CineMontage

Q2 2019

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44 CINEMONTAGE / Q2 2019 When They Hear Us Creating the Period-Specific Soundtrack for a Tragedy of Justice by Mel Lambert • portraits by Wm. Stetz T he Netflix four-part miniseries When They See Us, which dropped May 31, was originally called Central Park 5. That working title identifies the overarching plot trajectory: The notorious case of five teenagers of color who were wrongly convicted of raping a white female jogger in New York, and which resulted in the use of the term "wilding" to describe out-of-control gang activity. The revised title better reflects the fate of the young people unjustly ensnared in the criminal justice system by embracing their humanity and not their politicized role. The sound editorial and dubbing crew for the show were based at Technicolor Sound Services on the Paramount Studios lot and consisted of supervising sound editor John Benson, sound designer/ sound effects editor Bruce Tanis, CAS, and ADR/dialogue supervisor Susan Dudeck, who worked closely with dialogue/music re-recording mixer Joe DeAngelis, CAS, and sound effects re-recording mixer Chris Carpenter. The mixers used the facility's Stage 9 to develop a Dolby Native Atmos 7.4.1-channel soundtrack, as well as a wide, 5.1-channel mix for the majority viewing audience. Also on the post sound team were Foley artists Dawn Lunsford and Alicia Stevenson and Foley mixer David Jobe. DeAngelis, Carpenter and Benson recently completed work on The Umbrella Academy series for Netflix, which debuted in February. Chris Carpenter, left, Susan Dudek, Joe DeAngelis, John Benson and Bruce Tanis.

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