Issue link: http://digital.copcomm.com/i/1122868
In terms of The Assassination of Gianni Versace, there seemed to be long periods of the show without a cascade of hard sound effects. To me, this means there must have been an opportunity for a great deal of Foley. Was that the case? Yes, it was absolutely a show that required a good deal of Foley. From handling different materials of wardrobes, to dancing footsteps, to eating expensive sounding lobster dishes, there was a lot of Foley. Could you hazard a guess to the percentage of props vs. production FX? I think maybe 70 percent props and 30 percent FX. Was this an unusual show? The fact that the first episode started with the finale and the murder scene was already an unusual start. So, we had to bring our best game and the intensity of the sounds from the very first moment of the show because of its unique nature. Our aim was to make it sound as natural as possible without exaggerating too much so that it can be used to complement the production sounds in a nice, subtle way. Is there any bit of kit (gear/ software) you leaned on heavily to get results you were happy with? Yes, I constantly use the software Keyboard Maestro for my macros and shortcuts for doing things easily and faster. I have a certain setup that helps me move faster and more efficiently during mixing and editing. Is there anything you'd like to add? I would like to thank the production mixer John and the re-recording mixers Joe and Doug for doing such a wonderful job in putting all the elements together. Thanks for your time everyone, and congratulations on a job well done! technicolor.com/soundpost 323.956.7000 @TechnicolorCrea @TechnicolorPost @TechnicolorPost TO P Q U A L I T Y E P I S O D I C S O U N D. E V E R Y T I M E . Home to award-winning talent and facilities stretching across the globe, Technicolor delivers the perfect sound finishing environment and team to elevate your project.