Tag Archives: Great City Post

The sounds ‘Inside Amy Schumer’

By Jennifer Walden

After four seasons of Comedy Central’s Inside Amy Schumer, it’s hard to imagine still being shocked by the comic’s particular brand of comedy. Somehow Schumer still manages to make jokes that leave you uncomfortable — jokes that are so, so wrong, but so, so funny that you can’t help but laugh. Like the image-building pop song that Schumer and her three friends belt out karaoke-style in the show opener for episode 407, “Psychopath Test.”

The empowering lyrics, provided by Schumer’s writing team, proclaim, “Just be strong cause haters gonna hate. So falsely accuse a college lacrosse team of rape. Go ahead, girl, you a hero. Selfie sticks bitch take pics at Ground Zero. You’re a perfect 10, between nine and eleven. Never forget, you are beautiful.”

The variety-show approach to the half-hour series only adds fuel to Schumer’s creative fire. There are on-set scripted skits, man-on-the-street interviews, comedy club performances and random music videos like Milk Milk Lemonade — with music created by composers Chris Maxwell and Phil Hernandez of Elegant Too in New York City. The duo also created the catchy music for episode 407’s “You are Beautiful” karaoke song.

Great City Post
Chief audio engineer Ian Stynes at Great City Post in NYC has been handling the show’s sound post since the pilot episode with additional mixing by Jay Culliton. He says that although the show’s budget is not quite what people would expect, everybody involved with Inside Amy Schumer has high expectations for it. “We’re always asking, ‘Is this the best we can do?’ The process can be a little down and dirty sometimes, but working with the producers and editors at Running Man Post is amazing. They’ve really fine tuned things at this point. They’re very good at prepping it for sound post,” Stynes shares.

Stynes and Culliton typically spend four days cleaning, doing the edit, the sound design and pre-mix of an episode using Avid Pro Tools 12. Then Stynes is joined at Great City Post by show creator/executive producer Dan Powell, producer Ryan Cunningham from Running Man, executive producer Kevin Kane, executive producer/head writer Jessi Klein and Amy Schumer for a half-day of final playback and edits. “Amy has been in for almost every mix session this season. She is very hands-on and really fun to work with,” says Stynes.

While the production tracks, provided by sound mixer Matt McLarty, are always well recorded, Stynes admits there was a sketch in episode 408, “Everyone for Themselves,” that was particularly challenging from a production sound standpoint. In the sketch, 16 people are in a Lamaze class voicing their concerns over their kids being assholes. “There was no boom and it’s a wide shot, so there were 16 lav mics, some of which were cutting in and out,” says Stynes, who has years of experience in cutting dialogue for narrative features.

In terms of tools, in addition to Pro Tools, he uses iZotope RX5 for cleaning, Avid’s EQ III for frequency management,and various Waves compressors (including his new favorite — Kramer PIE) to help the scene play smoothly. “You spend a lot of time and effort to put something together and hope that no one will think twice about the fact that you did anything at all with the dialogue edit.”

Another interesting sound-driven scene is Bridget Everett’s closing performance in episode 408. She performs a call-to-action song called “Eat It, Eat It” on stage at a comedy club. She’s singing along live to a backing track. In post, Stynes had tracks with Everett’s handheld mic and boom mics, plus the vocal splits and other stems from the composed tracks. “There were pretty good options to work with in the mix,” says Stynes.

Coming from a music background, Stynes is not shy about diving into the music stems to do different treatments on the vocals, or even significantly altering the tracks. In the first season, for a 1920s-era sketch called “A Porn Star is Born,” Amy and her friend discover cocaine. Stynes says, “Composer Chris Anderson wrote an awesome old-timey song for a montage in it. It came to me split out into 30 tracks of stems because the showrunners wanted to make a part of it sound vintage. I ended up speeding up a whole section and edited in different things. Sometimes the music editing can get pretty complicated on this show.”

The show’s format offers plenty of opportunity on the sound design side as well. Last season, in episode 303, “80s Ladies,” there is a sketch where Schumer is in a bar with her friends and she decides to ride a mechanical bull to look sexy. Instead, she ends up failing, hurting herself badly and not looking sexy at all.

“There can be so many layers that we get to create and mix in. The show is very cinematic at times,” says Stynes. “For this scene there was score, and source music. There were a bunch of production tracks to clean up. There was a DJ in the room that we recorded ADR lines for, so we had to match his production lines. There was bar ambience and background walla. There were sounds for Amy getting knocked about on the bull. We added a whole layer for the mechanical bull speeding up and slowing down. That was a fun scene.”

He recalls another fun sound design scene, from Season 2, “Schumerenka vs. Everett,” in which Schumer and Everett compete in a tennis match. Schumer distracts the judges and fools the commentators into thinking she is better than she is by being a sexy tennis player. “Once again, it can be very similar to working on a full-length narrative feature film. We added in all of the ambiences, reactions for the crowds, the footsteps on the tennis court, the ball and body movements, and so on.”

Jay and Ian at work.

There is no Foley on the show, so footsteps, touches and clothing movements are cut in when necessary from Great City Post’s extensive collection of sound effects, which, luckily for the Schumer team, includes hundreds of farts sounds. “There was a really great skit where a murderer comes into Amy’s house. The thing is, when she gets scared… she farts. So she is unsuccessfully hiding from the murderer in the closet and farting. We spent 20 minutes going through every fart we had in our library, analyzing them, like, ‘Oh no, it should be juicer. It’s a weird way to spend your time,” says Stynes, “but all things considered, it’s not such a bad way to earn your paycheck.”

Post sound editing and mixing is done in Pro Tools 12. Stynes likes the upgrade to this version specifically for the offline bounce feature, which is a real time-saver when generating the significant amount of deliverables that Comedy Central requires. “They want a 5.1 mix, stereo mix, a version without VO fully mixed, bleeped mono, non-bleeped mono, dual mono, all sorts of stems for everything,” says Stynes.

Now instead of spending a half hour on every single split bounce, each bounce only takes a minute. Still, Stynes says, “It takes a few hours to version it out, and bounce it down, and put together all the different deliverables Comedy Central requires for the show.”

“The best part about working on Inside Amy Schumer really is that everyone sincerely wants it to be the best show it can be and do their best to follow through with that sentiment. From the showrunners and producers to the team at Running Man to all the folks here at Great City — right up to the top with Amy Schumer actually coming in to the mix sessions and getting involved. Really, it’s very rewarding and a lot of fun,” Stynes concludes.

Quick Chat: Ian Stynes on mixing two Sundance films

By Kristine Pregot

A few years back, I had the pleasure of working with talented sound mixer Ian Stynes on a TV sketch comedy. It’s always nice working with someone you have collaborated with before. There is a comfort level and unspoken language that is hard to achieve any other way. This year we collaborated once again for So Yong Kim’s 2016 film Lovesong, which made its premiere at this year’s Sundance and had its grade at New York’s Nice Shoes via colorist Sal Malfitano.

Ian has been busy. In fact, another film he mixed recently had its premiere at Sundance as well — Other People, from director Chris Kelly.

Ian Stynes

Ian Stynes

Since we were both at the festival, I thought what better time to ask him how he approached mixing these two very different films.

Congrats on your two films at Sundance, Lovesong (which is our main image) and Other People. How did the screenings go?
Both screenings were great; it’s a different experience to see the movie in front of an excited audience. After working on a film for a few months it’s easy to slip into only watching it from a technical standpoint — wondering, if a certain section is loud enough, or if a particular sound effect works — but seeing it with an engaged crowd (especially as a world premiere at a place like Sundance) is like seeing it with fresh eyes again. You can’t help but get caught up.

What was the process like to work with each director for the film?
I’ve been lucky enough to work with some wonderful directors, and these movies were no exception. Chris Kelly, the director for Other People, who is a writer on a bunch of TV shows including SNL and Broad City is so down to earth and funny. The movie was based on the true story of his mother, who died from cancer. So he was emotionally attached to the film in a unique way. He was very focused about what he wanted but also knew when to sit back and let me do my thing. This was Chris’s first movie, but you wouldn’t know it.

For Lovesong, I worked with director So Yong Kim once again. She makes all her films with her husband Bradley Rust Gray. They switch off with directorial duties but are both extremely involved in each other’s movies. This is my third time working on a film with the two of them — the other two were For Ellen with Paul Dano and Jon Heder, and Exploding Girl with Zoe Kazan. So is an amazing director to work with; it feels like a real collaboration mixing with her. She is creative and extremely focused with her vision, but always inclusive and kind to everyone involved in the crew.

With both films a lot of work was done ahead of time. I try and get it to a very presentable place before the directors come in. This way we can focus on the creative tasks together. One of the fun parts of my job is that I get to sit in a room for a good while and work closely with creative and fun people on something that is very meaningful to them. It’s usually a bit of a bonding experience by the end of it.

How long did each film take you to mix?
I am also extremely lucky to work with some great people at Great City Post. I was the mixer, supervising sound editor and sound designer on both films, but I have an amazing team of people working with me.

Matt Schoenfeld did a huge amount of sound designing on both movies, as well as some of the mixing on Lovesong. Jay Culliton was the dialogue editor on Other People. Renne Bautista recorded Foley and dealt with various sound editing tasks. Shaun Brennan was the Foley artist, and additional editing was done by Daniel Heffernan and Houston Snyder. We are a small team but very efficient. We spent about eight to 10 weeks on each film.

Lovesong

How is it different to mix comedy than it is to mix a drama?
When you add sound to a film it’s important to think about how it is helping the story — how it augments or moves the story along. The first level of post sound work involves cleaning and removing anything that might take the viewer out of the world of the story (hearing mics, audio distortion, change in tone etc.).

Beyond that, different films need different things. Narrative features usually call for the sound to give energy to a film but not get in the way. Of course, there are always specific moments where the sound needs to stand out and take center stage. Most people usually aren’t aware of it or know what post sound specifically entails, but they certainly notice when it is missing or a bad sound job was done. Dramas usually have more intensity to the story and comedy’s can be a bit lighter. This often informs the sound design, edit and mix. That said, every movie is still different.

What is your favorite sound design on a film of all time?
I love Ben Burtt, who did all the Star Wars movies. He also did Wall-E, which is such a great sound design movie. The first 40 or so minutes have no direct dialogue — all the audio is sound design. You might not realize it, but it is very effective. On the DVD extra Ben Burtt did a doc about the sound for that movie. The documentary ends up being about the history of sound design itself. It’s so inspiring, even for non-sound people. Here is the link.

I urge anyone reading this to watch it. I guarantee it will get you thinking about sound for film in a way you never have before.

Kristine Pregot is a senior producer at New York City-based Nice Shoes.