Issue link: https://digital.copcomm.com/i/1535880
M OT I O N P I CTU R E S O U N D E D I TO R S 67 BY DAVID BARBER MPSE David Barber MPSE: When most people, including industry professionals, watched The Marvelous Mrs. Maisel, they simply sat back and enjoyed the experience paying little attention on the artistry and craftsmanship that went into its creation—as it should be, of course. But in reality, they were watching an extremely complex and complicated sound show made to look easy by you and your team. I want to first ask an overarching question that everyone should keep in mind as the team responds tonight: "How. Much. Time."? N APRIL 3, IN ASSOCIATION WITH the NYU Tisch School of the Arts and their First Run Festival, "MPSE Presents" hosted an evening with the Emmy, CAS, and Golden Reel award-winning sound team from the Amazon Prime Original, The Marvelous Mrs. Maisel. The evening started with a screening of The Marvelous Mrs. Maisel, Season 5, Episode 9, "Four Minutes." This episode was the final entry in the series and was the most awarded episode of the show's storied run. A panel discussion of the sound team's processes and workflows followed the screening, and we ended the evening with a mixer in the lobby, sponsored by the First Run Festival. On the panel were Mathew Price, production sound mixer; Sarah Streit, assistant sound editor; Sara Stern, dialogue editor; Ruth Hernandez, ADR editor; Marko Costanzo, Foley artist; George Lara, Foley mixer; Steve Visscher, supervising Foley editor; Allan Zaleski, sound effects editor; Annette Kudrak, music editor; and of course, Ron Bochar, supervising sound editor and re-recording mixer. The following is an abbreviated account of our fascinating dive into the sound world of Mrs. Maisel. O Ron Bochar (supervising sound editor): Every season leading up to Season 5, I'd always complain that we needed an extra day here or there. By the time we got to Season 5, I had finally worn them down enough that they gave us what we needed, at least to a point. [laughs] Episodes were anywhere between 50 and 75 minutes, which this last episode was. At the end of the day, everyone had about seven days to work on an episode and that included at least two or three conforms along the way. Foley-wise, we got three days to record all of the props and footsteps, although I think we got one extra day on this episode. Mixing-wise, I would have four days per episode. That's a couple of days to do dialogue, a day to try to put in the effects and the Foley, and a day working with Anette on music. Then we would present to the clients, take notes, go away for another day to make some changes, and then come back and do a final pass with my showrunners and directors. Mixes ended up being about five days. DB: The show is sonically rich and very deep. It's incredibly detailed