Issue link: https://digital.copcomm.com/i/1521956
20 C I N E M O N T A G E W H A T O U R M E M B E R S D O Q: Where are you currently employed? I'm a sound effects editor and sound designer located in Buffalo, NY. For the past two and a half years, I have remotely worked from my home studio for Skywalker Sound and have been a part of the Skysound family. Q: Current projects? In the fall, I f inished sound effects editing for the new Star Wars series, "The Acolyte." More recently, I finished super- vising Foley for the fourth "Despicable Me" movie coming out in July. At the moment, I'm sound effects editing on an up-and-com- ing Marvel series. Q: Describe your job. What I do varies from project to project, but I mostly have one of two roles. My first love is sound effects editing or sound design, which is the art of creating the sonic landscape of a film or TV show. I either create sound effects from scratch through JESSEY DRAKE, MPSE SOUND EDITOR synthesis, sound processing and recording, or else I combine pre-existing sound effects in interesting creative ways that help tell the story. Secondly, I've had the opportunity to supervise Foley. Foley is when we record a team of highly talented individuals called Foley artists who perform nuanced sound effects while watching picture so that the sounds they create are recorded largely in sync with the picture. Footsteps, picking up cups and plates from wood tables, or deli- cate movements of a necklace as someone moves around are all examples of Foley el- ements. They're recorded on a Foley stage, a small, dedicated soundstage filled with a gamut of objects used to make specific sounds. It's my job to supervise where in a movie or TV show those Foley elements will go and make sure all the necessary Foley el- ements get recorded on schedule. After the Foley is recorded, I confirm that it's edited in perfect sync to picture and then delivered to the mix stage in the most organized and timely fashion possible. Q: How did you first become interested in this line of work? As a kid, I was always playing with a Fisher-Price tape recorder, going around and recording my cat or dog or my parents. I like to say it all started there, but I originally went to college to study music business and music/audio production. Toward the end of my undergrad years, I had a professor who suggested I take the sound design capstone class because she thought I'd really benefit from it. Lo and behold, she was absolutely right; I fell in love with creating sound for a visual medium. Q: Who gave you your first break? I was working on my graduate degree when I learned through professors at my university that there is a vast network of