Issue link: http://digital.copcomm.com/i/987065
34 S P R I N G 2 0 1 8 C A S Q U A R T E R L Y What was it like collaborating with the producers and directors of this project? The producer and director were very encouraging. [Director] Toby Haynes will undoubtedly go on to great things fired by his enthusiasm and "can do" attitude, which rubs off on everyone else. Is there anything else you'd like to add? I think I've just about covered everything except to say that the recognition of our peers has been amazing and humbling. Having won the CAS Award, our current nominations for sound awards by AMPS and BAFTA have been another fantastic honor for which I'm profoundly grateful. I won my first CAS Award 20 years ago and couldn't attend the ceremony. So this year, win or lose, I was determined to come to LA where I was overwhelmed by the warmth of the reception and encouragement given by sound colleagues from all of the United States. I should also mention that through pretty much the whole shoot, we were high page counts (because many scenes were joined together) but also every time we rolled, it was to cover seven- handed dialogue. Challenging, fun, and totally my cup of tea! Nick Baldock: ADR Mixer What is your background and what other shows have you worked on? My first glimpse into the industry dates back to 2001, where I was a trainee assistant editor in the picture department. I do remember getting as far as 2nd assistant editor and realizing that my passion truly resided in audio. In 2003, I began working alongside Paul Davies (a sound designer in the UK—known for working on Lynne Ramsay's films) and slowly started building my credits from there on. I've worked on many features as an ADR mixer, including Welcome to the Punch (James McAvoy), How I Live Now (Saoirse Ronan), Humans (Carrie Anne Moss), Sand Castle, Three Billboards Outside Ebbing, Missouri, The Current War, and Stranger Things. There's probably a few too many to list, but in essence, my ADR mixer credits sum up how much I enjoy my role in helping ensure worked with the writer Charlie Brooker at Channel 4 before on a spoof of Big Brother in which zombies take over The House. So I guess, Black Mirror and its prophetic/anarchic view of the near future was a natural progression for him and them. Netflix involvement came along with Season 3 and the production budgets have risen accordingly, enabling shoots overseas with internationally renowned cast and directors, many of whom have gone on to great things as a result. Is there anything unique about this project's workflow or treatment? Each show is treated as a stand-alone film and there's usually an eight-week gap between shooting episodes while the art department designs and builds for the upcoming production. The story, cast, director, and crew change too, so it's unusual for technicians to work on more than one episode in a season, as we'll probably have moved onto another project by the next time crewing comes around. What was the most challenging aspect of working on this show? A few days of our episode was shot on Lanzarote in the Canary Islands. Getting our kit stripped-down, packed, and ready for travel after a long hard shooting week was quite a challenge. Lithium-Ion and Lithium Iron batteries are becoming a nightmare to airfreight with different requirements quoted depending on who you speak to and I'm not any all sure they understand what you're talking about when you mention the much safer LiFe battery technology. As a result, I couldn't take my trusty PSC Power Star LiFe and I had to split my NP-1s around the crew to be carried as hand luggage. Were there any locations that required special treatment? We shot in January and the UK was in the middle of a big freeze so it was a chilly set. Lanzarote was a tougher shoot in other ways because the crater location was very hard to get our equipment to and the loose gravel led to quite a few of the crew slipping and sliding around! Left to right: Jimmi Simpson (Walton), Emma Chilton, Kyle Pickford, Jesse Plemons (Robert), John Rodda.