Issue link: https://digital.copcomm.com/i/1529989
94 M PS E . O R G and so many others—all of whom were very supportive and encouraging. Foley mixer Duncan Campbell (who is also an FX editor and sound designer) has been instrumental in helping me fine-tune a recording chain over the years. Spending time with re-recording mixer Phil Heywood led me to work with him in Sydney as a Foley artist on The Return of the King (2003, Dir. Peter Jackson), which was one of the best experiences I could ask for. What could be better than working on a fantastic film with a great crew? I recently finished a film for Spectrum Films which was being supervised by Angus Robertson, who was also the Foley mixer on The Return of the King, so I'm fortunate to still have these working relationships which date back to 2003. At the start of 2012, my partner and I moved to Wellington in New Zealand to start a job at Park Road Post Production (PRPP) when the first of The Hobbit films was in post-production, and I have John Neill and Nigel Scott amongst others to thank for that opportunity. I was employed primarily as a mix stage recordist, but also took on other tasks, such as ADR recording, Foley recording/walking, transfers, restorations, etc. PRPP is such an amazing facility with wonderful people. They are always leading the way with technology, and I learnt so much in my almost six years working there. The Hobbit: An Unexpected Journey (2012, Dir. Peter Jackson) was one of the first films to be mixed in Dolby Atmos, so it was a great time to be there to see the introduction of this technology and creatively how it was being used. I feel that my time at Park Road took what I was doing to the next level. Being on the mix stage for The Hobbit trilogy with the likes of Christopher Boyes, Michael Semanick, Michael Hedges, Gilbert Lake, and Gary Summers was such an education that you couldn't get anywhere else. Also working with the whole talented editorial crew, not only did I learn so much from them, but I also made lifelong friends. I get involved in projects at all different stages. Preferably the earlier the notice, the better shaped by meeting and working with new people on new projects. I have been fortunate to work with and learn from so many people. Being based at the SAFC gave me the opportunity to meet sound supervisors, re-recording mixers, and sound editors who came to the SAFC from interstate to mix films—people like Craig Carter, Andrew Plain, Wayne Pashley, Sam Petty, Emma Bortignon, Peter Jackson and some of The Hobbit post- production crew, Park Road Post, 2014. Foley clogs ordered from the Netherlands. Photo: Adrian Medhurst