Issue link: http://digital.copcomm.com/i/1122868
University where I graduated with honors. After graduating, I temped as a runner for a few facilities around London until finally, I came to Goldcrest, where they offered me a full-time job as a runner after a week of temping. From there, I was trained up by a few brilliant people in the industry such as Peter Gleaves (a former CAS Award winner) and Mark Appleby (a CAS Award nominee). I went on to assist them as ADR recordist and eventually started to cover smaller sessions, which eventually put me in a position to run as ADR mixer full time. Luckily, from my time assisting Mark and Peter, I got to know a lot of the dialogue editors, one of which being Nina Hartstone. She thankfully gave me the opportunity to work on this project with her after working on Adrift with her previously. Tell me about ADR on the film. In terms of principal ADR, we shot a reasonable amount to have all the options available in the mix and to be able to use it to fix the original track where appropriate. With our group tracks, we recorded around 40 people with a range of accents for the scenes so that it was specific to the countries we were in at the time of the movie. So, we had German, English, American, Portuguese, Brazilian, and so on. It was an amazing week or so of group recordings as everyone came in with so much energy, desperate to sing along to Queen songs and shout Freddie's name. At the end of every day, it felt like we had been to a concert for real. Nina was in after group recordings to fill out the space and record any specific crowd members singing along; picking them out to really pull out the individual focus on any cut scenes to audience members, roadies, or technicians to really bring the audience to life Denis O'Sullivan and John Ottman directed the ADR sessions for the principal cast and they were an absolute pleasure to work with. They really made the sessions enjoyable and productive and made us all feel part of the team from the start. Brian and Roger sadly didn't attend any ADR sessions but I know they were very present and attentive to everyone's needs and questions during the mix and through the film, whether it be technical or not. JEMMA RILEY TOLCH: Foley Mixer What's your background? I studied media production at university, worked at the BBC as a runner for a little while, and then eventually started working as a runner at Pinewood Studios. From there, I worked my way up through the ranks to where I am today, learning as much as possible because I don't originally have an audio background. What other projects have you worked on? I have worked on many different projects for film, television, and games, including Ex Machina, Steve Jobs, Tomb Raider, Mission: Impossible - Rogue Nation, The Legend of Tarzan, The Collection, Trust, Alien: Isolation, Hidden Agenda, The Invisible Hours. And most recently, the Fantastic Beasts series, Mission: Impossible - Fallout, Aladdin, Rocketman, Patrick Melrose, and The Division 2. How did you get involved in mixing Foley for Bohemian Rhapsody? John Warhurst, the supervising sound editor, has worked with our team at Pinewood on previous projects and was bringing Bohemian to us. Pinewood's Head of Audio, Glen Gathard, put me forward to work collaboratively with him as Foley mixer on the project, which I was very honored to do. Please describe your workflow. When we receive a project, we generally like to watch it all through from start to finish to get a feel for the film in a run. We then take onboard our sound supervisor's notes, alongside the director's vision and begin to chart the show so that when it comes to shooting, it makes it all work a little smoother. We then worked through the film shooting the feet first, then moved onto the spots, and finishing with recording the moves. This way we can then review all of the work that we have done to make sure that we are happy with everything. What was the most challenging aspect of working on this project? It was making sure that any sounds that we had recorded worked well with the music and nothing clashed. Checking that we weren't overloading any musical scenes and the choices that we had made sat in with the music, pointing out the details that we wanted audiences to hear. Is there anything else you'd like to add? It was a great privilege to work on this film with such a fantastic team, so I would like to say thank you to all those involved! It was such a surprise to be nominated for a CAS Award. It was my first nomination and I was so excited that it was for this film, so winning it completely blew my mind!