Issue link: https://digital.copcomm.com/i/1524863
M OT I O N P I CTU R E S O U N D E D I TO R S 139 representation of sound until now; it was such a full circle and kind of an eye opener. I consider myself really lucky to have been around the kind of editors that had to put it all together in their minds. I remember working with Cece one time, and playing her some effects that I was putting together, and she said, "You approach this like an editor, you've got a good sense for how these sounds are going to go together before you hear them together." That's what I think I picked up on from playing and multi- tracking music—as a guitar player, I was a tone guy, someone who always wanted to have great tone. And I always carried that into my music recording and mixing, where you want to put things in the right frequencies, so they play together without masking each other. That translates great to doing film sound where you're adding sweeteners but want to still keep all your frequencies playable. After a long run at Paramount, I followed George Watters and moved to Warner Bros., where I am still based today. It's a world- class facility encompassing both film and video game audio design and mixing, and over the years has become home to many of the best in the business. It's a great environment and everyone in the department is super supportive of what we do. CM: So in that evolution, you moved a bit more into doing sound effects recording vs studio sound design? JPF: Well, with the digital revolution came lots of new technology. I had a drum machine from EMU called the Drumulator and this little Checking record levels on the 1961 Ferrari 250TR at The Firm Racetrack Starke, FL. 12/18/18 Ford v Ferrari (2019). Jay Wilkinson photo. Recording the Lamborghini Murcielago for The Dark Knight (2008) at Rosamond Sky Park. 11/27/07 Photo by Andrew Bock. company called Digidesign made some replacement sound chips for it that I bought. Then they created a sample editor called Soundtools for the Emulator samplers and then a couple of applications: ProEdit and ProDeck. Who knew at the time that these simple apps would morph into Pro Tools, which over the next few years became the de facto film sound editor. As time went on, the design and editing processes became more intertwined in the box and I was starting to get a little tired of the isolation that came from years of long hours in a dark room. This coincided with lots of recording work, so it became kind of a natural progression that got me back outside more in the sunshine. I do think the more that you can get outside of the room, the more well-rounded you'll be in your career. Nowadays, people in general spend way too much time looking at screens, and though that's been the evolution of the workflow in our business, it is not