Issue link: http://digital.copcomm.com/i/1279181
50 I M PS E . O R G between Aaron and his family, lawyers, and his friends became. It took away from the intimacy. I remember asking you to edit SFX widely for these scenes, yet I ended up using very little of it. These phone calls are ultimately deeply revealing about how tormented and tortured this guy was, so we didn't want to step in the way of the story. EM: You've talked about your approach to sound editing for documentaries, but there are also several reenactment scenes in this series. In particular, I remember insert shots of weapons being fired at close range. How did you go about keeping these in the same world as the rest of the documentary scenes? JG: Once we'd discovered the sound of recollection and flashbacks, when we came to the reenactment scenes, it just seemed right to do more of the same. Even in those gunshot reenactments, which you'd think we should mix really loud because they're occupying our entire screen, we decided that less is more. These were essentially flashback moments, so we ended up putting lots of reverb on them and doing more of a sound designy take on those as well. We had to discover that as part of the mix process. EM: Speaking of the mix process, how did their team review passes of your work? JG: I was fortunate in that we had familiarity. This is the second show I'd worked on with production company Rock, Paper, Scissors and the team of Will Znidaric and Mark Lipson, so I had trust from them. I also knew Killer Inside producer Terry Leonard from a previous project. I would often mix 15-20 minutes on my own, and then Will or Mark would come in and have a listen to see if we were heading in the right direction. More often than not, they'd say, "you're doing great, keep going." Near the end of the process, we'd have one full mix review day per episode to be able to make adjustments and to make it theirs. It definitely helped to work with people whom I had previously built trust with. EM: Was Atmos a required deliverable from Netflix for this show? JG: It was not. I inquired about it, I'm Atmos-ready, and ready if they ask for it on the next one! EM: This series ended up being highlighted on the Netflix main page immediately as you opened up the platform. Were you surprised at how popular this show became? JG: Football is huge in this country. This is a horrific story about a football star who had millions, fame, fortune, was seemingly living the dream life, and then he threw it all away. To answer your question, no I'm not surprised, because it was a huge story when it happened. Jeremy Grody mixing at Sound Logic Post