MPSE Wavelength

M OT I O N P I CTU R E S O U N D E D I TO R S I 51 it was almost like we didn't miss a beat. Was your vision seen through from initial spot to fi nal mix or did any interesting new perspectives arise along the way? GREGG: The Queen's Gambit was such a collaborative process and our team was full of really talented individuals. Everyone had a chance to bring new perspectives to the table and I think the end soundtrack showcases just that. Outstanding Achievement in Sound Editing Episodic Long Form – Effects/Foley (TIE) THE QUEEN'S GAMBIT "End Game" Netfl ix Supervising Sound Editors: GREGG SWIATLOWSKI ERIC HIRSCH Sound Designer: WYLIE STATEMAN MPSE Sound E• ects Editors: JAMES DAVID REDDING III MPSE PATRICK CICERO LEO MARCIL Foley Editor: RACHEL CHANCEY What was the biggest challenge you and your team faced? WYLIE STATEMAN MPSE, SOUND DESIGNER: The COVID pandemic forced the entire Queen's Gambit team to develop a sensible remote workfl ow strategy. We were committed to fi nishing the soundtrack on time and without compromising on the creative. Thoughtful and respectful coordinating our communal "super session" builds and the remote approval process make this all possible. JAMES DAVID REDDING III MPSE, SOUND EFFECTS EDITOR: A period piece always makes things slightly challenging, but also just the chess tournaments themselves. Trying to build a tense atmosphere that were busy but not necessarily loud. Why are the MPSE Awards important to you? WYLIE: The MPSE Award is important to our community of sound professionals and a signal to the outside world that creative excellence and craftsmanship in terms of sound matters. JAMES: It's an award from your colleagues, your peers, people that know and understand what you do and what you have to do to do it. Was there anything specifi c within the story that infl uenced your decision to take on this project? WYLIE: Netfl ix, writer/director Scott Frank and Editor Michelle Tesoro are not people you ever want to say no to. How did the pandemic change the way you and your team worked on this project? JAMES: The schedule changed a lot more. I was already working remotely. Was your vision seen through from initial spot to fi nal mix or did any interesting new perspectives arise along the way? WYLIE: We began this journey along side of Scott Frank in the early stages of script and production. Our spotting process can better be described as audio prototyping. We work with the picture cut experimenting and presenting dialogue, music and sound effects mixed together. The soundtrack is built up from there. The creative process only ends when we print master the fi nal deliverables. JAMES: I feel like the team was always on the same wavelength throughout. Outstanding Achievement in Sound Editing Episodic Long Form – Effects/Foley (TIE) STAR TREK: PICARD "Et in Arcadia Ego" Part 2 CBS All Access Supervising Sound Editor: MATTHEW E. TAYLOR Sound Designers: TIM FARRELL HARRY COHEN MPSE Sound E• ects Editor: MICHAEL SCHAPIRO Foley Editors: CLAY WEBER DARRIN MANN Foley Artists: ALYSON DEE MOORE CHRIS MORIANA What was the biggest challenge you and your team faced? MATTHEW E. TAYLOR, SUPERVISING SOUND EDITOR: It's hard to pick just one but I think the biggest challenge is the show is constantly evolving and adding new material for us to create, design and record. Why are the MPSE Awards important to you?

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