MPSE Wavelength

Fall 2021

Issue link: https://digital.copcomm.com/i/1401019

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m ot ion p ictu re s o u n d e d i to r s I 47 kept up with demands and served as a model for Netflix on how to maintain creative momentum even in the time of COVID. The spring of 2020 was turning into summer and our crafty production was being queued up for an on-time finish. 4. Final Mixing and Delivery to Netflix Finishing is an art form all to itself. Finishing The Queen's Gambit during a once-in-a-hundred- years global pandemic was going to require a couple of technical adjustments to our final mix approval workflow. Eric Hoehn and Scott Kramer had an idea: Use multiple SourceConnect licenses to beam in real-time mixes to multiple locations reaching Scott Frank and Michelle Tesoro in New York City, executive producer Bill Horberg in a music studio in Woodstock, New York, and to Carlos Raphael Riviera at his studio in Miami, Florida. We moved through the final mix of seven episodes with playbacks, notes and fixes in just under 10 days. Despite the unprecedented challenges forced upon us all by the pandemic, an adaptive workflow process, clever crew, and robust technologies proved successful despite the circumstances. With The Queen's Gambit, we embraced the creative and geographical challenges and turned the "working remote" reality into an uncompromised collaborative finish. Could You Be This Type of Sound Designer? If you're relatively new to the industry, a prime requirement is that you enjoy collaborating with production, post-production, distribution, marketing, and international teams. Since you succeed when the team succeeds, it's important to set an example with your personal work ethic and working with an entire sound crew. As you will appreciate, a sound designer is a subject-specific expert, advising on creative matters and technical decisions, while also in charge of detailing, distributing, and directing best sound practices. It is also useful if you love listening to many forms of media, soundtracks, learning about the many aspects of the "invisible art of sound," and staying curious about people, process, and problem-solving. While it can be taken for granted that you already understand the filmmaking arts and current sound- for-picture workflow practices, even if you are an expert in the essential tools, you also need to understand how our industry has arrived at this current state of technology. It is always best to make the effort to fully understand the goals and challenges facing filmmakers, studio executives, showrunners, department heads, editors, mixers, and sound supervisors. The good news is that the future, YOUR future, will be determined by a whole set of new technologies and reimagined workflows. Sound editors have transformed themselves into Sound Designers. Sound effects designers are becoming excellent mixers. It's now all part of a seamless workflow. STAY CURIOUS my colleagues, my fellow sound enthusiasts, my team, my dear friends. THANK YOU FOR READING.

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