Issue link: https://digital.copcomm.com/i/1512183
M OT I O N P I CTU R E S O U N D E D I TO R S 103 informal ones." A few months after the move, Murat met supervising sound editor/sound designer Enos Desjardins, who was working on the young adult drama Jamie Johnson for the BBC. Enos offered Murat some sound effects editing work on it. "Having that first British project on my resume really helped me in the move to England. It allowed me to meet even more people in London. Enos and I have become good friends. He is always generous in sharing his knowledge and valuable insight. I am grateful to him for helping my career. Murat went on to do freelance work, including cooperating with a Turkish audio post facility, Melodika. He used the facilities at Soho's Sound Disposition on a few projects. He developed a relationship with owner/supervising sound editor/re-recording mixer Roland Heap, who asked Murat if he would come to work in-house. Without hesitation, Murat joined the team that has become more than just colleagues. "Roland himself is more like a teammate than a boss. Everyone made me feel like a family member from the moment I joined them." This spirit of family and collaboration allows Murat opportunities to do sound effects editing, sound design, supervision, ADR mixing, and even re-record mixing when needed. "We've worked on great projects like The Sandman, A Town Called Malice, The Peripherals, Ted Lasso, and many others, including horror and action titles." "Roland likes investing in gear. He has collected over 500 microphones, available for anyone to rent (including the 'lip mic' ribbon microphones Arlo White used in ADR for football play calling in Ted Lasso)." Murat has some favorite kinds of gear too. He values good speakers greatly. "I love the Focal Solo6, which I had in my home studio as my main monitors. Here at Sound Disposition, I have brilliant ATC speakers." On the software side, Murat is highly fond of Kraken Dialog Editors Toolkit for asset management; Accentize Chameleon for reverb matching; and Acon Digital Extract: Dialog for noise reduction. While Sound Disposition developed several remote ADR options during the COVID pandemic, much of the post sound editing in England was already being done from home. "In a way, a lot of the sound community here were pandemic- ready. Our workflow wasn't affected much. I was supervising Hot Skull, one of the biggest Turkish projects for Netflix at the time. I was freelancing that remotely from London, anyway. And now, it is completely back to normal." The post sound workflow for projects in England is not really any different than those of the U.S., from Murat's experience. "There are some differences in the way we shoot ADR based on what the actors are used to, such as always using wipes. Cueing ADR is consistently done with EdiCue here, while a project that comes from the U.S. could be cued using one of several different methods and we have to adjust the preparation time for it. Other than that, most of the differences between projects are driven by the network/distributor, not as much the country of origin. In that way, we are all in the same boat." Speaking about his personal approach to sound for picture, Murat says, "My motto is that story drives every decision." He gives an example of a scene with several people sitting around a dinner table. Perhaps in real life, everyone's wooden chairs would be a little creaky. But the story is not about creaky chairs. "We can choose to not play any creaks until someone awkwardly leans in to confess something embarrassing. Then playing his chair creak before he speaks helps amplify the comedy of the moment." When asked which project he is most proud of, his response is similar to that of many artists. "I'm pretty hard on myself when it comes to judging my own work. I often focus on things that I didn't get to fix. Even when I listen to something I did a while ago, I find myself searching for things to fix. I guess that's a part of the creative process." Every artist's curse, I would venture. Apart from that, with every project, Murat asks himself, 'What "We are creating something almost magical. We are essentially selling our clients on something invisible."