Fall 2015

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46 CINEMONTAGE / FALL 2015 THE 100 portraits by Martin Cohen B ecause of its complex and interrelated story arcs, The 100 represents a unique set of creative challenges for effects editor/ sound designer Peter Lago, MPSE, and re-recording mixer Ryan Davis, working at Warner Bros. Studio Facilities in Burbank. Developed by Jason Rothenberg, the post- apocalyptic drama series premiered during the 2013-14 season; its third season is scheduled to begin airing in early 2016. The weekly series is based on the book of the same name by Kass Morgan, the first in a trilogy. "Peter and I work closely together to deliver a theatrical-quality soundtrack for one of the busiest shows on TV," says Davis. "With limited time per episode, we work collaboratively on a tight schedule to deliver amazing tracks for the show, by always communicating our visions to one another so that we remain on the same page." "The 100 takes place in the future — possibly 200-to-300 years after our time — but 97 years after a nuclear holocaust," Lago explains. "The only known survivors came from a series of space stations placed in Earth's orbit prior to the war. Banding together to form a single large station known as the Ark during Season 1, a group of 100 juvenile prisoners are sent from the Ark to Earth to see if it's habitable again." As a result, Lago had two different environments for which he needed to design specific ambiances. "On the space station, each room had its characteristic sound," he says. "Since the environment was more than a century old, I developed a creaky vibe to indicate that the station was on the verge of falling apart. For Earth, on the other end, we needed a leafy and airy atmosphere." Norval D. "Charlie" Crutcher III, MPSE, has served as the show's supervising sound editor since the first episode, and defined the overall soundscape for each environment. "The producers wanted the Space Station and the Earth to be characters," says Davis, who works on Warner Stage 4, with dialogue/music re-recording mixer Rick Norman. "But Earth is not a safe place, since we soon learn that it's now home to Grounders, who survived the war, and Reapers [Grounders who have become cannibals]. And for Season 3, we encounter the AI-type of creatures that were unveiled The SFX Factor SOUND EDITORS AND RE-RECORDING MIXERS COLLABORATE by Mel Lambert R ealizing a complex film or TV soundtrack takes a lot of care and attention, together with an advanced degree of collaboration between sound effects editors and re-recording mixers specializing in the same. The former develops the myriad elements needed to detail a contemporary mix, the components of which are weaved together with dialogue and music by the latter to produce a cohesive, immersive whole. CineMontage considers such joint efforts of the sound effects crews working on The 100 television series on The CW network, as well as those on the recently released feature film Trumbo. >>> Peter Lago.

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