Issue link: http://digital.copcomm.com/i/987065
C A S Q U A R T E R L Y S P R I N G 2 0 1 8 35 good results. As well as ADR mixing, I'm also a supervising sound editor. I'm working on an exciting independent British film at present. How did you get involved in this episode of Black Mirror? It was actually thanks to the post supervisor on the job who put myself forward (Moira Brophy). We've also got a good working relationship with Pinewood/Twickenham Studios. Please describe your workflow and any problems you encountered. The ADR stage at Art4noise, the facility I work, is in my opinion one of the best in Soho, London. It's been rigorously tested during its construction (Munro Acoustics) and performs very well in the ADR setting. I tend to shoot ADR two tracks most of the time with a Schoeps CMIT 5U or MKH60. On this particular episode of Black Mirror, we used the Schoeps as boom and DPA 4060 as the clip, which matched extremely well with what we had on production. Another important part of the job was the crowd session which, firstly, was great fun, but challenging in the sense of replicating a texture which would sit in seamlessly. In addition to the two microphone setup, we added a U87 (set to figure of 8). How much time did you have to complete the production? I believe we had two days. The first day was broken down with principals and the second day was the crowd session. Have you been surprised by the popularity of Black Mirror internationally and how the sound community is viewing your work on this project? I actually had involvement with the second series of Black Mirror and could certainly see its potential then. [Creator/Writer/ Producer] Charlie Broker has an amazing vision. I'm honored that the show amongst others has been recognized. Is there anything unique about this project's workflow or treatment? The crowd session had some interesting moments; we had enough time to add vocalized noises that would be used in sound design. How much of the show was ADR? Not sure if I'm allowed to say! John Rodda did a great job as the production mixer and most ADR was purely extra sweeteners or crowd. Was there a big group for the office scenes? Our crowd session consisted of 6-8 artists. What was the most challenging aspect of working on this show? I guess as with all ADR jobs, they come with varying degrees of challenges. I can't recollect there being anything different from the usual set (from a technical perspective). I do remember quite enjoying the sessions. What was it like collaborating with the producers and directors of this project? Everyone on the team were great to work with! That's me being honest. Sophia Hardman: Foley Mixer What is your background and what other shows have you worked on? I started working in sound three years ago after completing a degree in sound technology. I have worked my way up from sound assistant to Foley assistant to Foley mixer in this time. Working on feature projects such as Jason Bourne, Alien Covenant, Victoria & Abdul to TV projects McMafia, Poldark, and of course, Black Mirror. How did you get involved in this episode of Black Mirror? I was originally assisting the Foley mixer on this project but, due to scheduling, I ended up working on this episode. I was very lucky—a case of right place, right time. Please describe your workflow and any problems you encountered. We usually start by recording a pass of cloth moves, which gives myself and the artist time to also see if there are any sections that might be tricky ahead. As we have three days to do an episode, keeping an eye on what we have coming up is key. After moves, it's onto the footsteps. Breaking the feet down surface by surface (leaving the messiest till last) allows us to manage our time and the space well. When we've finished the feet, we start the spot FX, going through the episode scene by scene, ensuring we cover everything. How much time did you have to complete the Foley and how big was your team? We had three days in total to complete the Foley recording for the episode, Our team comprised of Adam Mendez and myself, Ricky Butt (Foley artist) and Oliver Ferris (Foley assistant), along with Dario Swade (Foley editor). Have you been surprised by the popularity of Black Mirror internationally and how the sound community is viewing your work on this project? Not surprised with the success of Black Mirror, but completely shocked by the reaction of the sound community. It was such a blur working on this project. For it to have been well received by our peers is very satisfying.