Issue link: http://digital.copcomm.com/i/987065
36 S P R I N G 2 0 1 8 C A S Q U A R T E R L Y Is there anything unique about this project's workflow or treatment? What was unique about this project was that the mix for the entire project was being done in the next room. This meant that the workflow between the mix and the Foley theatre and the producers and directors was very fluid. We were able to provide whatever update was urgently required for the mix. Normally, it doesn't quite line up this way, so it was a unique experience to work like this. Was there anything special or different about the Foley for this show? The Arachnajax [creatures] was the most different and special thing about this episode. We experimented with alternate versions of the sound of the tentacles because, when the Arachnajax roared, the tentacles flapped violently. We tried hand slaps, bicycle inner tubes, and even octopus tentacles! Did the creature's movements require any special props? The footsteps of the creature were created in two layers—it was a big and heavy creature but also had sharp talons. To create this, we used a pair of boxing gloves and climbing shoes to get the sharp-edge sound. What was the most challenging aspect of working on this show? The time schedule. The length of the episode and the amount that was needed to be covered was something like a feature. We worked very hard to get it done. What was it like collaborating with the producers and directors of this project? Very fun. Toby was very passionate about getting the sound of the Arachnajax clear and so it was good to work with someone so involved. Tim Cavagin: Re-recording Mixer What is your background and what other shows have you worked on? I've been at Twickenham Studios for more than 20 years. I generally mix the dialogue and music but started out mixing FX, largely mixing films. However, before that I worked in small sound houses in both SoHo and Leeds. In Leeds, I actually co-built and wired the studio from scratch. It was all analog, so you can imagine the amount of soldering! How did you get involved in this episode of Black Mirror? I was aware of the director's (Toby Haynes) work in high-end TV dramas such as Sherlock Holmes, and knowing the studio had pitched for the series, this was the episode that took my eye. And so I literally said, "I'm doing that one" and, unbeknownst to me, Toby had said that he wanted me to mix it, too. So it kind of fell into my lap. Please describe your workflow and any problems you encountered. I mixed the "Metalhead" and "Black Museum" episodes. What I became aware of was that, in fact, these are essentially movies with a TV timescale for mixing. Two days' premix and two or three days for final. And yet the content in each would generally require at least twice that amount of time. So, I'd say that was the only problem we had. How much time did you have to complete the production and how big was your team? As mentioned, we had five days mix time. However, on "Callister," that stretched out into about eight in the end. Sound editorial-wise, it's a lot harder to quantify as the sound editors would often be working across one or more of the series—parking one, picking up another and so on. Have you been surprised by the popularity of Black Mirror internationally and how the sound community is viewing your work on this project? I knew Black Mirror already had a large cult following in England, but had only a little idea of its international popularity. It doesn't surprise me that it does though, as the show taps into so many things that are so relevant and asks moral questions of the viewer in each of its episodes. As for the sound community, it's always lovely to work on a show with some kudos. And everyone has been very appreciative, which is so nice. Is there anything unique about this project's workflow or treatment? Nothing unique, I guess, other than it seemed absolutely everyone was waiting for the show to drop onto their iPads! Always wanting to know if the new series was as good as series one, two, and three. Knowing that the show already had a massive audience was kind of unusual for me. When mixing a movie, you generally have no idea how many people will pay to see it. On this show, you knew there were millions waiting! What was the most challenging aspect of working on this show? Because of its sci-fi nature, there can be a tendency to over complicate the soundtrack. So we spent a lot of time stripping back the beeps, bleeps, whooshes. Making sure that, in what's still a dialogue-driven show, we didn't make the soundscape overly dense. How much of the sound design for the creature vocalization was delivered from sound design and how much was created in mix? I'd say 50/50. We went through a few stages of development whilst mixing.