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 73 footsteps in a day and maybe use two hours to record the rustle. Then with the rest of the time that we had left, we concentrate to record all the props for the episode. We were able to accomplish this in 2½ to three days, depending on how intricate each scene or how complex the episode was. The microphones we used were four Neumann KMR 81 shotgun mics and position them all over the stage. I used them together periodically to get the right perspectives. I also prefer to record off-axis, so the sound is not too upfront while at the same time sounded natural. We'd do some EQing, but we didn't want to over EQ because as you know, it would be too muddied out. For example, the scene when Susie is walking around and she goes up the stairs and through different spaces. Marko was walking in front of the microphone, I ride the faders, and he'd also block the sound, so everything sounds different. We tailored each performance to match whatever we saw on the screen. MC: When he says, "block the sound," I'd actually hold a big piece of cardboard in front of the microphone so that you don't get a direct sound, it's a little more muted. And depending on how George heard it and how I heard it or how I performed it, he'd direct me to get the best sounding performance. We'd constantly use that blocker. He says I'm like a matador. [laughs] We've been using it for years and it's very helpful. We started with Bruce back when we did Barton Fink. If anyone is doing Foley, try it. DB: Once again, very creative techniques. Amazing stuff. Now over to Annette with the music! The rhythm and the pace of the show and the music in it are so well crafted. Were you involved in picture editorial or did you have to, after the fact, make the music all fit so that those beats hit? Annette Kudrak (music editor): Both really because I was on earlier than most of the sound team, and that's why I feel bad when I hear how few days you had [laughs] because I was really there much longer. But I was also involved in many more things, like in this episode, when they go and get the cab, the showrunners told me what song they wanted to use and then I had to go find multiple recordings of that song to make a mockup. The direction I got was something like, "Okay. We're gonna have this many drumbeats. And then they stop. And then after this line, the music starts again." I decided the tempo for the music so it would do certain things as they ran through the cabs. So, I mocked it up and then I gave it to the orchestrator for the show (who is actually the guy who played the band leader). And then he did demos, and I'd work with him on those. Then we'd go record it. Also, on this episode, I was involved in the prerecord for the Carol Burnett scene and I went on The panel, back row L-R: Ruth Hernandez (ADR editor), Sara Stern (dialogue editor), Marko Costanzo (Foley artist), George Lara (Foley mixer), Allan Zaleski (sound effects editor), Annette Kudrak (music editor); Front row L-R: Sarah Streit (assistant sound editor), Mathew Price (production sound mixer), Steve Visscher (supervising Foley editor), Ron Bochar (supervising sound editor).