MPSE Wavelength

Fall 2020

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B ack in 2014, I was fortunate to learn how to edit sound for commercials from Jay Hayes. He has been working on the format for 24 years, primarily in-house at networks such as Fox, NFL Network, and ATT-DirecTV. Jay now runs his own company called Crisis Shift. "Short-form is experimental. If you have a basic skill set in sound or audio, if you've done music, if you've done any editing, the rest of it will come." Jay has seen it all. He watched analog workflows become digital, out-of-house work move in- house, he has run departments, built studios and has been the sole editor/mixer for all promotional commercials (known as "Promos") to air on a network. But is sound editing for commercials all that different from traditional film and TV sound editorial? "In commercials, you can't rest on your laurels if you did a great job. Whatever game you've got, you have to keep it sharp and bring it RIDING THE WAVES OF COMMERCIALS BY ERIC MARKS MPSE As this global pandemic rages on, much of our industry has slowed to a halt. Production of features and television has proven to be far from easy. But not every sector of our industry has been on a full hiatus since March. Advertising may have slowed down, but it has largely persisted. Agencies have gotten incredibly creative in producing timely content without the need for multiple people in front of a camera at a time.

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