Issue link: http://digital.copcomm.com/i/1353865
M OT I O N P I CTU R E S O U N D E D I TO R S I 63 Before we dive into your spectacular work on News of the World, I'd like to hear a bit about how you got to this point. How far back does your involvement with sound go? OLIVER TARNEY: As is the case for many of us in post-production sound, I started out in music after University. I had a friend who supervised foreign-version mixes of Hollywood films, and he asked if I wanted to help out on a few. After a year or so, I was doing more work in film and less in music. I then got into FX editing in television, before moving on into feature films. You learn different skills from each job you do. Music was useful in knowing how to use different elements to cover different frequencies, and how to layer sounds a certain way. It also gave me a good knowledge of outboard reverbs, delays, and how to use samplers, which was all great for sound designing in the era that was just before plugins became widely used. The foreign mix work was helpful in reverse engineering the work that was being done on the type of films that I wanted to work on eventually, and FX editing on a television schedule certainly helps focus you on what's important—and to do it quickly. All the things I've done up to this point have been useful in some way. RACHAEL TATE: I studied media production at University, not knowing precisely where in film I wanted to end up—certainly knowing almost nothing of post sound and the surprising creativity involved. Only once I became a runner at De Lane Lea Studios in London did I gain sufficient exposure to this 'secluded' world and realised that my future career laid in sound editorial.