover a virtual map room that lets them see into the solar system where they’ve crashed and into the galaxy beyond. The sound design during that sequence features sound material from the original show. “We treated and processed those original elements until they’re virtually unrecognizable, but they’re in there. We tried to pay tribute to the original when we could, when it was possible,” says Cook.

Other sound highlights include the Resolute exploding in space, which caused massive sections of the ship to break apart and collide. For that, Cook says contact microphones were used to capture the sound of tin cans being ripped apart. “There were so many fun things in the show for sound. From the first episode with the ship crash and it sinking into the glacier to the black hole sequence and the Robot fight in the season finale. The show had a lot of different challenges and a lot of opportunities for sound.”

Lost in Space was mixed in the Anthony Quinn Theater at Sony Pictures in 7.1 surround. Interestingly, the show was delivered in Dolby’s Home Atmos format. Cook explains, “When they booked the stage, the producer’s weren’t sure if we were going to do the show in Atmos or not. That was something they decided to do later so we had to figure out a way to do it.”

They mixed the show in Atmos while referencing the 7.1 mix and then played those mixes back in a Dolby Home Atmos room to check them, making any necessary adjustments and creating the Atmos deliverables. “Between updates for visual effects and music as well as the Atmos mixes, we spent roughly 80 days on the dub stage for the 10 episodes,” concludes Cook.

Behind the Title: Grey Ghost Music mix engineer Greg Geitzenauer

NAME: Greg Geitzenauer

COMPANY: Minneapolis-based Grey Ghost Music

CAN YOU DESCRIBE YOUR COMPANY?
Side A: Music production, creative direction and licensing for the advertising and marketing industries. Side B: Audio post production for the advertising and marketing industries.

WHAT’S YOUR JOB TITLE?
Senior Mix Engineer

WHAT DOES THAT ENTAIL?
All the hands-on audio post work our clients need — from VO recording, editing, forensic/cleanup work to sound design and final mixing.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The number of times my voice has ended up in a final spot when the script calls for “recording engineer. “

WHAT’S YOUR FAVORITE PART OF THE JOB?
There are some really funny people in this industry. I laugh a lot.

WHAT’S YOUR LEAST FAVORITE?
Working on a particular project so long that I lose perspective on whether the changes being made are helping any more.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
I get to work early — the time I get to spend confirming all my shit is together.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Cutting together music for my daughter’s dance team.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I was 14 when I found out what a recording engineer did, and I just knew. Audio and technology… it just pushes all my buttons.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Essentia Water, Best Buy, Comcast, Invisalign, 3M and Xcel Energy.

Invisalign

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
An anti-smoking radio campaign that won Radio Mercury and One Show awards.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Avid Pro Tools HD, Kensington Expert Mouse trackball and Pentel Quicker-Clicker mechanical pencils.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Reddit and LinkedIn.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Go home.

JoJo Whilden/Hulu

Color and audio post for Hulu’s The Looming Tower

Hulu’s limited series, The Looming Tower, explores the rivalries and missed opportunities that beset US law enforcement and intelligence communities in the lead-up to the 9/11 attacks. Based on the Pulitzer Prize-winning book by Lawrence Wright, who also shares credit as executive producer with Dan Futterman and Alex Gibney, the show’s 10 episodes paint an absorbing, if troubling, portrait of the rise of Osama bin Laden and al-Qaida, and offer fresh insight into the complex people who were at the center of the fight against terrorism.

For The Looming Tower’s sound and picture post team, the show’s sensitive subject matter and blend of dramatizations and archival media posed significant technical and creative challenges. Colorist Jack Lewars and online editor Jeff Cornell of Technicolor PostWorks New York, were tasked with integrating grainy, run-and-gun news footage dating back to 1998 with crisply shot, high-resolution original cinematography. Supervising sound designer/effects mixer Ruy García and re-recording mixer Martin Czembor from PostWorks, along with a Foley team from Alchemy Post Sound, were charged with helping to bring disparate environments and action to life, but without sensationalizing or straying from historical accuracy.

L-R: colorist Jack Lewars and editor Jeff Cornell

Lewars and Cornell mastered the series in Dolby Vision HDR, working from the production’s camera original 2K and 3.4K ArriRaw files. Most of the color grading and conforming work was done with a light touch, according to Lewars, as the objective was to adhere to a look that appeared real and unadulterated. The goal was for viewers to feel they are behind the scenes, watching events as they happened.

Where more specific grades were applied, it was done to support the narrative. “We developed different look sets for the FBI and CIA headquarters, so people weren’t confused about where we were,” Lewars explains. “The CIA was working out of the basement floors of a building, so it’s dark and cool — the light is generated by fluorescent fixtures in the room. The FBI is in an older office building — its drop ceiling also has fluorescent lighting, but there is a lot of exterior light, so its greener, warmer.”

The show adds to the sense of realism by mixing actual news footage and other archival media with dramatic recreations of those same events. Lewars and Cornell help to cement the effect by manipulating imagery to cut together seamlessly. “In one episode, we matched an interview with Osama bin Laden from the late ‘90s with new material shot with an Arri Alexa,” recalls Lewars. “We used color correction and editorial effects to blend the two worlds.”

Cornell degraded some scenes to make them match older, real-world media. “I took the Alexa material and ‘muddied’ it up by exporting it to compressed SD files and then cutting it back into the master timeline,” he notes. “We also added little digital hits to make it feel like the archival footage.”

While the color grade was subtle and adhered closely to reality, it still packed an emotional punch. That is most apparent in a later episode that includes the attack on the Twin Towers. “The episode starts off in New York early in the morning,” says Lewars. “We have a series of beauty shots of the city and it’s a glorious day. It’s a big contrast to what follows — archival footage after the towers have fallen where everything is a white haze of dust and debris.”

Audio Post
The sound team also strove to remain faithful to real events. García recalls his first conversations about the show’s sound needs during pre-production spotting sessions with executive producer Futterman and editor Daniel A. Valverde. “It was clear that we didn’t want to glamorize anything,” he says. “Still, we wanted to create an impact. We wanted people to feel like they were right in the middle of it, experiencing things as they happened.”

García says that his sound team approached the project as if it were a documentary, protecting the performances and relying on sound effects that were authentic in terms of time and place. “With the news footage, we stuck with archival sounds matching the original production footage and accentuating whatever sounds were in there that would connect emotionally to the characters,” he explains. “When we moved to the narrative side with the actors, we’d take more creative liberties and add detail and texture to draw you into the space and focus on the story.”

He notes that the drive for authenticity extended to crowd scenes, where native speakers were used as voice actors. Crowd sounds set in the Middle East, for example, were from original recordings from those regions to ensure local accents were correct.

Much like Lewars approach to color, García and his crew used sound to underscore environmental and psychological differences between CIA and FBI headquarters. “We did subtle things,” he notes. “The CIA has more advanced technology, so everything there sounds sharper and newer versus the FBI where you hear older phones and computers.”

The Foley provided by artists and mixers from Alchemy Post Sound further enhanced differences between the two environments. “It’s all about the story, and sound played a very important role in adding tension between characters,” says Leslie Bloome, Alchemy’s lead Foley artist. “A good example is the scene where CIA station chief Diane Marsh is berating an FBI agent while casually applying her makeup. Her vicious attitude toward the FBI agent combined with the subtle sounds of her makeup created a very interesting juxtaposition that added to the story.”

In addition to footsteps, the Foley team created incidental sounds used to enhance or add dimension to explosions, action and environments. For a scene where FBI agents are inspecting a warehouse filled with debris from the embassy bombings in Africa, artists recorded brick and metal sounds on a Foley stage designed to capture natural ambience. “Normally, a post mixer will apply reverb to place Foley in an environment,” says Foley artist Joanna Fang. “But we recorded the effects in our live room to get the perspective just right as people are walking around the warehouse. You can hear the mayhem as the FBI agents are documenting evidence.”

“Much of the story is about what went wrong, about the miscommunication between the CIA and FBI,” adds Foley mixer Ryan Collison, “and we wanted to help get that point across.”

The soundtrack to the series assumed its final form on a mix stage at PostWorks. Czembor spent weeks mixing dialogue, sound and music elements into what he described as a cinematic soundtrack.

L-R: Martin Czember and Ruy Garcia

Czembor notes that the sound team provided a wealth of material, but for certain emotionally charged scenes, such as the attack on the USS Cole, the producers felt that less was more. “Danny Futterman’s conceptual approach was to go with almost no sound and let the music and the story speak for themselves,” he says. “That was super challenging, because while you want to build tension, you are stripping it down so there’s less and less and less.”

Czembor adds that music, from composer Will Bates, is used with great effect throughout the series, even though it might go by unnoticed by viewers. “There is actually a lot more music in the series than you might realize,” he says. “That’s because it’s not so ‘musical;’ there aren’t a lot of melodies or harmonies. It’s more textural…soundscapes in a way. It blends in.”

Czembor says that as a longtime New Yorker, working on the show held special resonance for him, and he was impressed with the powerful, yet measured way it brings history back to life. “The performances by the cast are so strong,” he says. “That made it a pleasure to work on. It inspires you to add to the texture and do your job really well.”

Pace Pictures opens large audio post and finishing studio in Hollywood

Pace Pictures has opened a new sound and picture finishing facility in Hollywood. The 20,000-square-foot site offers editorial finishing, color grading, visual effects, titling, sound editorial and sound mixing services. Key resources include a 20-seat 4K color grading theater, two additional HDR color grading suites and 10 editorial finishing suites. It also features a Dolby Atmos mix stage designed by three-time Academy Award-winning re-recording mixer Michael Minkler, who is a partner in the company’s sound division.

The new independently-owned facility is located within IgnitedSpaces, a co-working site whose 45,000 square feet span three floors along Hollywood Boulevard. IgnitedSpaces targets media and entertainment professionals and creatives with executive offices, editorial suites, conference rooms and hospitality-driven office services. Pace Pictures has formed a strategic partnership with IgnitedSpaces to provide film and television productions service packages encompassing the entire production lifecycle.

“We’re offering a turnkey solution where everything is on-demand,” says Pace Pictures founder Heath Ryan. “A producer can start out at IgnitedSpaces with a single desk and add offices as the production grows. When they move into post production, they can use our facilities to manage their media and finish their projects. When the production is over, their footprint shrinks, overnight.”

Pace Pictures is currently providing sound services for the upcoming Universal Pictures release Mamma Mia! Here We Go Again. It is also handling post work for a VR concert film from this year’s Coachella Valley Music and Arts Festival.

Completed projects include the independent features Silver Lake, Flower and The Resurrection of Gavin Stone, the TV series iZombie, VR Concerts for the band Coldplay, Austin City Limits and Lollapalooza, and a Mariah Carey music video related to Sony Pictures’ animated feature Star.

Technical features of the new facility include three DaVinci Resolve Studio color grading suites with professional color consoles, a Barco 4K HDR digital cinema projector in the finishing theater, and dual Avid Pro Tools S6 consoles in the Dolby Atmos mix stage, which also includes four Pro Tools HDX systems. The site features facilities for sound design, ADR and voiceover recording, title design and insert shooting. Onsite media management includes a robust SAN network, as well as LTO7 archiving and dailies services, and cold storage.

Ryan is an editor who has operated Pace Pictures as an editorial service for more than 15 years. His many credits include the films Woody Woodpecker, Veronica Mars, The Little Rascals, Lawless Range and The Lookalike, as well as numerous concert films, music clips, television specials and virtual reality productions. He has also served as a producer on projects for Hallmark, Mariah Carey, Queen Latifah and others. Originally from Australia, he began his career with the Australian Broadcasting Corporation.

Ryan notes that the goal of the new venture is to break from the traditional facility model and provide producers with flexible solutions tailored to their budgets and creative needs. “Clients do not have to use our talent; they can bring in their own colorists, editors and mixers,” he says. “We can be a small part of the production, or we can be the backbone.”

Sound editor/re-recording mixer Will Files joins Sony Pictures Post

Sony Pictures Post Production Services has added supervising sound editor/re-recording mixer Will Files, who has spent a decade at Skywalker Sound. His brings with him credits on more than 80 feature films, including Passengers, Deadpool, Star Wars: The Force Awakens and Fantastic Four.

Files won a 2018 MPSE Golden Reel Award for his work on War for the Planet of the Apes. His current project is the upcoming Columbia Pictures release Venom out in US theaters this October.

He adds that he was also attracted by Sony Pictures’ ability to support his work both as a sound editor/sound designer and as a re-recording mixer. “I tend to wear a lot of hats. I often supervise sound, create sound design and mix my projects,” he says. “Sony Pictures has embraced modern workflows by creating technically-advanced rooms that allow sound artists to begin mixing as soon as they begin editing. It makes the process more efficient and improves creative storytelling.”

Files will work in a new pre-dub mixing stage and sound design studio on the Sony Pictures lot in Culver City. The stage has Dolby Atmos mixing capabilities and features two Avid S6 mixing consoles, four Pro Tools systems, a Sony 4K digital cinema projector and a variety of other support gear.

Files describes the stage as a sound designer/mixer’s dream come true. “It’s a medium-size space, big enough to mix a movie, but also intimate. You don’t feel swallowed up when it’s just you and the filmmaker,” he says. “It’s very conducive to the creative process.”

Files began his career with Skywalker Sound in 2002, shortly after graduating from the University of North Carolina School of the Arts. He earned his first credit as supervising sound editor on the 2008 sci-fi hit Cloverfield. His many other credits include Star Trek: Into Darkness, Dawn of the Planet of the Apes and Loving.

Netflix’s Godless offers big skies and big sounds

By Jennifer Walden

One of the great storytelling advantages of non-commercial television is that content creators are not restricted by program lengths or episode numbers. The total number of episodes in a show’s season can be 13 or 10 or less. An episode can run 75 minutes or 33 minutes. This certainly was the case for writer/director/producer Scott Frank when creating his series Godless for Netflix.

Award-winning sound designer, Wylie Stateman, of Twenty Four Seven Sound explains why this worked to their advantage. “Godless at its core is a story-driven ‘big-sky’ Western. The American Western is often as environmentally beautiful as it is emotionally brutal. Scott Frank’s goal for Godless was to create a conflict between good and evil set around a town of mostly female disaster survivors and their complex and intertwined pasts. The Godless series is built like a seven and a half hour feature film.”

Without the constraints of having to squeeze everything into a two-hour film, Frank could make the most of his ensemble of characters and still include the ride-up/ride-away beauty shots that show off the landscape. “That’s where Carlos Rafael Rivera’s terrific orchestral music and elements of atmospheric sound design really came together,” explains Stateman.

Stateman has created sound for several Westerns in his prodigious career. His first was The Long Riders back in 1980. Most recently, he designed and supervised the sound on writer/director Quentin Tarantino’s Django Unchained (which earned a 2013 Oscar nom for sound, an MPSE nom and a BAFTA film nom for sound) and The Hateful Eight (nominated for a 2016 Association of Motion Picture Sound Award).

For Godless, Stateman, co-supervisor/re-recording mixer Eric Hoehn and their sound team have already won a 2018 MPSE Award for Sound Editing for their effects and Foley work, as well as a nomination for editing the dialogue and ADR. And don’t be surprised if you see them acknowledged with an Emmy nom this fall.

Capturing authentic sounds: L-R) Jackie Zhou, Wylie Stateman and Eric Hoehn.

Capturing Sounds On Set
Since program length wasn’t a major consideration, Godless takes time to explore the story’s setting and allows the audience to live with the characters in this space that Frank had purpose-built for the show. In New Mexico, Frank had practical sets constructed for the town of La Belle and for Alice Fletcher’s ranch. Stateman, Hoehn and sound team members Jackie Zhou and Leo Marcil camped out at the set locations for a couple weeks, capturing recordings of everything from environmental ambience to gunfire echoes to horse hooves on dirt.

To avoid the craziness that is inherent to a production, the sound team would set up camp in a location where the camera crew was not. This allowed them to capture clean, high-quality recordings at various times of the day. “We would record at sunrise, sunset and the middle of the night — each recording geared toward capturing a range of authentic and ambient sounds,” says Stateman. “Essentially, our goal was to sonically map each location. Our field recordings were wide in terms of channel count, and broad in terms of how we captured the sound of each particular environment. We had multiple independent recording setups, each capable of recording up to eight channels of high bandwidth audio.”

Near the end of the season, there is a big shootout in the town of La Belle, so Stateman and Hoehn wanted to capture the sounds of gunfire and the resulting echoes at that location. They used live rounds, shooting the same caliber of guns used in the show. “We used live rounds to achieve the projectile sounds. A live round sounds very different than a blank round. Blanks just go pop-pop. With live rounds you can literally feel the bullet slicing through the air,” says Stateman.

Eric Hoehn

Recording on location not only supplied the team with a wealth of material to draw from back in the studio, it also gave them an intensive working knowledge of the actual environments. Says Hoehn, “It was helpful to have real-world references when building the textures of the sound design for these various locations and to know firsthand what was happening acoustically, like how the wind was interacting with those structures.”

Stateman notes how quiet and lifeless the location was, particularly at Alice’s ranch. “Part of the sound design’s purpose was to support the desolate dust bowl backdrop. Living there, eating breakfast in the quiet without anybody from the production around was really a wonderful opportunity. In fact, Scott Frank encouraged us to look deep and listen for that feel.”

From Big Skies to Big City
Sound editorial for Godless took place at Light Iron in New York, which is also where the show got its picture editing — by Michelle Tesoro, who was assisted by Hilary Peabody and Charlie Greene. There, Hoehn had a Pro Tools HDX 3 system connected to the picture department’s Avid Media Composer via the Avid Nexis. They could quickly pull in the picture editorial mix, balance out the dialog and add properly leveled sound design, sending that mix back to Tesoro.

“Because there were so many scenes and so much material to get through, we really developed a creative process that centered around rapid prototype mixing,” says Hoehn. “We wanted to get scenes from Michelle and her team as soon as possible and rapidly prototype dialogue mixing and that first layer of sound design. Through the prototyping process, we could start to understand what the really important sounds were for those scenes.”

Using this prototyping audio workflow allowed the sound team to very quickly share concepts with the other creative departments, including the music and VFX teams. This workflow was enhanced through a cloud-based film management/collaboration tool called Pix. Pix let the showrunners, VFX supervisor, composer, sound team and picture team share content and share notes.

“The notes feature in Pix was so important,” explains Hoehn. “Sometimes there were conversations between the director and editor that we could intuitively glean information from, like notes on aesthetic or pace or performance. That created a breadcrumb trail for us to follow while we were prototyping. It was important for us to get as much information as we could so we could be on the same page and have our compass pointed in the right direction when we were doing our first pass prototype.”

Often their first pass prototype was simply refined throughout the post process to become the final sound. “Rarely were we faced with the situation of having to re-cut a whole scene,” he continues. “It was very much in the spirit of the rolling mix and the rolling sound design process.”

Stateman shares an example of how the process worked. “When Michelle first cut a scene, she might cut to a beauty shot that would benefit from wind gusts and/or enhanced VFX and maybe additional dust blowing. We could then rapidly prototype that scene with leveled dialog and sound design before it went to composer Carlos Rafael Rivera. Carlos could hear where/when we were possibly leveraging high-density sound. This insight could influence his musical thinking — if he needed to come in before, on or after the sound effects. Early prototyping informed what became a highly collaborative creative process.”

The Shootout
Another example of the usefulness of Pix was shootout in La Belle in Episode 7. The people of the town position themselves in the windows and doorways of the buildings lining the street, essentially surrounding Frank Griffin (Jeff Daniels) and his gang. There is a lot of gunfire, much of it bridging action on and off camera, and that needed to be represented well through sound.

Hoehn says they found it best to approach the gun battle like a piece of music by playing with repeated rhythms. Breaking the anticipated rhythm helped to make the audience feel off-guard. They built a sound prototype for the scene and shared it via Pix, which gave the VFX department access to it.

“A lot of what we did with sound helped the visual effects team by allowing them to understand the density of what we were doing with the ambient sounds,” says Hoehn. “If we found that rhythmically it was interesting to have a wind gust go by, we would eventually see a visual effect for that wind going by.”

It was a back-and-forth collaboration. “There are visual rhythms and sound rhythms and the fact that we could prototype scenes early led us to a very efficient way of doing long-form,” says Stateman. “It’s funny that features used to be considered long-form but now ‘long-form’ is this new, time-unrestrained storytelling. It’s like we were making a long-form feature, but one that was seven and a half hours. That’s really the beauty of Netflix. Because the shows aren’t tethered to a theatrical release timeframe, we can make stories that linger a little bit and explore the wider eccentricities of character and the time period. It’s really a wonderful time for this particular type of filmmaking.”

While program length may be less of an issue, production schedule lengths still need to be kept in line. With the help of Pix, editorial was able to post the entire show with one team. “Everyone on our small team understood and could participate in the mission,” says Stateman. Additionally, the sound design rapid prototype mixing process allowed everyone in editorial to carry all their work forward, from day one until the last day. The Pro Tools session that they started with on day one was the same Pro Tools session that they used for print mastering seven months later.

“Our sound design process was built around convenient creative approval and continuous refinement of the complete soundtrack. At the end of the day, the thing that we heard most often was that this was a wonderful and fantastic way to work, and why would we ever do it any other way,” Stateman says.

Creating a long-form feature like Godless in an efficient manner required a fluid, collaborative process. “We enjoyed a great team effort,” says Stateman. “It’s always people over devices. What we’ve come to say is, ‘It’s not the devices. It’s people left to their own devices who will discover really novel ways to solve creative problems.’”


Jennifer Walden is a New Jersey-based audio engineer and writer. Follow her on Twitter at @audiojeney.